LOS CROQUIS PARISIENS COMO PRIMERA FORMULACIÓN DE ALGUNAS OBSESIONES DE HUYSMANS

Through the application of Charles Mauron’s psychocritical method, we have searched which elements of Huysmans’ Croquis parisiens were the first formulation of some “obsessif personal myths”, continued in later novels: from En ménage (1881) until the last of Durtal’s cycle L’oblat (1903). The connections we have found between the elements of these Croquis and the posterior work of Huysmans’ are: the vocational singleman who has the leading role (André Jayant, des Esseintes or Durtal), the guilty sexuality of Huysmans’ “fictional heteronymous”, the usual presence of Pierrot and the castration anxiety he produces, the femmes fatales and/or fantastic in the imagination of the author, the powerful and productif Huysmans’ onyrism, and, at last, the common use of metaphors of liquid origin. All of them are present in germ, as a first formulation, in these Croquis, what shows the seminal importance of this collection of short stories.