It is amusing to imagine how the old and very rigorous scholars of the eighteenth and nineteenth centuries would react if they knew that poetry would soon come to light, under never-before-heard applause, whose recipe boils down to saying foolish things in verses with no meter, no rhythm, no punctuation and no capitalization. And imagine them comparing the much-criticized romantic insubmissions with this! But what is most curious, and perhaps too patent to be ignored, is that the phenomenon has not been limited to poetry, but has also encompassed music and, even more scandalously, the plastic arts. The common man has imposed himself and his preferences, abilities and worldview on all spheres. He has claimed all the means for himself, appropriated the best position in all functions. Finally, the revenge after so many centuries of oppression!