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1 " While I have the floor, here's a question that's been bothering me for some time. Why do so few writers of heroic or epic fantasy ever deal with the fundamental quandary of their novels . . . that so many of them take place in cultures that are rigid, hierarchical, stratified, and in essence oppressive? What is so appealing about feudalism, that so many free citizens of an educated commonwealth like ours love reading about and picturing life under hereditary lords?, such as flush toilets, movable type, or electricity for every home in the kingdom? Given half a chance, the sons and daughters of peasants would rather not grow up to be servants. It seems bizarre for modern folk to pine for a way of life our ancestors rightfully fought desperately to escape. "
2 " While I have the floor, here's a question that's been bothering me for some time. Why do so few writers of heroic or epic fantasy ever deal with the fundamental quandary of their novels . . . that so many of them take place in cultures that are rigid, hierarchical, stratified, and in essence oppressive? What is so appealing about feudalism, that so many free citizens of an educated commonwealth like ours love reading about and picturing life under hereditary "
3 " There are some people about whom it is difficult to say anything which would describe them immediately and fully in their most typical and characteristic aspects; these are the people who are usually called " ordinary" and accounted as " the majority," and who actually do make up the great majority of society. In their novels and stories writers most often try to choose and present vividly and artistically social types which are extremely seldom encountered in real life, and which are nevertheless more real than real life itself. Podkolyosin, viewed as a type, in perhaps exaggerated, but he is hardly unknown. How many clever people having learned from Gogol about Podkolyosin at once discover that great numbers of their friends bear a terrific resemblance to Podkolyosin. They knew before Gogol that their friends were like Podkolyosin, except they did not know yet that that was their name...Nevertheless the question remains before us: what is the novelist to do with the absolutely " ordinary" people, and how can he present them to readers so that they are at all interesting? To leave them out of a story completely is not possible, because ordinary people are at every moment, by and large, the necessary links in the chain of human affairs; leaving them out, therefore, means to destroy credibility. To fill a novel entirely with types or, simply for the sake of interest, strange and unheard-of people, would be improbable and most likely not even interesting. In our opinion the writer must try to find interesting and informative touches even among commonplace people. When, for example, the very nature of certain ordinary persons consists precisely of their perpetual and unvarying ordinariness, or, better still, when in spite of their most strenuous efforts to life themselves out of the rut of ordinariness and routine, then such persons acquire a certain character of their own-the typical character of mediocrity which refuses to remain what it is and desires at all costs to become original and independent, without having the slightest capacity for independence. "
4 " Darwin and Nietzsche were the common spiritual and intellectual source for the mean-spirited and bellicose ideological assault on progress, liberalism, and democracy that fired the late-nineteenth-century campaign to preserve or rejuvenate the traditional order. Presensitized for this retreat from modernity, prominent fin-de-siècle aesthetes, engages literati, polemical publicists, academic sociologists, and last but not least, conservative and reactionary politicians became both consumers and disseminators of the untried action-ideas.Oscar Wilde and Stefan George were perhaps most representative of the aristocratizing aesthetes whose rush into dandyism or retreat into cultural monasticism was part of the outburst against bourgeois philistinism and social levelling. Their yearning for a return to an aristocratic past and their aversion to the invasive democracy of their day were shared by Thomas Mann and Hugo von Hofmannsthal, whose nostalgia for the presumably superior sensibilities of a bygone cultivated society was part of their claim to privileged social space and position in the present. Although they were all of burgher or bourgeois descent, they extolled ultra-patrician values and poses, thereby reflecting and advancing the rediscovery and reaffirmation of the merits and necessities of elitism. Theirs was not simply an aesthetic and unpolitical posture precisely because they knowingly contributed to the exaltation of societal hierarchy at a time when this exaltation was being used to do battle against both liberty and equality. At any rate, they may be said to have condoned this partisan attack by not explicitly distancing themselves from it.Maurice Barrès, Paul Bourget, and Gabriele D'Annunzio were not nearly so self-effacing. They were not only conspicuous and active militants of antidemocratic elitism, but they meant their literary works to convert the reader to their strident persuasion. Their polemical statements and their novels promoted the cult of the superior self and nation, in which the Church performed the holy sacraments. Barrès, Bourget, and D'Annunzio were purposeful practitioners of the irruptive politics of nostalgia that called for the restoration of enlightened absolutism, hierarchical society. and elite culture in the energizing fires of war. "
