We cannot be too energetic in reminding our nihilists and positivists that this is a world of action and history. - Richard M. Weaver

In his effort toward revivification of this sense [the sense for great art], the modern artist has not infrequently retired into himself; he has accepted isolation or even alienation. … Sometimes the good has to go underground. … The “revolutionary” artist … has had the aim of saving himself from the surrounding forces of sentimentality and vulgarity. … It is impossible to make a deal with these forces, and we should not be surprised if in striking back the artist has done so in ways even intended to be offensive. He has sometimes shown defiance and contempt toward those who would deny his level of seriousness.

The member of a culture … purposely avoids the relationship of intimacy; he wants the object somehow depicted and fictionalized. … He is embarrassed when this is taken out of its context of proper sentiments and presented bare, for he feels that this is a reintrusion of that world which his whole conscious effort has sought to banish. Forms and conventions are the ladder of ascent. And hence the speechlessness of the man of culture when he beholds the barbarian tearing aside some veil which is half adornment, half concealment.

Before the age of adulteration it was held that behind each work there stood some conception of its perfect execution. It was this that gave zest to labor and served to measure the degree of success. To the extent that the concept obtained, there was a teleology in work, since the laborer toiled not merely to win sustenance but to see this ideal embodied in his creation. Pride in craftsmanship is well explained by saying that to labor is to pray, for conscientious effort to realize an ideal is a kind of fidelity. The craftsman of old time did not hurry, because the perfect takes no account of time and shoddy work is a reproach to character. But character itself is an expression of self-control, which does not come of taking the easiest way. Where character forbids self-indulgence, transcendence still hovers around. When utilitarianism becomes enthroned and the worker is taught that work is use and not worship, interest in quality begins to decline. … There is a difference between expressing one’s self in form and producing quantity for a market with an eye to speculation. Péguy wished to know what had become of the honor of work. It has succumbed to the same forces as have all other expressions of honor.