The Life of Reason - George Santayana (great books to read .TXT) 📗
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We in Christendom are so accustomed to artificial ideals and to artificial institutions, kept up to express them, that we hardly conceive how anomalous our situation is, sorely as we may suffer from it. We found academies and museums, as we found missions, to fan a flame that constantly threatens to die out for lack of natural fuel. Our overt ideals are parasites in the body politic, while the ideals native to the body politic, those involved in our natural structure and situation, are either stifled by that alien incubus, leaving civic life barbarous, or else force their way up, unremarked or not justly honoured as ideals. Industry and science and social amenities, with all the congruous comforts and appurtenances of contemporary life, march on their way, as if they had nothing to say to the spirit, which remains entangled in a cobweb of dead traditions. An idle pottering of the fancy over obsolete forms—theological, dramatic, or plastic—makes that by-play to the sober business of life which men call their art or their religion; and the more functionless and gratuitous this by-play is the more those who indulge in it think they are idealists. They feel they are champions of what is most precious in the world, as a sentimental lady might fancy herself a lover of flowers when she pressed them in a book instead of planting their seeds in the garden.
It is clear that gratuitous and functionless habits cannot bring happiness; they do not constitute an activity at once spontaneous and beneficent, such as noble art is an instance of. Those habits may indeed give pleasure; they may bring extreme excitement, as madness notably does, though it is in the highest degree functionless and gratuitous. Nor is such by-play without consequences, some of which might conceivably be fortunate. What is functionless is so called for being worthless from some ideal point of view, and not conducing to the particular life considered. But nothing real is dissociated from the universal flux; everything—madness and all unmeaning cross-currents in being—count in the general process and discharge somewhere, not without effect, the substance they have drawn for a moment into their little vortex. So our vain arts and unnecessary religions are not without real effects and not without a certain internal vitality. When life is profoundly disorganised it may well happen that only in detached episodes, only in moments snatched for dreaming in, can men see the blue or catch a glimpse of something like the ideal. In that case their esteem for their irrelevant visions may be well grounded, and their thin art and far-fetched religion may really constitute what is best in their experience. In a pathetic way these poor enthusiasms may be justified, but only because the very conception of a rational life lies entirely beyond the horizon.
It is no marvel, when art is a brief truancy from rational practice, that the artist himself should be a vagrant, and at best, as it were, an infant prodigy. The wings of genius serve him only for an escapade, enabling him to skirt the perilous edge of madness and of mystical abysses. But such an erratic workman does not deserve the name of artist or master; he has burst convention only to break it, not to create a new convention more in harmony with nature. His originality, though it may astonish for a moment, will in the end be despised and will find no thoroughfare. He will meantime be wretched himself, torn from the roots of his being by that cruel, unmeaning inspiration; or, if too rapt to see his own plight, he will be all the more pitied by practical men, who cannot think it a real blessing to be lost in joys that do not strengthen the character and yield nothing for posterity.
Art, in its nobler acceptation, is an achievement, not an indulgence. It prepares the world in some sense to receive the soul, and the soul to master the world; it disentangles those threads in each that can be woven into the other. That the artist should be eccentric, homeless, dreamful may almost seem a natural law, but it is none the less a scandal. An artist's business is not really to cut fantastical capers or be licensed to play the fool. His business is simply that of every keen soul to build well when it builds, and to speak well when it speaks, giving practice everywhere the greatest possible affinity to the situation, the most delicate adjustment to every faculty it affects. The wonder of an artist's performance grows with the range of his penetration, with the instinctive sympathy that makes him, in his mortal isolation, considerate of other men's fate and a great diviner of their secret, so that his work speaks to them kindly, with a deeper assurance than they could have spoken with to themselves. And the joy of his great sanity, the power of his adequate vision, is not the less intense because he can lend it to others and has borrowed it from a faithful study of the world.
If happiness is the ultimate sanction of art, art in turn is the best instrument of happiness. In art more directly than in other activities man's self-expression is cumulative and finds an immediate reward; for it alters the material conditions of sentience so that sentience becomes at once more delightful and more significant. In industry man is still servile, preparing the materials he is to use in action. In action itself, though he is free, he exerts his influence on a living and treacherous medium and sees the issue at each moment drift farther and farther from his intent. In science he is an observer, preparing himself for action in another way, by studying its results and conditions. But in art he is at once competent and free; he is creative. He is not troubled by his materials, because he has assimilated them and may take them for granted; nor is he concerned with the chance complexion of affairs in the actual world, because he is making the world over, not merely considering how it grew or how it will consent to grow in future. Nothing, accordingly, could be more delightful than genuine art, nor more free from remorse and the sting of vanity. Art springs so completely from the heart of man that it makes everything speak to him in his own language; it reaches, nevertheless, so truly to the heart of nature that it co-operates with her, becomes a parcel of her creative material energy, and builds by her instinctive hand. If the various formative impulses afoot in the world never opposed stress to stress and made no havoc with one another, nature might be called an unconscious artist. In fact, just where such a formative impulse finds support from the environment, a consciousness supervenes. If that consciousness is adequate enough to be prophetic, an art arises. Thus the emergence of arts out of instincts is the token and exact measure of nature's success and of mortal happiness.
End of Volume IV Introduction Volume One Volume Two Volume Three Volume Four
REASON IN SCIENCE Volume Five of "The Life of Reason" GEORGE SANTAYANA
hê gar noy enhergeia zôhê
DOVER PUBLICATIONS, INC.
