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K'tagogm-m, v. 1, issue 3, September 1945
Page 12
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K'taogm-m 12 chord, heightened emotion, a communication swifter and more illuminating than ordinary prose. But poetry like X's is the ultimate ruin of poetic reason, the final suicidal triumph of an arrogance that scorns potential readers, challenging them to understand his elliptical style, his obscure symbols, his rampant and perverse determination to write for the private pleasure of himself, his friends and the spirit of James Joyce. No matter how great the intellectual effort, how absolute the concentration you bring to much of this poem, you still can't tell what all the shootin's for. This is obviously learned stuff, but learned nonsense." ******************* INDIVIDUAL TALENTS AND THE DEVELOPMENT OF ART A Quote It has long been observed that great talents appear everywhere, whenever the social conditions favorable to their development exist. This means that every man of talent who actually appears, every man of talent who becomes a social force, is the product of social relations. Since this is the case, it is clear why talented people can, as we have said, change only individual features of events, but not their general trend; they are themselves the product of this trend; were it not for that trend they would never have crossed the threshold that divided the potential from the real. It goes without saying that there is talent and talent. "When a fresh step in the development of civilization calls into being a new form of art," rightly says Taine, "scores of talents which only half express social thought appear around one or two geniuses who express it perfectly." If owing to certain mechanical or physiological causes unconnected with the general course of the social-political and intellectual development of Italy, Raphael, Michelangelo and Leonardo daVinci had died in their infancy, Italian art would have been less perfect, but the general trend of its development in the period of the Renaissance would have remained the same..... It is well known, however, that quantitative differences ultimately pass into qualitative ones. This is true everywhere, and is therefore true in history. A given trend in art may remain without any remarkable expressive if an unfavorable combination of circumstances carries away, one after the other, several talented people who might have given it expression. But the premature death of such talented people can prevent the artistic expression of this trend only if it is too shallow to produce new talent. As, however, the depth of any given trend in literature and art is determined by its importance for the class, or stratum, whose tastes it expresses, and by the social role played by that class or stratum, here,too, in the last analysis, everything depends upon the course of social development and on the relation of social forces. The Role of the Individual in History by George Plekhanov
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K'taogm-m 12 chord, heightened emotion, a communication swifter and more illuminating than ordinary prose. But poetry like X's is the ultimate ruin of poetic reason, the final suicidal triumph of an arrogance that scorns potential readers, challenging them to understand his elliptical style, his obscure symbols, his rampant and perverse determination to write for the private pleasure of himself, his friends and the spirit of James Joyce. No matter how great the intellectual effort, how absolute the concentration you bring to much of this poem, you still can't tell what all the shootin's for. This is obviously learned stuff, but learned nonsense." ******************* INDIVIDUAL TALENTS AND THE DEVELOPMENT OF ART A Quote It has long been observed that great talents appear everywhere, whenever the social conditions favorable to their development exist. This means that every man of talent who actually appears, every man of talent who becomes a social force, is the product of social relations. Since this is the case, it is clear why talented people can, as we have said, change only individual features of events, but not their general trend; they are themselves the product of this trend; were it not for that trend they would never have crossed the threshold that divided the potential from the real. It goes without saying that there is talent and talent. "When a fresh step in the development of civilization calls into being a new form of art," rightly says Taine, "scores of talents which only half express social thought appear around one or two geniuses who express it perfectly." If owing to certain mechanical or physiological causes unconnected with the general course of the social-political and intellectual development of Italy, Raphael, Michelangelo and Leonardo daVinci had died in their infancy, Italian art would have been less perfect, but the general trend of its development in the period of the Renaissance would have remained the same..... It is well known, however, that quantitative differences ultimately pass into qualitative ones. This is true everywhere, and is therefore true in history. A given trend in art may remain without any remarkable expressive if an unfavorable combination of circumstances carries away, one after the other, several talented people who might have given it expression. But the premature death of such talented people can prevent the artistic expression of this trend only if it is too shallow to produce new talent. As, however, the depth of any given trend in literature and art is determined by its importance for the class, or stratum, whose tastes it expresses, and by the social role played by that class or stratum, here,too, in the last analysis, everything depends upon the course of social development and on the relation of social forces. The Role of the Individual in History by George Plekhanov
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