The Illusion of Madame Récamier (Adam Sandonato, July 21st, 2026, Imaginative Conservative)
In other words, during the course of the Enlightenment, man truly became the measure of all things. By being reduced to his mere physicality, he became both an object of social control through seemingly innocuous behavioral standards—such as we find in Chesterfield—and an object open to radical distortion and experimentation—such as we find in Sade and Shelley. In the quest to rationalize the body, and therefore separate it from its metaphysical dimension, eighteenth-century society did not eliminate the darker impulses, the passions, and the brokenness inherent in man’s fallen state. Instead, it pushed them to the fringes, consigned to the sick imaginings of Sade’s Juliette and of Dr. Frankenstein’s monster.
Here we arrive at the chief issue with the Enlightenment: the idea that the persistent application of reason can cure all of the ills of mankind. In Földényi’s words,
The belief in the omnipotence of reason that illuminates all phenomena—similar to the sun—is the great inheritance of the Enlightenment. Thinking, of course, ever since humans have existed, has always tried to disperse the darkness. Earlier individuals did not cherish the illusion that here on earth they would be able to liquidate every shadow and every darkness. During the Enlightenment, however, the conviction that only time and intellectual preparation were required in order to eventually cast light upon all things—with no dark corners remaining anywhere unilluminated by the light of reason—became resolute.[11]
As a critic and philosopher of art, Földényi is preoccupied with the “duality” between light and darkness, much like a composer is fundamentally concerned with the relationship between tension and release. What Földényi sees in the Enlightenment is man’s attempt to assert his autonomy over light and darkness, with the express purpose of eliminating the latter through the use of rational control.
