From the heights of the VICTORIAN ERA to the hopelessly undefinable MODERN ERA; a lot hinged on that VIENNESE VICTORIAN Sigmund FREUD. I have found this scatological disaster best portrayed in the VIENNESE PAINTER who has been called the painter 'OF' FREUD' S "science of the mind". He is OSKAR KOKOSCHKA and he created the 'END of the WORLD EXPERIMENT'. FREUD thought of the 18th century philosophe' DENIS DIDEROT'S innermost comments, very highly! For what was DIDEROT'S entrailed lack of self autonomy was FREUD'S greatest conceit; DIDEROT looked at the most exquisite flower of love as merely growing from the soil of erotic urges.
How the MODERN world has "evolved" to the romantic relationship between a man and a woman...too bad DIDEROT was still in the Dark Ages on this matter, pure intellectuals..
FREUD also relished the lines from DIDEROT'S "Le neveu de Rameau" ... " If the little savage were left to himself keeping all his childish simplicity and joining the bit of rationality of the infant in the cradle to the violent passions of the man of thirty, he would strangle his father and sleep with his mother". How primitive FREUD could be. We find in DIDEROT'S 'Rameau', the triangle from the Greek Dramas as portrayed in it's simpiliest of diagrams of the Oedipal Complex, here. Not only DIDEROT but HUME, HOLBACH, and MONTESQUEAU all put the validity of Christian attitudes about love on trial; calling them depressing, mendacious, and hypocritical.
They questioned the practices like incest but thought also absurd the lifelong monogamy of social convention to "harness" human desires. HUME thought Christian asceticism absurd, as well. The ENLIGHTENMENT Thinkers would more often turn to a one-sided passion for their physiology. The ROMANTICS to follow looked at these ENLIGHTENMENT men as shallow : BLAKE, the SCHLEGEL brothers, and the ROMANTIC Thinkers in general saw those before them as reducing the most exhalted of emotions into a mere play of glands. Yet for their part, the ROMANTICS often found TRAGEDY. The novelties of the ENLIGHTENMENT did project profound rationales:
...yet also here the division between love and sex fell into bloom and the two will ever since be running a muck our concentrations on our INDIVIDUALITY. The 19th century will become a grand century for the debates of the significance of LOVE. The ROMANTICS reinvented or rediscovered LOVE as an ETERNAL EMOTION. Then, what will emerge as the central tenet of all branches of ROMANTICISM will be the creative energy of the IMAGINATION...
NOVALIS (the first POET of the ROMANTICS) wrote, "LOVE is the final purpose of world history - the amen of the universe". Schlegel said of LOVE, "The universe is and remains my watchword...do you really LOVE if you do not find the world in your beloved?". Environment - Atmosphere - as well as self conception and IDENTITY are the immediate rivals of LOVE'S realization.
NOVALIS further speculated that sensual ecstacy belongs to LOVE as sleep does to life, it is not the noblest part, and the robust person will always rather be awake than asleep. This celebration of experience and then experimentation; to not become bound to the first pangs of love, for life...here SHELLEY joins with DIDEROT in looking beyond and trusting in one's own eventual resolution.
In the greatest writer of the nineteenth century novel, DICKENS, woman are nearly all aspects in serene waiting. Except Bella Wilfur in "OUR MUTUAL FRIEND". The VIENNESE painter OSKAR KOKOSCHKA began his career depicting what would be dubbed "the End of the World Experiment" with an inclusive series of drawings "Variations On A Theme" of sketches of Kamilla Swoboda in 1921. These Variations had contemporary counter parts in the series of "Haystacks", Cathedral Facades, and "Poplar Trees" by MONET; and in the compositions of Max Dvorak.