Three Philosophical Poets - George Santayana (e manga reader .txt) 📗

words. Their earthly passion is dead; but their souls are united in death and in immortality.

In this drama we see magic checkmated by miracles, doubt yielding to faith, purity resisting temptation, passion transformed into zeal, and all the glories of the world collapsing before disillusion and asceticism. These glories are nothing, the poet tells us, but dust, ashes, smoke, and air.

The contrast with Goethe's Faust could not be more complete. Both poets take the greatest liberties with their chronology, yet the spirit of their dramas is remarkably true to the respective ages in which they are supposed to occur. Calderon glorifies the movement from paganism to Christianity. The philosophy in which that movement culminated—Catholic orthodoxy—still dominates the poet's mind, not in a perfunctory way, but so as to kindle his imagination, and render his personages sublime and his verses rapturous. Goethe's Faust, on the contrary, glorifies the return from Christianity to paganism. It shows the spirit of the Renaissance liberating the soul, and bursting the bonds of traditional faith and traditional morals. This spirit, after manifesting itself brilliantly at the time of the historical Faust, had seemed to be smothered in the great world during the seventeenth century. Men's characters and laws had reaffirmed their old allegiance to Christianity, and the Renaissance survived only abstractly, in scholarship or the fine arts, to which it continued to lend a certain classic or pseudo-classic elegance. In Goethe's time, however, a second Renaissance was taking place in the souls of men. The love of life, primal and adventurous, was gathering head in many an individual. In the romantic movement and in the French Revolution, this love of life freed itself from the politic compromises and conventions that had been stifling it for two hundred years. Goethe's hero embodies this second, romantic emancipation of the mind, too long an unwilling pupil of Christian tradition. He cries for air, for nature, for all experience. Cyprian, on the other hand, an unwilling pupil of paganism, had yearned for truth, for solitude, and for heaven.

Such was the legend that, to the great good fortune of mankind, fascinated the young Goethe, and took root in his fancy. Around it gathered the experiences and insights of sixty well-filled years: Faust became the poetical autobiography and the philosophic testament of Goethe. He stuffed it with every enthusiasm that diversified his own life, from the great alternative of romantic or classical art, down to the controversy between Neptunism and Vulcanism in geology, and to his fatherly admiration for Lord Byron. Yet in spite of the liberties he took with the legend, and the personal turn he gave it, nothing in its historical associations escaped him. His life in Frankfort and in Strassburg had made the mediaeval scene familiar to his fancy; Herder had communicated to him an imaginative cult for all that was national and characteristic in art and manners; the spell of Gothic architecture had fallen on him; and he had learned to feel in Shakespeare the infinite strength of suggestion in details, in multitudinous glimpses, in lifelike medleys of sadness and mirth, in a humble realism in externals, amid lyric and metaphysical outpourings of the passions. The sense for classic beauty which had inspired Marlowe with immortal lines, and was later to inspire his own Helena, was as yet dormant; but instead he had caught the humanitarian craze, then prevalent, for defending and idealizing the victims of law and society, among others, the poor girl who, to escape disgrace, did away with her new-born child. Such a victim of a selfish seducer and a Pharisaical public was to add a desirable touch of femininity and pathos to the story of Faust: Gretchen was to take the place, at least for the nonce, of the coveted Helen.

This Gretchen was to be no common creature, but one endowed with all the innocence, sweetness, intelligence, fire, and fortitude which Goethe was finding, or thought he was finding, in his own Gretchens, Kätchens, and Frederickes. For the young Goethe, though very learned, was no mere student of books; to his human competence and power to succeed, he joined the gusts of feeling, the irresponsible raptures, the sudden sorrows, of a genuine poet. He was a true lover, and a wayward one. He could delve into magic with awe, in a Faust-like spirit of adventure; he could burn offerings in his attic to the rising sun; he could plunge into Christian mysticism; and there could well up, on occasion, from the deep store of his unconscious mind, floods of words, of images, and of tears. He was a genius, if ever there was one; and this genius, in all its freshness, was poured into the composition of Faust,—the most kindred of themes, the most picturesque and magical of romances.

In Goethe's first version of the poem, before the story of Gretchen, we find the studious Faust, as in Marlowe, soliloquizing on the vanity of the sciences. They grasp nothing of the genuine truth; they are verbal shams. They have not even brought Faust fame or riches. Perhaps magic might do better. The air was full of spirits; could they be summoned to our aid, possibly the secrets of nature might be unlocked. We might reach true science, and through it undreamt-of power over the material world. For Nature, according to Goethe, really has secrets. She is not all open to eventual inspection; she is no mere mechanism of minute parts and statable laws. Our last view of her, like our first glimpse, must be interpreted; from the sum of her manifestations we must divine her soul. Therefore only a poetic and rhetorical art, like magic, has any chance of unveiling her, and of bringing us face to face with the truth.

