Process Essays


Process Essays

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Process Essays Sample

The nineteenth century was an age in which the intellectual and the artist tended to retreat behind the barrier of his specialty. Finding little to please him in the bourgeois industrialism of his time, with all its brutal ugliness and smug complacency, the poet withdrew to a world in which the intelligence, the artist's as well as the scientist's, could offer a coherent vision of reality whose relevance was not denied by experience. Traditionally, Symbolists and Parnassians offer one of those convenient pedagogical antitheses beloved by the systematic historian of any literature; but as a matter of fact we can see now that just as those two old polarities Voltaire and Rousseau have more in common than once was commonly taught, so these nineteenth-century schools of poetry rise in a common background of ideas and sentiments, and differ only in the means they choose for expression of their perceptions. Both groups distrust classical aesthetics, the imitative academic vein in art, quite as much as they react against ineffective romantic emotionalism and its appeal to vulgar and uncritical prejudice.

Both grow on lines parallel with contemporary intellectual interests, the new scientific study of languages, archeology, psychology, sociology, the history of trades, sciences, and the arts; each of these areas belongs historically to the humanities, was once part of the field studied by the Renaissance humanist, and was now being abandoned to the new specialists with scientific method. These poets of the late nineteenth century in different ways, some protesting, some making an effort to reclaim lost ground, try as they can to maintain the unity of their universe by means of the poetic intuition, the comprehensive insight, which is the chief instrument of creative art. It is a mistake to deny them at least an intellectual purpose, a program of action in the light of the new outlook on man and his world visible in contemporary philosophy and science. A deep distrust of old methods, an abandonment of older ways of feeling and believing, an anxious quest for new means of expression and communication, along with a vigorous debate over where new and better techniques could be found, invaded all fields and produced, is indeed still producing, the variegated chaos we have to take for granted today as we think of modern movements in art, and the new fields opening for the younger scientist.

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