Julius Evola

Publisher: Inner Traditions International (2003)

107-108

In fact, in the West there has been a collusion between individualism, subjectivism, and 'personality' that goes back to the Renaissance period and which developed in the light of that 'discovery of man' exalted by antitraditional historiography. Historians have carefully ignored, or considered as positive, the counterpart, that is, the more or less conscious and complete separation from transcendence. All the splendor and power of 'creativity' of that period should not blind us to this basic tendency. Schuon has clarified the true state of affairs regarding the artistic realm as follows: 'Speaking in human terms, certain Renaissance artists are without a doubt great, but their grandeur becomes insignificant when faced with the grandeur of the sacred. In the sacred, it is as if the genius is concealed; what predominates is an impersonal, vast, mysterious intelligence. The sacred work of art has a perfume of infinitude, the imprint of the absolute. The individual talent is there disciplined; it mingles with the creative function of the entire tradition, which cannot be substituted, much less surpassed by the mere resources of man.' One can say the same regarding self-affirmation on other levels of the 'personality' in that epoch: from the Machiavellian Prince type, with its more or less perfect historical incarnations, to the condottieri and demagogues and, in general, all those who received Nietzsche's approbation for their prodigious yet unformed accumulation of power. \n Later, the emphasis on the human and individual I, the basis of humanism, would survive only in the by-products of the nineteenth- century bourgeois cult of the I, associated with a certain aesthetic cult of heroes, geniuses, and 'nobility of spirit,' But to meet many of the current defenders of 'personality' one must descend yet another degree, to where all the vanity of the I predominates: its exhibitionism, worship of one's own ' interiority,' the craze of originality, the boastfulness of brilliant literati and ambitious belletrists. Even with regard to art alone, this 'personalism' almost always appears joined to an inner impoverishment. Lukacs, though generally opposed to our position, made this legitimate remark: 'The present-day practice of overestimating and exaggerating the importance of creative subjectivity actually betrays the weakness and poverty of the writers' individuality. They distinguish themselves merely by 'eccentricity,' either spontaneous or painstakingly cultivated; their worldview is at such a low level that any attempt they make to go beyond subjective immediacy threatens to leave their 'personality completely flat. The more that this is the case, the more weight is placed on pure, immediate subjectivity, which sometimes is in fact identified with literary talent,' The character of 'normative objectivity' that was proper to true, traditional art is altogether lacking. The category that Schuon has effectively characterized as 'intelligent stupidity' includes almost all the intellectual efforts in this area. But I will not dwell further on considerations at this level — I will return to the subject later — beyond pointing out that in contemporary celebrity worship we can see the popular, updated edition that takes the former 'cult of the personality' to ridiculous lengths.