Artistic connections of A. Beardsley and D.H. Lawrence

The article is devoted to the research of the artistic connections of two English authors: Aubrey Vincent Beardsley and his unfinished novel Under the Hill, or the History of Venus and Tannhauser (1894-1898), as well as his illustrations for the drama Salome by Oscar Wilde and the poem Atalanta in Calidone by Algernon Charles Swinburne, and David Herbert Lawrence and the novel The White Peacock (1911). The work used the poetological, intertextual methods and the intermedial approach. The research showed the significance of the peacock's image for the both artists and for the era of the modern style in general. The references of Beardsley's graphic works Atalanta and Cul de Lampe to Salome in Lawrence's novel The White Peacock are analyzed through a comparison of the impressions of the characters Cyril Beardsall, Emily Saxton and George Saxton. The novels of Beardsley and Lawrence are juxtaposed from the point of view of common motives and images of the protagonists created with the help of intermedial links with graphics. In Lawrence's novel, Beardsley's drawings, which the main characters look through in the album, are created through the fixation of the sensations and emotions of Cyril, Emily and George, who perceive them. Intermedial interactions are carried out by transferring the emphasis from the description of the sheets to the description of the subjective impression of them. Beardsley's drawings have an impact on the artistic style of the watercolorist Cyril, who is the main narrator. The image of Emily, created with the eyes of the narrator and the author himself, is closer to the images of Bern-Jones than to the images of Beardsley. Therefore, the heroine is frightened of ironic, satirical and androgynous images in the drawings of Salome. For George, Beardsley's drawings are an attempt to substantiate his emotional feelings to Letty he is in love with, and she will soon get engaged to another man, and also express her sensual desires. Lawrence uses parallelism between the graphic means of Beards-ley's graphic lines and the character's feelings: George's "thin sharp sense" is compared to Letty and the curved lines in Beardsley's drawings. Different reactions of the characters to Beardsley's drawings and their connection with sexual desire form the myth of Beardsley in early modernism. The motives of water and bathing in Lawrence's novel are considered as visual motives and add to the reminiscences of Beardsley and his novel. Beardsley's motive of nondiscrimi-nation and the fusion of male and female beginnings in Lawrence's novel is connected with the motive of naturalistic, sensual pleasure. Imaginary settings and the aesthetic-erotic image of Tannhauser in Beardsley's novel Under the Hill correspond with the naturalism of nature and the symbolism of male images of Cyril and George.

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