In this invocation of spirits, as Goethe's Faust makes it, there is no question of selling, or even of risking, the soul. This Faust, unlike Marlowe's, has no faith and no fear. From the point of view of the church he is damned already as an unbeliever; but, as an unbeliever, he is looking for salvation in another quarter. Like the bolder spirits of the Renaissance, he is hoping to find in universal nature, infinite, placid, non-censorious, an escape from the prison-house of Christian doctrine and Christian law. His magic arts are the sacrament that will initiate him into his new religion, the religion of nature. He turns to nature also in another sense, more characteristic of the age of Goethe than of that of Faust. He longs for grandiose solitudes. He feels that moonlight, caves, mountains, driving clouds, would be his best medicine and his best counsellors. The souls of Rousseau, Byron, and Shelley are pre-incarnate in this Faust, the epitome of all romantic rebellions. They coexist there with the souls of Paracelsus and Giordano Bruno. The wild aspects of nature, he thinks, will melt and renew his heart, while magic reveals the mysteries of cosmic law and helps him to exploit them.

Full of these hopes, Faust opens his book of magic at the sign of the Macrocosm: it shows him the mechanism of the world, all forces and events playing into one another and forming an infinite chain. The spectacle entrances him; he seems to have attained one of his dearest ambitions. But here he comes at once upon the other half, or, as Hegel would call it, the other moment, of the romantic life. Every romantic ideal, once realized, disenchants. No matter what we attain, our dissatisfaction must be perpetual. Thus the vision of the universe, which Faust now has before him, is, he remembers, only a vision; it is a theory or conception.[3] It is not a rendering of the inner life of the world as Shakespeare, for instance, feels and renders it. Experience; as it comes to him who lives and works, is not given by that theoretical vision; in science experience is turned into so many reviewed events, the passage of so much substance through so many forms. But Faust does not want an image or description of reality; he yearns to enact and to become the reality itself.

In this new search, he fixes his eye on the sign of the Earth-Spirit, which seems more propitious to his present wish. This sign is the key to all experience. All experience tempts Faust; he shrinks from nothing that any mortal may have endured; he is ready to undertake everything that any mortal may have done. In all men he would live; and with the last man he will be content to die.[4] So mighty is his yearning for experience that the Earth-Spirit is softened and appears at his bidding. In a red flame he sees its monstrous visage, and his enthusiasm is turned to horror. Outspread before him is the furious, indiscriminate cataract of life, the merciless flux, the infinite variety, the absolute inconstancy of it. This general life is not for any individual to rehearse; it I bursts all bounds of personality. Each man may assimilate that part only which falls within his understanding, only that aspect which things wear from his particular angle, and to his particular interests. Du gleichst, the Earth-Spirit cries to him,—du gleichst dem Geist den du begreifst, nicht mir.

This saying—that the life possible and good for man is the life of reason, not the life of nature—is a hard one to the romantic, unintellectual, insatiable Faust. He thinks, like many another philosopher of feeling, that since his is a part of the sum of experience, the whole of experience should be akin to his. But in fact the opposite is far nearer the truth. Man is constituted by his limitations, by his station contrasted with all other stations, and his purposes chosen from amongst all other purposes. Any great scope he can attain must be due to his powers of representation. His understanding may render him universal; his life never can. Faust, as he hears this sentence from the departing Earth-Spirit, collapses under it. He feels impotent to gainsay what the tumult of the world is thundering at him, but he will not accept on authority so unwelcome and chastening a truth. All his long experience to come will scarcely suffice to convince him of it.

These are the chief philosophical ideas that appear in the two earlier versions of Goethe's Faust,—the Urfaust and the Fragment. What Mephistopheles says to the young student is only a clever expansion of what Faust had said in his first monologue about the vanity of science and of the learned professions. Mephistopheles, too, finds theory ashen, and the tree of life green and full of golden fruit; only, having more experience than Faust of the second disenchanting moment in the romantic dialectic, he foresees that this golden fruit also will turn to ashes in the mouth, as it did in the garden of Eden. Science is folly, but life is no better; for after all is not science a part of life?

When we turn to the first part in its final shape, or to the entire drama, we find many changes and additions that seem to transform the romantic picture of the opening scene, and to offer us a rounded philosophy. The changes, however, are more in expression than in ultimate substance, and the additions are chiefly new illustrations of the ancient theme. Critics who study the Entstehungsgeschichte of works of art help us to analyze them more intelligently and reproduce more accurately what, at various times, may have been the intention of their authors. Yet these bits of information would be dearly bought if we were distracted by them from what gives poetic value and individual character to the result—its total idiosyncrasy, its place in the moral world. The place in the moral world of Goethe's Faust as a whole is just the place which the opening scene gave it in the beginning. It fills more space, it touches more historical and poetic matters; but its centre is