NEW YORK
This Dover edition, first published in 1982, is an unabridged republication of volume five of The Life of Reason; or The Phases of Human Progress, originally published by Charles Scribner's Sons, N.Y., in 1905.
REASON IN SCIENCE CONTENTSCHAPTER I
TYPES AND AIMS OF SCIENCE
Science still young.—Its miscarriage in Greece.—Its timid reappearance in modern times.—Distinction between science and myth.—Platonic status of hypothesis.—Meaning of verification.—Possible validity of myths.—Any dreamed-of thing might be experienced.—But science follows the movement of its subject-matter.—Moral value of science.—Its continuity with common knowledge.—Its intellectual essence.—Unity of science.—In existence, judged by reflection, there is a margin of waste.—Sciences converge from different points of origin.—Two chief kinds of science, physics and dialectic.—Their mutual implication.—Their coöperation.—No science a priori.—Role of criticism. Pages 3-38
CHAPTER II
HISTORY
History an artificial memory.—Second sight requires control.—Nature the theme common to various memories.—Growth of legend.—No history without documents.—The aim is truth.—Indirect methods of attaining it.—Historical research a part of physics.—Verification here indirect.—Futile ideal to survey all facts.—Historical theory.—It is arbitrary.—A moral critique of the past is possible.—How it might be just.—Transition to historical romance.—Possibility of genuine epics.—Literal truth abandoned.—History exists to be transcended.—Its great rôle. Pages 39-68
CHAPTER III
MECHANISM
Recurrent forms in nature.—Their discovery makes the flux calculable.—Looser principles tried first.—Mechanism for the most part hidden.—Yet presumably pervasive.—Inadequacy of consciousness.—Its articulation inferior to that of its objects.—Science consequently retarded, and speculation rendered necessary.—Dissatisfaction with mechanism partly natural, and partly artificial.—Biassed judgments inspired by moral inertia.—Positive emotions proper to materialism.—The material world not dead nor ugly, nor especially cruel.—Mechanism to be judged by its fruits Pages 69-94
CHAPTER IV
HESITATIONS IN METHOD
Mechanism restricted to one-half of existence.—Men of science not speculative.—Confusion in semi-moral subjects.—"Physic of metaphysic begs defence."—Evolution by mechanism.—Evolution by ideal attraction.—If species are evolved they cannot guide evolution.—Intrusion of optimism.—Evolution according to Hegel.—The conservative interpretation.—The radical one.—Megalomania.—Chaos in the theory of mind.—Origin of self-consciousness.—The notion of spirit.—The notion of sense.—Competition between the two.—The rise of scepticism Pages 95-125
CHAPTER V
PSYCHOLOGY
Mind reading not science.—Experience a reconstruction.—The honest art of education.—Arbitrary readings of the mind.—Human nature appealed to rather than described.—Dialectic in psychology.—Spinoza on the passions.—A principle of estimation cannot govern events.—Scientific psychology a part of biology.—Confused attempt to detach the psychic element.—Differentia of the psychic.—Approach to irrelevant sentience.—Perception represents things in their practical relation to the body.—Mind the existence in which form becomes actual.—Attempt at idealistic physics.—Association not efficient.—- It describes coincidences.—Understanding is based on instinct and expressed in dialectic.—Suggestion a fancy name for automatism, and will another.—Double attachment of mind to nature.—Is the subject-matter of psychology absolute being?—Sentience is representable only in fancy.—The conditions and objects of sentience, which are not sentience, are also real.—Mind knowable and important in so far as it represents other things Pages 126-166
CHAPTER VI
THE NATURE OF INTENT
Dialectic better than physics.—Maladjustments to nature render physics conspicuous and unpleasant.—Physics should be largely virtual, and dialectic explicit.—Intent is vital and indescribable.—It is analogous to flux in existence.—It expresses natural life.—- It has a material basis.—It is necessarily relevant to earth.—The basis of intent becomes appreciable in language.—Intent starts from a datum, and is carried by a feeling.—It demands conventional expression.—A fable about matter and form Pages 167-186
CHAPTER VII
DIALECTIC
Dialectic elaborates given forms.—Forms are abstracted from existence by intent.—Confusion comes of imperfect abstraction, or ambiguous intent.—The fact that mathematics applies to existence is empirical.—Its moral value is therefore contingent.—Quantity submits easily to dialectical treatment—Constancy and progress in intent.—Intent determines the functional essence of objects.—Also the scope of ideals.—Double status of mathematics.—Practical rôle of dialectic.—Hegel's satire on dialectic.—Dialectic expresses a given intent.—Its empire is ideal and autonomous Pages 187-209
CHAPTER VIII
PRERATIONAL MORALITY
Empirical alloy in dialectic.—Arrested rationality in morals.—Its emotional and practical power.—Moral science is an application of dialectic, not a part of anthropology.—Estimation the soul of philosophy.—Moral discriminations are natural and inevitable.—A choice of proverbs.—Their various representative value.—Conflict of partial moralities.—The Greek ideal.—Imaginative exuberance and political discipline.—Sterility of Greek example.—Prerational morality among the Jews.—The development of conscience.—Need of Hebraic devotion to Greek aims.—Prerational morality marks an acquisition but offers no programme Pages 210-232
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