Three Philosophical Poets Part 10

[27] _Faust_, Part ii, Act v., _Himmel_:

Alles Vergangliche Ist nur ein Gleichnis; Das Unzulangliche, Hier wird's Ereignis; Das Unbeschreibliche, Hier ist es gethan; Das Ewig-Weibliche Zieht uns hinan.

[28] Cf. _Trilogie der Leidenschaft_, 1823:

Mich treibt umher ein unbezwinglich Sehnen; Da bleibt kein Rat als grenzenlose Thranen....

Und so das Herz erleichtert merkt behende Da.s.s es noch lebt und schlagt und mochte schlagen,...

Da fuhlte sich--o, da.s.s es ewig bliebe!-- Das Doppelgluck der Tone wie der Liebe.

[29] _Aus dem Nachla.s.s, Abkundigung:_

Des Menschen Leben ist ein ahnliches Gedicht; Es hat wohl einen Anfang, hat ein Ende, Allein ein Ganzes ist es nicht.

V

CONCLUSION

It may be possible, after studying these three philosophical poets, to establish some comparison between them. By a comparison is not meant a discussion as to which of our poets is the best. Each is the best in his way, and none is the best in every way. To express a preference is not so much a criticism as a personal confession. If it were a question of the relative pleasure a man might get from each poet in turn, this pleasure would differ according to the man's temperament, his period of life, the language he knew best, and the doctrine that was most familiar to him. By a comparison is meant a review of the a.n.a.lysis we have already made of the type of imagination and philosophy embodied in each of the poets, to see what they have in common, how they differ, or what order they will fall into from different points of view. Thus we have just seen that Goethe, in his _Faust_, presents experience in its immediacy, variety, and apparent groundlessness; and that he presents it as an episode, before and after which other episodes, differing from it more and more as you recede, may be conceived to come. There is no possible totality in this, for there is no known ground. Turn to Lucretius, and the difference is striking. Lucretius is the poet of substance. The ground is what he sees everywhere; and by seeing the ground, he sees also the possible products of it. Experience appears in Lucretius, not as each man comes upon it in his own person, but as the scientific observer views it from without. Experience for him is a natural, inevitable, monotonous round of feelings, involved in the operations of nature. The ground and the limits of experience have become evident together.

In Dante, on the other hand, we have a view of experience also in its totality, also from above and, in a sense, from outside; but the external point of reference is moral, not physical, and what interests the poet is what experience is best, what processes lead to a supreme, self-justifying, indestructible sort of existence. Goethe is the poet of life; Lucretius the poet of nature; Dante the poet of salvation. Goethe gives us what is most fundamental,--the turbid flux of sense, the cry of the heart, the first tentative notions of art and science, which magic or shrewdness might hit upon. Lucretius carries us one step farther. Our wisdom ceases to be impressionistic and casual. It rests on understanding of things, so that what happiness remains to us does not deceive us, and we can possess it in dignity and peace. Knowledge of what is possible is the beginning of happiness. Dante, however, carries us much farther than that. He, too, has knowledge of what is possible and impossible. He has collected the precepts of old philosophers and saints, and the more recent examples patent in society around him, and by their help has distinguished the ambitions that may be wisely indulged in this life from those which it is madness to foster,--the first being called virtue and piety and the second folly and sin. What makes such knowledge precious is not only that it sketches in general the scope and issue of life, but that it paints in the detail as well,--the detail of what is possible no less than that (more familiar to tragic poets) of what is impossible.

Lucretius' notion, for instance, of what is positively worth while or attainable is very meagre: freedom from superst.i.tion, with so much natural science as may secure that freedom, friends.h.i.+p, and a few cheap and healthful animal pleasures. No love, no patriotism, no enterprise, no religion. So, too, in what is forbidden us, Lucretius sees only generalities,--the folly of pa.s.sion, the blight of superst.i.tion. Dante, on the contrary, sees the various pitfalls of life with intense distinctness; and seeing them clearly, and how fatal each is, he sees also why men fall into them, the dream that leads men astray, and the sweetness of those goods that are impossible. Feeling, even in what we must ultimately call evil, the soul of good that attracts us to it, he feels, in good all its loveliness and variety. Where, except in Dante, can we find so many stars that differ from other stars in glory; so many delightful habitations for excellences; so many distinct beauties of form, accent, thought, and intention; so many delicacies and heroisms? Dante is the master of those who know by experience what is worth knowing by experience; he is the master of _distinction_.

Here, then, are our three poets and their messages: Goethe, with human life in its immediacy, treated romantically; Lucretius, with a vision of nature and of the limits of human life; Dante, with spiritual mastery of that life, and a perfect knowledge of good and evil.

