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

Undoubtedly, the universe so displayed would not be without its dark shadows and its perpetual tragedies. That is in the nature of things. Dante's cosmos, for all its mythical idealism, was not so false as not to have a hell in it. Those rolling spheres, with all their lights and music, circled for ever about hell. Perhaps in the real life of nature evil may not prove to be so central as that. It would seem to be rather a sort of inevitable but incidental friction, capable of being diminished indefinitely, as the world is better known and the will is better educated. In Dante's spheres there could be no discord whatever; but at the core of them was eternal woe. In the star-dust of our physics discords are everywhere, and harmony is only tentative and approximate, as it is in the best earthly life; but at the core there is nothing sinister, only freedom, innocence, inexhaustible possibilities of all sorts of happiness. These possibilities may tempt future poets to describe them; but meantime, if we wish to have a vision of nature not fundamentally false, we must revert from Dante to Lucretius.

Obviously, what would be desirable, what would constitute a truly philosophical or comprehensive poet, would be the union of the insights and gifts which our three poets have possessed. This union is not impossible. The insights may be superposed one on the other. Experience in all its extent, what Goethe represents, should be at the foundation. But as the extent of experience is potentially infinite, as there are all sorts of worlds possible and all sorts of senses and habits of thought, the widest survey would still leave the poet, where Goethe leaves us, with a sense of an infinity beyond. He would be at liberty to summon from the limbo of potentiality any form that interested him; poetry and art would recover their early freedom; there would be no beauties forbidden and none prescribed. For it is a very liberating and sublime thing to summon up, like Faust, the image of all experience. Unless that has been done, we leave the enemy in our rear; whatever interpretations we offer for experience will become impertinent and worthless if the experience we work upon is no longer at hand. Nor will any construction, however broadly based, have an absolute authority; the indomitable freedom of life to be more, to be new, to be what it has not entered into the heart of man as yet to conceive, must always remain standing. With that freedom goes the modesty of reason, both in physics and in morals, that can lay claim only to partial knowledge, and to the ordering of a particular soul, or city, or civilization.

Poetry and philosophy, however, are civilized arts; they are proper to some particular genius, which has succeeded in flowering at a particular time and place. A poet who merely swam out into the sea of sensibility, and tried to picture all possible things, real or unreal, human or inhuman, would bring materials only to the workshop of art; he would not be an artist. To the genius of Goethe he must add that of Lucretius and Dante.

There are two directions in which it seems fitting that rational art should proceed, on the basis which a limited experience can give it. Art may come to buttress a particular form of life, or it may come to express it. All that we call industry, science, business, morality, buttresses our life; it informs us about our conditions and adjusts us to them; it equips us for life; it lays out the ground for the game we are to play. This preliminary labour, however, need not be servile. To do it is also to exercise our faculties; and in that exercise our faculties may grow free,—as the imagination of Lucretius, in tracing the course of the atoms, dances and soars most congenially. One extension of art, then, would be in the direction of doing artistically, joyfully, sympathetically, whatever we have to do. Literature in particular (which is involved in history, politics, science, affairs) might be throughout a work of art. It would become so not by being ornate, but by being appropriate; and the sense of a great precision and justness would come over us as we read or wrote. It would delight us; it would make us see how beautiful, how satisfying, is the art of being observant, economical, and sincere. The philosophical or comprehensive poet, like Homer, like Shakespeare, would be a poet of business. He would have a taste for the world in which he lived, and a clean view of it.

There remains a second form of rational art, that of expressing the ideal towards which we would move under these improved conditions. For as we react we manifest an inward principle, expressed in that reaction. We have a nature that selects its own direction, and the direction in which practical arts shall transform the world. The outer life is for the sake of the inner; discipline is for the sake of freedom, and conquest for the sake of self-possession. This inner life is wonderfully redundant; there is, namely, very much more in it than a consciousness of those acts by which the body adjusts itself to its surroundings. Am farbigen Abglanz haben wir das Leben; each sense has its arbitrary quality, each language its arbitrary euphony and prosody; every game has its creative laws, every soul its own tender reverberations and secret dreams. Life has a margin of play which might grow broader, if the sustaining nucleus were more firmly established in the world. To the art of working well a civilized race would add the art of playing well. To play with nature and make it decorative, to play with the overtones of life and make them delightful, is a sort of art. It is the ultimate, the most artistic sort of art, but it will never be practised successfully so long as the other sort of art is in a backward state; for if we do not know our environment, we shall mistake our dreams for a part of it, and so spoil our science by making it fantastic, and our dreams by making them obligatory. The art and the religion of the past, as we see conspicuously in Dante, have fallen into this error. To correct it would be to establish a new religion and a new art, based on moral liberty and on moral courage.

Who shall be the poet of this double insight? He has never existed, but he is needed nevertheless. It is time some genius should appear to reconstitute the shattered picture of the world. He should live in the continual presence of all experience, and respect it; he should at the same time understand nature, the ground of that experience; and he should also have a delicate sense for the ideal echoes of his own passions, and for all the colours of his possible happiness. All that can inspire a poet is contained in this task, and nothing less than this task would exhaust a poet's inspiration. We may hail this needed genius from afar. Like the poets in Dante's limbo, when Virgil returns among them, we may salute him, saying: Onorate l'altissimo poeta. Honour the most high poet, honour the highest possible poet. But this supreme poet is in limbo still.