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Published online by Cambridge University Press: 01 July 2024
The difficulties inherent to any analysis of the concept of “modernity” have been frequently emphasised: irregular and approximative semantics, pushed to the limit of totally meaningless, and harmless convention; constant tautology and instability; a whole succession of oppositions, followed by inevitable shifts of meaning and terminological errors; in a word, an endemic and periodically verified crisis. For all these reasons, “modernity” defines (this, however, is only a manner of speaking) one of the most paradoxical of literary ideas: the more widespread it becomes, the more it lacks clarity, the more it grows blurred. And yet—for the paradox to be complete—the phenomenon is clearly inevitable: in one form or another modernity emerges with every important mutation or revolution of literary thinking. Either partially or totally, and also within the framework of new theoretical syntheses, it accompanies or redefines all the decisive stages of European aesthetics. As a real framework concept, “modernity” tends to associate, crystalise or reformulate—with regard to “what is new”—all the essential transformations of literary consciousness. It embraces the complete cycle of the ideal moments of creation and, implicitly, of literature: from the negation of old-style creation, codified and dogma-ridden, to the affirmation of new-style creation, made liberal, and freed from all aesthetic constraint. Modernity breaks a tradition, it disputes the conservative order of art and literature, with a view to instituting and installing its own tradition—this is a cyclical situation, which has perhaps been inadequately discussed. In a similar light, modernity is devoid of all precise chronological determination and becomes a constant which, in the various historical phases and on different semantic levels, expresses the inner movement of literature. This immanent dialectic of the history of literary thought goes through certain essential moments: one day, perhaps, there will come a time when the task of putting these moments in a pattern will be assured of scoring a success.
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2 Théophile de Viau, Œuvres poétiques (Paris, 1926), p. 73; G. B. Marino, Poesie (Bari, 1913), p. 141; Lodovico Antonio Muratori, Della perfetta poesia italiana (In Venice, 1724) I, p. 58.
3 Charles Baudelaire, Œuvres complètes (Paris, 1966), p. 127, 950-957.
' Pierre-Maxime Schuhl, Platon et l'art de son temps (Paris, 1952), p. 7, 12-13.
5 Bernard Weinberg, Castelvetro's Theory of Poetics (Critics and criticism ancient and modern), edited by R. S. Crane, Chicago-London, 1965, p. 358).
6 John Keats, Poems and Selected Letters, the letter dated Decembre 22nd 1818 (New York, 1962), p. 408.
7 Arthur Rimbaud, Œuvres Complètes (Paris, 1967) p. 269.
8 Charles Baudelaire, Notes nouvelles sur Edgar Poe (Histoires, Paris, 1932), p. 701.
9 Herbert Read, Form in Modern Poetry (London 1948), p. 401.
10 Rivarol, Journal politique national et autres textes (Paris 1964), p. 255.
11 Maurice Blanchot, Le livre à venir Paris, 1959), p. 314.
12 Pierre-Maxime Schuhl, op. cit., p. 21, 99.
13 Hans Baron, The Quarrel of the Ancients and the Moderns as a Problem for Renaissance Scholarship, in The Journal of the History of Ideas, no. 1, January, 1959 pp. 3-22.
14 Richard Foster Jones, Ancients and Moderns: A Study of the Background of the Battle of the Books (St. Louis, 1936), pp. 15-17, 68-71 and 124-153.
15 Hubert Gillot, La Querelle des Anciens et des Modernes en France (Paris, 1914), p. 404, 555; similarly: René Bray, La Formation de la doctrine classique en France (Paris, 1966), p. 118, 124, 202.
16 Werner Krauss and Hans Kortum, Antike und Moderne in der Literatur diskussion des 18. Jahrhunderts (Berlin, 1966), p. 60.
17 Saint-Evrémond, Critique littéraire (Paris, 1921), p. 106.
18 Herder, Ursachen des gesunknen Geschmacks bei den verschiednen Völkern (Berlin, 1775), p. 46.
19 Victor Hugo, Théâtre (Paris, 1880), I, p. 43-44.
20 Philippe van Tieghem, Les grandes doctrines littéraires en France, (Paris, 1965), p. 34-35.
21 René Bray, op. cit., p. 107.
22 Alexander Gerard, An Essay on Taste (Edinburgh, 1764), p. 128; Marmontel, Essai sur le goût (Œuvres complètes, Paris, 1787, IV, pp. 352, 356, 433 and 436); d'Argens, Lettres juives, 1737 (Werner Krauss-Hans Kortum, op. cit. pp. 238, 244).
23 Madame de Staël, De la littérature, II, chap. II (Paris, 1959), II, p. 296.
24 Gillo Dorfles, Le oscillazioni del gusto (Milan, 1966), p. 45.
25 Roger Lathuillère, La Préciosité (Geneva, 1966), I, pp. 148-149, p. 611.
26 François Ogier, Préface to Tyr et Sidon by Jean de Schelandre, 1628 (Roger Fayolle, La critique, Paris, 1964, p. 196-197).
27 Hubert Gillot, op. cit., pp. 36, 86, 131, 212-213; Rene Bray, op. cit., pp. 58 and 320.
28 Ibid., op. cit., pp. 108, 260-264, 433-437; Roger Lathuillère, op. cit., I,e p. 585; Francisque Vial-Louis Denise, Idées et doctrines littéraires du XVIII siècle (Paris, 1926), pp. 10-12; Giovanni Getto, La Storia letteraria (Tecnica e teoria letteraria) Milan, 1951, II, p. 163.
29 Werner Krauss, Ueber der Anteil der Buchgeschichte an der literarischen Entfaltung der Aufklärung (Studien zur deutschen und französischen Aufklärung) Berlin, 1963, pp. 87-96, 147-155.
30 Du Bos, Réflexions critiques sur la poésie et sur la peinture (Paris, 1770), II, p. 134; Werner Krauss-Hans Kortum, op. cit., p. 220, 295; Marmontel, op. cit., pp. 362, 368 and 389.
31 Marivaux, Le Miroir, 1755 (Francisque Vial-Louis Denise, op. cit., p. 68); Turgot, Second Discours sur les progrès successifs de l'esprit humain, 1750 (Œuvres, Paris, 1844, II, p. 605-606).
32 La Motte, Discours sur Homère, 1714; Abbé de Pons, Lettre sur "l'Iliade" de la Motte, 1714; Abbé Terrasson, Dissertation critique sur l'Iliade, 1715 (Francisque Vial-Louis Denise, op. cit., pp. 6-7, 16-17, 32-34).
33 Hubert Gillot, op. cit., pp. 501-503, 534-535.
34 John Dryden, An Essay of dramatic poesy, 1668 (Allen H. Gilbert, Literary Criticism, Plato to Dryden, Detroit, 1962, pp. 601-602).
35 Comte de Lautréamont, Œuvres Complètes, (Paris, 1969). p. 384.
36 Oscar Wilde, The Works (London, Collins) pp. 291, 293, 322 and 345.