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Monsieur de Phocas (1901) has been ranked with Huysmans' À Rebours (1884) as the summation of the French Decadent Movement. In the novel, Jean Lorrain presents experiences of the darker side of his life in Paris as the adventures of the Duc de Fréneuse (Phocas) and his relationship with the svengaliesque English painter Claudius EthalThis book ranks with 'A Rebours' as the summation of the French Decadent Movement. Modelled on 'The Portrait of Dorian Gray, ' it drips with evil and certainly would have been unpublishable in fin de siecle England.“The madness of the eyes is the lure of the abyss. Sirens lurk in the dark depths of the pupils as they lurk at the bottom of the sea, that I know for sure - but I have never encountered them, and I am searching still for the profound and plaintive gazes in whose depths I might be able, like Hamlet redeemed, to drown the Ophelia of my desire.”― Jean Lorrain, Monsieur De Phocas

Excerpt from Monsieur de Phocas: AstartéD'ailleurs, M. De Phocas ne semblait pas m'apercevoir, daignait-il seulement? Debout près de ma table de travail, il hanchait légère ment dans une pose pleine de grâce et, de l'ex trémité de sa canne, un jonc d'au moins dix louis, dont la pomme, un ivoire vert d'un tra vail bizarre, me requérait, immédiatement, du bout de sa canne donc, M. De Phocas feuilletait un manuscrit posé parmi des papiers et des livres et le lisait de haut, négligemment.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In the Latin Kingdom of Jerusalem many pilgrims came to Jerusalem. The translations in this book are of seventeen western accounts of pilgrimage, written between 1099 and 1185, and there are two additional accounts from eastern pilgrims, Abbot Daniel from Russia and John Phocas from Antioch. As a whole this collection shows the gradually developing way in which western Christians understood the Holy Places. Some early pilgrims depended on authorities, many of whom by 1099 were out-of-date. They tried to deliver the truth about the Holy Places and to be reticent about their own reactions. But the pilgrims who appear later in the collections made their own archaeological judgements, and were more free about their own reactions. Pilgrimage after 1099 was altered by the fact that by their victory over Jerusalem the Dome of the Rock fell into the Crusader's hands. Otherwise the differences of practice between eastern and western pilgrims were slight. Thus eastern pilgrims visited the Greek and western pilgrims the Latin monasteries. Western pilgrims had a different idea of the location of Emmaus, and before 1185 a western Way of the Cross was beginning to take shape. These were slight differences, and in general all Christian pilgrims, whether from east or west, visited the same Holy Places as they had during the preceding period. Most of the works in this collection were translated into English a century ago by the Palestine Pilgrim's Text Society. But these texts were produced separately as pamphlets, and lacked a general introduction. In this book therefore the texts are retranslated, sometimes from more accurate texts. In introducing the texts some valuable new evidence from archaeology has been used and enabled a new assessment of their dates.

Together with his colleagues and students at the University of Cyprus, Phocas challenges traditional definitions of utopia by presenting us with analytical research and clearly delineated visions of some architectural futures, which defy easy description. Projects should be appreciated as a continuing creative search for the defining of what is the meaning in our 21st-century world of “uto-pia” and the role of architectural technology in expressing it. Some of the projects propose new “building blocks”, others can be likened to the self-generating growth and re-newal process of plant life or appear as in natural growth. And yet other proposals are developed as independent systems that are more autonomous in their form and function.

Together with his colleagues and students at the University of Cyprus, Phocas challenges traditional definitions of utopia by presenting us with analytical research and clearly delineated visions of some architectural futures, which defy easy description. Projects should be appreciated as a continuing creative search for the defining of what is the meaning in our 21st-century world of “uto-pia” and the role of architectural technology in expressing it. Some of the projects propose new “building blocks”, others can be likened to the self-generating growth and re-newal process of plant life or appear as in natural growth. And yet other proposals are developed as independent systems that are more autonomous in their form and function.