any of several poets or other writers of the end of the 19th century, including the French Symbolist poets in particular and their contemporaries in England, the later generation of the Aesthetic movement. Both groups aspired to set literature and art free from the materialistic preoccupations of industrialized society, and, in both, the freedom of some members' morals helped to enlarge the connotation of the term, which is almost equivalent to fin de siècle.

In France it was Paul Verlaine (Verlaine, Paul) who gladly accepted the descriptive epithet décadent, which had been used in a collection of parodies, Les Déliquescences d'Adoré Floupette (1885; “The Corruption of Adoré Floupette”), by Gabriel Vicaire and Henri Beauclair. From 1886 to 1889 appeared a review, Le Décadent, founded by Anatole Baju, with Verlaine among its contributors. The Decadents claimed Charles Baudelaire (Baudelaire, Charles) (d. 1867) as their inspiration and counted Arthur Rimbaud (Rimbaud, Arthur), Stéphane Mallarmé (Mallarmé, Stéphane), and Tristan Corbière (Corbière, Tristan) among themselves. Another significant figure was the novelist Joris-Karl Huysmans (Huysmans, Joris-Karl), who developed interest in the esoteric and whose À rebours (1884; Against the Grain) was called by Arthur Symons (Symons, Arthur) “the breviary of the Decadence.”

In England the Decadents were 1890s figures such as Arthur Symons (“the blond angel”), Oscar Wilde (Wilde, Oscar), Ernest Dowson (Dowson, Ernest), and Lionel Johnson, who were members of the Rhymers' Club or contributors to The Yellow Book.