For the notion of progress in the arts, (either spiritually or artistically) has been discredited by many respectable intellects (Kierkegaard and Baudelaire above all, both of whom encountered the idea when it first reared itself in its present form in Europe).
Patrick Swift
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A situation has occurred wherein a premium is put on any work qualifying for the term "progressive"... The idea of progress in the arts; the notion that we move forward from one good thing to another in a simple progression and in a single direction... Baudelaire dealt so profoundly with this... But this can be said: if there were such a thing as a direct and simple progression from the work of one generation to the next the historical difficulty of the Progressive Artist could not exist... the popular notion of the Progressive and the New Art may not after all be the last word on a complex subject. That there may be, even to-day... such a thing as the absolutely modern. That as before it may be something unexpected, and not completely accounted for in the arrangements for encouraging the arts... For to be contemporary is not necessarily to be part of any movement, to be included in the official representations of national and international art. History shows that it may well be the opposite. It may be that it is the odd, the personal, the curious, the simply honest, that at this moment, when everyone looks to the extreme and flamboyant, constitutes the most interesting manifestation of the spirit of art... It may be necessary to be absolutely modern.
Patrick Swift
Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseauism in all its forms. Today, Rousseauism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse.
Charles Baudelaire
Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseausism in all its forms. Today, Rousseausism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse.
Camille Paglia
The idea of a law of progress, or of an all but irresistible tendency to general improvement, is then merely a superstition, one of the tents of the modernist pseudo-religion of humanism. Even if such a law or tendency existed and were demonstrable, the liberal faith in progress would for Santayana be pernicious. For it leads to a corrupt habit of mind in which things are valued, not for their present excellence or perfection, but instrumentally, as leading to something better; and it insinuates into thought and feeling a sort of historical theodicy, in which past evil is justified as a means to present or future good. The idea of progress embodies a kind of time-worship (to adopt an expression used by Wyndham Lewis) in which the particularities of our world are seen and valued, not in themselves, but for what they might perhaps become, thereby leaving us destitute of the sense of the present and, at the same time, of the perspective of eternity.
John N. Gray
Kierkegaard expressed himself without reserve on the significance his writings may have had for certain persons. His old uncle, M. Kierkegaard the merchant, had a son a few years younger than Soren Kierkegaard. This son was a cripple, paralyzed all down one side, and completely deformed in body, but intellectually very talented. He read his cousin’s Soren Kierkegaard’s writings with great interest, visited Kierkegaard from time to time in his home, and received much spiritual uplift from these visits. I [Hans Brochner] once spoke to Kierkegaard about him, and told him how greatly the lad had been impressed by one of Kierkegaard’s works, namely the discourse for a Confession-Service in Edifying Discourses in Different Vein. (In it Kierkegaard speaks of a man who, through bodily infirmity, is prevented from fulfilling an outward task. Beautifully and uplifting it is said how such a man still retains his ordinary ethical task unimpaired, and that his life’s work merely takes on a special form-see Purity of Heart p. 133) Kierkegaard said, ‘Yes, for him the passage is a blessing’; and that was indeed true. It had the power to give this sorely tried man strength to overcome the thought that his life was useless and wasted, and to make him feel that he really was the equal of those more fortunately endowed by Nature. It was precisely Kierkegaard’s lively ability to make him feel like this that made him go away from the above-mentioned conversations with Kierkegaard with renewed strength.
Soren Aabye Kierkegaard
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