European History of Decadence (Bourgeois Era)

Author: Edward Fox
Publisher:
Publish Date: 2000-10-01
Features: The ideal of physical beauty for the bourgeoisie was not created by the French Revolution or by the painter Jacques-Louis David, but had already formed in Britain, with its main characteristics maturing in France. However, some of its prominent features and lines were indeed achieved during the French Revolutionary era, precisely because the French Revolution quickly took the stance of opposing the past—absolutist monarchy—that it had helped to end. The final form of the bourgeoisie's ideal of beauty was entirely opposite to that of the absolutist monarchy. Its sharp opposition to the latter was similar to the opposition between the ideal of beauty during the Renaissance and that of the Middle Ages. This is because the dynamic historical tool of humanity now faced new goals and had to play a different role in life. Since the ideal of beauty in every new era has always been determined by the interests of the politically dominant, or at least influential class, during the absolutist monarchy, idleness and indolence were considered beautiful. Conversely, if a person's appearance always reminded one of frequent labor or was convenient for labor, it was deemed unattractive. This ideal of beauty as a parasite, an ideal of idleness, was once revered as the ideal of human beauty and was most accurately and elaborately expressed during the reign of Louis XV, reaching its zenith during the Rococo period. However, during this period, signs of change had already emerged, as a new era was brewing. The factory-based industry accelerated the process of capitalization, transforming the entire social mechanism, while bourgeois thought spread. Consequently, the ideal of beauty during the Rococo period underwent a change, turning into its absolute opposite before the revolution began. This stark opposition, of course, aligned with the completely transformed social needs. History has posed the most complex and most challenging tasks to the bourgeoisie seeking dominance in all fields. Various human relationships must be readjusted. The best person to solve these problems arising in the historical context is one who possesses both wisdom and perseverance—or, to be more precise, only such a person can solve these problems. Therefore, the highest demand of the era is to combine these two qualities in one person, and to ensure that as many people as possible possess them, because solving the tasks of the era requires the cooperation of everyone. Thus, the era proclaimed the following physical features as ideal: clear and vibrant eyes, a dignified and upright posture, strong and forceful gestures, a confident tone, hands that not only seize but also firmly grasp opportunities, and feet that are firm and steady. These are the external characteristics of a human machine now meticulously assembled and filled with strong perseverance. Moreover, while these qualities are primarily expected of men, they should also be possessed to some extent by women. The new ideal of beauty also includes another important component—inner beauty. No longer content with merely the pleasures of a parasitic life, but aspiring to higher life purposes and recognizing that humanity's highest ideal lies not in the past but in the future—these all require certain