ABSTRACT
Chapel of the Planets without acceptable, that is to say, without seemingly objective or rationalized, projection. Analogy to human response has less and less relevance in the world of modern science, and in the environment it creates. We employ so many forces that seem in no sense a projection of ourselves. This environment causes the emotional change which profoundly separates us, not from this or that, but from all the centuries together: or so it seems if we overlook the fact that this change has developed slowly all the time from the Renaissance: as early as 1770, it is already near to being apprehended. England was the first country to enter the Industrial Age. At the same time the Romantic poets arose. It was in England that the first conscious protest was made to preserve what was already the old sense of ritual; that the first nostalgia for an emblematic (human-analogy) environment appeared. We laugh at the Neo-gothic: all its later stages were so false. We laugh at pre-Raphaelitism and whatever corresponds to it to-day. Still, the question remains: how to interpret modern environment and condition as the rationalized projection of ourselves. For all poetry, all art, all culture, are projections of egocentric attitude. Civilization is harnessed passion, and culture has been the recompense and the mode for sublimated desire. Whereas civilization has needed to develop the conception of scientific necessity, culture has extracted poetry from the very fact itself of 'pure' thought. Science, we now find, can be too pure for culture. Perhaps we belong to the past, just because all our possible values are weakening: perhaps art and other reputable projections of fantasy will no longer satisfy:
