During the brief flourishing of his literary movement, ‘le naturisme’, in the late 1890s, the young poet Saint-Georges de Bouhélier (1876–1947) became an active and engaged Dreyfusard, despite harbouring anti-Semitic thoughts and being an aggressive nationalist and revanchist. This article explains the ostensible paradox by tracing Bouhélier’s Dreyfusard engagement back through his evolving aesthetic doctrines of the preceding years. His conception of poetry, in which the poet was both a privileged interpreter of the hidden grandeur of common folk and a humble servant of their collective traditions, allowed him to characterise Émile Zola’s role in the Affair along similar lines. Consequently, aesthetics is able to elucidate Bouhélier’s Dreyfusism in a way that his broader ideology cannot. His intervention in the crisis is a case study in the relationship between aesthetic and political thought, demonstrating the ability of aesthetic ideas to determine political choices, rather than emanating from them.

中文翻译：

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Dreyfus事件中的一个悖论：Saint-Georges deBouhélier的奇怪案例

在他的文学运动“自然主义”短暂繁荣的过程中，1890年代后期，年轻的诗人圣乔治·德布赫里尔（Saint-Georges deBouhélier）（1876年至1947年）尽管怀有反犹太主义思想并且是一位积极进取的民族主义者，但却成为活跃而活跃的德雷福萨德（Dreyfusard）。和宣教士。本文通过追溯布埃里尔在前几年不断发展的审美学说中对德莱福萨德的订婚来解释表面上的悖论。他的诗歌观念既使诗人既是普通民众隐藏的宏伟的特权诠释者，又是其集体传统的卑微仆人，这使他能够以类似的方式描绘埃米尔·佐拉在事件中的角色。因此，美学能够以布希利尔更广泛的意识形态所无法解释的方式阐明布希利尔的德雷弗斯主义。