Decadence

Decadence is a popular criticism of the culture of the later Roman Empire's elites, seen also in much of its earlier historiography and 19th and early 20th century art depicting Roman life. This criticism describes the later Roman Empire as reveling in luxury, in its extreme characterized by corrupting "extravagance, weakness, and sexual deviance", as well as "orgies and sensual excesses".[6][7][8][9][10]

Pornocrates by Félicien Rops (1878)

Decadence was the name given to a number of late nineteenth-century writers who valued artifice over the earlier Romantics' naïve view of nature. Some of them triumphantly adopted the name, referring to themselves as Decadents. For the most part, they were influenced by the tradition of the Gothic novel and by the poetry and fiction of Edgar Allan Poe, and were associated with Symbolism and/or Aestheticism.

This concept of decadence dates from the eighteenth century, especially from Montesquieu and Wilmot.[11] It was taken up by critics as a term of abuse after Désiré Nisard used it against Victor Hugo and Romanticism in general. A later generation of Romantics, such as Théophile Gautier and Charles Baudelaire took the word as a badge of pride, as a sign of their rejection of what they saw as banal "progress." In the 1880s, a group of French writers referred to themselves as Decadents. The classic novel from this group is Joris-Karl Huysmans' Against Nature, often seen as the first great decadent work, though others attribute this honor to Baudelaire's works.

In Britain and Ireland the leading figure associated with the Decadent movement was Irish writer, Oscar Wilde. Other significant figures include Arthur Symons, Aubrey Beardsley and Ernest Dowson.

The Symbolist movement has frequently been confused with the Decadent movement. Several young writers were derisively referred to in the press as "decadent" in the mid-1880s. Jean Moréas' manifesto was largely a response to this polemic. A few of these writers embraced the term while most avoided it. Although the aesthetics of Symbolism and Decadence can be seen as overlapping in some areas, the two remain distinct.

This "fertile culture" of Berlin extended onwards until Adolf Hitler rose to power in early 1933 and stamped out any and all resistance to the Nazi Party. Likewise, the German far-right decried Berlin as a haven of degeneracy. A new culture had developed in and around Berlin throughout the previous decade, including architecture and design (Bauhaus, 1919–33), a variety of literature (Döblin, Berlin Alexanderplatz, 1929), film (Lang, Metropolis, 1927, Dietrich, Der blaue Engel, 1930), painting (Grosz), and music (Brecht and Weill, The Threepenny Opera, 1928), criticism (Benjamin), philosophy/psychology (Jung), and fashion. This culture was considered decadent and disruptive by rightists.[12]

Film was making huge technical and artistic strides during this period of time in Berlin, and gave rise to the influential movement called German Expressionism. "Talkies", the Sound films, were also becoming more popular with the general public across Europe, and Berlin was producing very many of them.

Berlin in the 1920s also proved to be a haven for English-language writers such as W. H. Auden, Stephen Spender and Christopher Isherwood, who wrote a series of 'Berlin novels', inspiring the play I Am a Camera, which was later adapted into a musical, Cabaret, and an Academy Award winning film of the same name. Spender's semi-autobiographical novel The Temple evokes the attitude and atmosphere of the place at the time.

Jacques Barzun, author of From Dawn to Decadence

The historian Jacques Barzun (1907-2012) gives a definition of decadence which is independent from moral judgement. In his bestseller From Dawn to Decadence: 500 Years of Western Cultural Life[13] (published 2000) he describes decadent eras as times when "the forms of art as of life seem exhausted, the stages of development have been run through. Institutions function painfully." He emphasizes that "decadent" in his view is "not a slur" but "a technical label".

With reference to Barzun, New York Times columnist Ross Douthat characterises decadence as a state of "economic stagnation, institutional decay and cultural and intellectual exhaustion at a high level of material prosperity and technological development".[14] Douthat sees the West in the 21st century in an "age of decadence", marked by stalemate and stagnation. He is the author of the book The Decadent Society, published by Simon & Schuster in 2020. According to the news website Vox, "Douthat’s definition of a 'decadent society' is that we’re trapped in a stale system that keeps spinning in place, reproducing the same arguments and frustrations over and over again."[15]

Pria Viswalingam, an Australian documentary and film maker, sees the western world in decay since the late 1960s. Viswalingam is the author of the six-episode documentary TV series Decadence: The Meaninglessness of Modern Life, broadcast in 2006 and 2007, and the 2011 documentary film Decadence: The Decline of the Western World.

According to Viswalingam, western culture started in 1215 with the Magna Carta, continued to the Renaissance, the Reformation, the founding of America, the Enlightenment and culminated with the social revolutions of the 1960s.[16]

Since 1969, the year of the Moon landing, the My Lai massacre, the Woodstock Festival and the Altamont Free Concert, "decadence depicts the west's decline". As symptoms he names increasing suicide rates, addiction to anti-depressants, exaggerated individualism, broken families and a loss of religious faith as well as "treadmill consumption, growing income-disparity, b-grade leadership", and money as the only benchmark for value.

According to Vladimir Lenin, capitalism had reached its highest stage and could no longer provide for the general development of society. He expected reduced vigor in economic activity and a growth in unhealthy economic phenomena, reflecting capitalism's gradually decreasing capacity to provide for social needs and preparing the ground for socialist revolution in the West. Politically, World War I proved the decadent nature of the advanced capitalist countries to Lenin, that capitalism had reached the stage where it would destroy its own prior achievements more than it would advance.[17]

One who directly opposed the idea of decadence as expressed by Lenin was José Ortega y Gasset in The Revolt of the Masses (1930). He argued that the "mass man" had the notion of material progress and scientific advance deeply inculcated to the extent that it was an expectation. He also argued that contemporary progress was opposite the true decadence of the Roman Empire.[18]

Decadence is an important aspect of contemporary left communist theory. Similar to Lenin's use of it, left communists, coming from the Communist International themselves started in fact with a theory of decadence in the first place, yet the communist left sees the theory of decadence at the heart of Marx's method as well, expressed in famous works such as The Communist Manifesto, Grundrisse, Das Kapital but most significantly in Preface to the Critique of Political Economy.[19]

Contemporary left communist theory defends that Lenin was mistaken on his definition of imperialism (although how grave his mistake was and how much of his work on imperialism is valid varies from groups to groups) and Rosa Luxemburg to be basically correct on this question, thus accepting capitalism as a world epoch similarly to Lenin, but a world epoch from which no capitalist state can oppose or avoid being a part of. On the other hand, the theoretical framework of capitalism's decadence varies between different groups while left communist organizations like the International Communist Current hold a basically Luxemburgist analysis that makes an emphasis on the world market and its expansion, others hold views more in line with those of Vladimir Lenin, Nikolai Bukharin and most importantly Henryk Grossman and Paul Mattick with an emphasis on monopolies and the falling rate of profit.