COMPARING THE MODERNS TO THE ANCIENTS [26]

Rationalsim and doctrine of progress won battle against authority in philosophy and sciences--then Querreel proper started
applied scientific concept of progress to literature and art.
evolution of modernity as a concept
moderns subjected antiquity to a variety of criticisms
A. The argument of reason [28]
Imitation of ancients rarely recommended dogmatically after 1630--criticized as a fallacy
neo-classic rules tried to rationalize cult of antiquity and found rational theory of beauty=triumph of rationality over authority in poetics
The most general rule is that of pleasing
The first norm of artistic gratification is verisimilitude in harmony with the requirements of beauty [28]
A new Virgil would write a better Aeneid because he would have more numerous and sophisticated rules available. [29]
B. The argument of taste [30]
Taste developed along with other aspects of civilization, becoming more demanding and refined.
Progress applied in civility, mores, and cultural conventions
Disputants agreed on theory.
Perrault scolded for being ungrateful in denigrating the ancients and for berating the ancients when the fault was the translations
both factions lack historical sense
believed in a transcendent and unique model of beauty
C. The religious argument [32]
Authority has the principal weight in theology
Pascal distinguishes between rational truth and supernatural truth of religion
Implied questions:
Is beauty an exclusively heathen invention
Or are there two fundamental types of beauty, one pagan, one Christian
Main result of MQuerelle
Enrichment of term "modern" with sharply polemical connotations

Since mid-eighteenth century: ancient/modern opposition - typological antitheses develop
classic/modern, classic/gothic, naive/sentimental, classic/romantic, classic/baroque, classic/mannerist
sometimes used almost interchangeably
Eighteenth century - idea of beauty lost aspects of transcendence, became a purely historical category [36]
Quarrel led to two autonomous world views, equally legitimate historically
Theories critical of major assumptions of neoclassicism led to romanticism at end of century
Beginning of nineteenth century, word "romantic' a synonym for "modern"
included all the aesthetically relevant aspects of Christian civilization
most oetic of all religions
included Dante, Petrarch, Shakespeare, Milton, etc.
Later term narrow to literary and artistic schools reacing against neoclassical values
Romantic beauty "characteristic" rather than universal, includes "grotesque," "sublime" and "interesting"
To be of one's own time, to try to respond to its problems became more than an aesthetic--it became almost a moral obligation [38]
Stendhal, 918170 Romantic is awareness of contemporary life
"Romanticism is the art of presenting to the peoples literary works which, in view of the present-day state of their customs and beliefs, affords them the utmost possible pleasure."
Paradox, modern-minded writer often finds that the present is unprepared to accept the very things that it most needs.
The present does not dare to ask for what it needs. People are unwittingly victims of the despotic power of habit, and it is one of the writer's major tasks to try to eliminate its inhibiting and almost paralyzing effects in matters of imagination. [40]
One has to take the risk of shocking the public.

THE IDEA OF MODERNITY