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

see that it was its unprecedented ideality, disinterestedness, and aestheticism. To the Greek, in so far as he was a Greek, religion was an aspiration to grow like the gods by invoking their companionship, rehearsing their story, feeling vicariously the glow of their splendid prerogatives, and placing them, in the form of beautiful and very human statues, constantly before his eyes. This sympathetic interest in the immortals took the place, in the typical Greek mind, of any vivid hope of human immortality; perhaps it made such a hope seem superfluous and inappropriate. Mortality belonged to man, as immortality to the gods; and the one was the complement of the other. Imagine a poet who, to the freedom and simplicity of Homer, should have added the more reverent idealism of a later age; and what an inexhaustible fund of poetry might he not have found in this conception of the immortals leading a human life, without its sordid contrarieties and limitations, eternally young, and frank, and different!

Hints of such poetry are to be found in Plato, myths that present the ideal suggestions of human life in pictures. These he sometimes leaves general and pale, calling them ideas; but at other times he embodies them in deities, or in detailed imaginary constructions, like that of his Republic. This Platonic habit of mind might have been carried further by some franker and less reactionary poet than Plato was, or tended to become, as the years turned his wine into vinegar. But the whole world was then getting sour. Imagination flagged, or was diverted from the Greek into the Hebrew channel. Nevertheless, the hymns of modern poets to the ancient gods, and the irrepressible echoes of classic mythology in our literature, show how easy it would have been for the later ancients themselves, had they chosen, to make immortal poetry out of their dying superstitions. The denials of Epicurus do not exclude this ideal use of religion; on the contrary, by excluding all the other uses of it—the commercial, the mock-scientific, and the selfish—they leave the moral interpretative aspect of religion standing alone, ready to the poet's hand, if any poet could be found pure and fertile enough to catch and to render it. Rationalized paganism might have had its Dante, a Dante who should have been the pupil not of Virgil and Aquinas, but of Homer and Plato. Lucretius was too literal, positivistic, and insistent for such a delicate task. He was a Roman. Moral mythology and ideal piety, though his philosophy had room for them, formed no part of his poetry.

What the other neglected theme, friendship, might have supplied, we may see in the tone of another Epicurean, the poet Horace. Friendship was highly honoured in all ancient states; and the Epicurean philosophy, in banishing so many traditional forms of sentiment, could only intensify the emphasis on friendship. It taught men that they were an accident in the universe, comrades afloat on the same raft together with no fate not common to them all, and no possible helpers but one another. Lucretius does speak, in a passage to which I have already referred,[8] about the hope of sweet friendship that supports him in his labours; and elsewhere[9] he repeats the Epicurean idyl about picnicking together on the green grass by a flowing brook; but the little word "together" is all he vouchsafes us to mark what must be the chief ingredient in such rural happiness.

Horace, usually so much slighter than Lucretius, is less cursory here. Not only does he strike much oftener the note of friendship, but his whole mind and temper breathe of friendliness and expected agreement. There is, in the very charm and artifice of his lines, a sort of confidential joy in tasting with the kindred few the sweet or pungent savour of human things. To be brief and gently ironical is to assume mutual intelligence; and to assume mutual intelligence is to believe in friendship. In Lucretius, on the other hand, zeal is mightier than sympathy, and scorn mightier than humour. Perhaps it would be asking too much of his uncompromising fervour that he should have unbent now and then and shown us in some detail what those pleasures of life may be which are without care and fear. Yet, if it was impossible for him not to be always serious and austere, he might at least have noted the melancholy of friendship—for friendship, where nature has made minds isolated and bodies mortal, is rich also in melancholy. This again we may find in Horace, where once or twice he lets the "something bitter" bubble up from the heart even of this flower, when he feels a vague need that survives satiety, and yearns perversely for the impossible.[10] Poor Epicureans, when they could not learn, like their master, to be saints!

So far the decadent materialism of Epicurus might have carried a poet; but a materialist in our days might find many other poetic themes to weave into his system. To the picture which Lucretius sketches of primitive civilization, we might add the whole history of mankind. To a consistent and vigorous materialism all personal and national dramas, with the beauties of all the arts, are no less natural and interesting than are flowers or animal bodies. The moral pageantry of this world, surveyed scientifically, is calculated wonderfully to strengthen and refine the philosophy of abstention suggested to Epicurus by the flux of material things and by the illusions of vulgar passion. Lucretius studies superstition, but only as an enemy; and the naturalistic poet should be the enemy of nothing. His animus blinds him to half the object, to its more beautiful half, and makes us distrust his version of the meaner half he is aware of. Seen in its totality, and surrounded by all the other products of human imagination, superstition is not only moving in itself, a capital subject for tragedy and for comedy, but it reinforces the materialistic way of thinking, and shows that it may be extended to the most complex and emotional spheres of existence. At the same time, a naturalism extended impartially over moral facts brings home a lesson of tolerance, scepticism, and independence which, without contradicting Epicurean principles, would very much enlarge and transform Epicurean sentiment. History would have opened to the Epicurean poet a new dimension of nature and a more varied spectacle of folly. His imagination would have been enriched and his maxims fortified.

The emotions which Lucretius associated with his atoms and void, with his religious denials and his abstentions from action, are emotions necessarily involved in life. They will exist in any case, though not necessarily associated with the doctrines by which this poet sought to clarify them. They will remain standing, whatever mechanism we put in the place of that which he believed in,—that is, if we are serious, and not trying to escape from the facts rather than to explain them. If the ideas embodied in a philosophy represent a comprehensive survey of the facts, and a mature sentiment in the presence of them, any new ideas adopted instead will have to acquire the same values, and nothing will be changed morally except the language or euphony of the mind.

Of course one theory of the world must be true and the rest false, at least if the categories of any theory are applicable to reality; but the true theory like the false resides in imagination, and the truth of it which the poet grasps is its truth to life. If there are no atoms, at least there must be habits of nature, or laws of evolution, or dialectics of progress, or decrees of providence, or intrusions of chance; and before these equally external and groundless powers we must bow, as Lucretius bowed to his atoms. It will always be important and inevitable to recognize something external, something that generates or surrounds us; and perhaps the only difference between materialism and other systems in this respect is that materialism has studied more scrupulously the detail and method of our dependence.

Similarly, even if Lucretius was wrong, and the soul is immortal, it is nevertheless steadily changing its interests and its possessions. Our lives are mortal if our soul is not; and the sentiment which reconciled Lucretius to death is as much needed if we are to face many deaths, as if we are to face only one. The gradual losing of what we have been and are, Emerson says:

This losing is true dying;
This is lordly maris down-lying,
This his slow but sure reclining,
Star by star his world resigning.

The maxim of Lucretius, that nothing arises save by the death of something else, meets us still in our crawling immortality. And his art of accepting and enjoying what the conditions of our being afford also has a perennial application. Dante, the poet of faith, will tell us that we must find our peace in the will that gives us our limited portion. Goethe, the poet of romantic experience, will tell us that we must renounce, renounce perpetually. Thus wisdom clothes the same moral truths in many cosmic parables. The doctrines of philosophers disagree where they are literal and arbitrary,—mere guesses about the unknown; but they agree or complete one another where they are expressive or symbolic, thoughts wrung by experience from the hearts of poets. Then all philosophies alike are ways of meeting and recording the same flux of images, the same vicissitudes of good and evil, which will visit all generations, while man is man.