You may stop at what stage you will, according to your sense of what is real and important; for what one man calls higher another man calls unreal; and what one man feels to be strength smells rank to another. In the end, we should not be satisfied with any one of our poets if we had to drop the other two. It is true that taken formally, and in respect to their type of philosophy and imagination, Dante is on a higher plane than Lucretius, and Lucretius on a higher plane than Goethe. But the plane on which a poet dwells is not everything; much depends on what he brings up with him to that level. Now there is a great deal, a very great deal, in Goethe that Lucretius does not know of. Not knowing of it, Lucretius cannot carry this fund of experience up to the intellectual and naturalistic level; he cannot trans.m.u.te this abundant substance of Goethe's by his higher insight and clearer faith; he has not woven so much into his poem. So that while to see nature, as Lucretius sees it, is a greater feat than merely to live hard in a romantic fas.h.i.+on, and produces a purer and more exalted poem than Goethe's magical medley, yet this medley is full of images, pa.s.sions, memories, and introspective wisdom that Lucretius could not have dreamed of. The intellect of Lucretius rises, but rises comparatively empty; his vision sees things as a whole, and in their right places, but sees very little of them; he is quite deaf to their intricacy, to their birdlike multiform little souls. These Goethe knows admirably; with these he makes a natural concert, all the more natural for being sometimes discordant, sometimes overloaded and dull. It is necessary to revert from Lucretius to Goethe to get at the volume of life.

So, too, if we rise from Lucretius to Dante, there is much left behind which we cannot afford to lose. Dante may seem at first sight to have a view of nature not less complete and clear than that of Lucretius; a view even more efficacious than materialism for fixing the limits of human destiny and marking the path to happiness. But there is an illusion here. Dante's, idea of nature is not genuine; it is not sincerely put together out of reasoned observation. It is a view of nature intercepted by myths and worked out by dialectic. Consequently, he has no true idea either of the path to happiness or of its real conditions. His notion of nature is an inverted image of the moral world, cast like a gigantic shadow upon the sky. It is a mirage.

Now, while to know evil, and especially good, in all their forms and inward implications is a far greater thing than to know the natural conditions of good and evil, or their real distribution in s.p.a.ce and time, yet the higher philosophy is not safe if the lower philosophy is wanting or is false. Of course it is not safe practically; but it is not safe even poetically. There is an attenuated texture and imagery in the _Divine Comedy_. The voice that sings it, from beginning to end, is a thin boy-treble, all wonder and navete. This art does not smack of life, but of somnambulism. The reason is that the intellect has been hypnotized by a legendary and verbal philosophy. It has been unmanned, curiously enough, by an excess of humanism; by the fond delusion that man and his moral nature are at the centre of the universe. Dante is always thinking of the divine order of history and of the spheres; he believes in controlling and chastening the individual soul; so that he seems to be a cosmic poet, and to have escaped the anthropocentric conceit of romanticism. But he has not escaped it. For, as we have seen, this golden cage in which his soul sings is artificial; it is constructed on purpose to satisfy and glorify human distinctions and human preferences. The bird is not in his native wilds; man is not in the bosom of nature. He is, in a moral sense, still at the centre of the universe; his ideal is the cause of everything. He is the appointed lord of the earth, the darling of heaven; and history is a brief and prearranged drama, with Judea and Rome for its chief theatre.

Some of these illusions are already abandoned; all are undermined.

Sometimes, in moments when we are unnerved and uninspired, we may regret the ease with which Dante could reconcile himself to a world, so imagined as to suit human fancy, and flatter human will. We may envy Dante his ignorance of nature, which enabled him to suppose that he dominated it, as an infinite and exuberant nature cannot be dominated by any of its parts. In the end, however, knowledge is good for the imagination. Dante himself thought so; and his work proved that he was right, by infinitely excelling that of all ignorant contemporary poets.

The illusion of knowledge is better than ignorance for a poet; but the reality of knowledge would be better than the illusion; it would stretch the mind over a vaster and more stimulating scene; it would concentrate the will upon a more attainable, distinct, and congenial happiness. The growth of what is known increases the scope of what may be imagined and hoped for. Throw open to the young poet the infinity of nature; let him feel the precariousness of life, the variety of purposes, civilizations, and religions even upon this little planet; let him trace the triumphs and follies of art and philosophy, and their perpetual resurrections --like that of the downcast Faust. If, under the stimulus of such a scene, he does not some day compose a natural comedy as much surpa.s.sing Dante's divine comedy in sublimity and richness as it will surpa.s.s it in truth, the fault will not lie with the subject, which is inviting and magnificent, but with the halting genius that cannot render that subject worthily.

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 h.e.l.l in it. Those rolling spheres, with all their lights and music, circled for ever about h.e.l.l. 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 const.i.tute 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 b.u.t.tress a particular form of life, or it may come to express it. All that we call industry, science, business, morality, b.u.t.tresses 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 reconst.i.tute 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 pa.s.sions, 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.