Character and Opinion in the United States, George Santayana [book club books .TXT] 📗

would have left virtue—the only good—behind. The wickedness of the world was no reason for quitting it; on the contrary, it invited us to plunge into all its depths and live through every phase of it; virtue was severe but not squeamish. It lived by endless effort, turbid vitality, and Sturm und Drang. Moralism and an apology for evil could thus be reconciled and merged in the praises of tragic experience.

This had been the burden of Hegel’s philosophy of life, which Royce admired and adopted. Hegel and his followers seem to be fond of imagining that they are moving in a tragedy. But because Aeschylus and Sophocles were great poets, does it follow that life would be cheap if it did not resemble their fables? The life of tragic heroes is not good; it is misguided, unnecessary, and absurd. Yet that is what romantic philosophy would condemn us to; we must all strut and roar. We must lend ourselves to the partisan earnestness of persons and nations calling their rivals villains and themselves heroes; but this earnestness will be of the histrionic German sort, made to order and transferable at short notice from one object to another, since what truly matters is not that we should achieve our ostensible aim (which Hegel contemptuously called ideal) but that we should carry on perpetually, if possible with a crescendo, the strenuous experience of living in a gloriously bad world, and always working to reform it, with the comforting speculative assurance that we never can succeed. We never can succeed, I mean, in rendering reform less necessary or life happier; but of course in any specific reform we may succeed half the time, thereby sowing the seeds of new and higher evils, to keep the edge of virtue keen. And in reality we, or the Absolute in us, are succeeding all the time; the play is always going on, and the play’s the thing.

It was inevitable that Royce should have been at home only in this circle of Protestant and German intuitions; a more refined existence would have seemed to him to elude moral experience. Although he was born in California he had never got used to the sunshine; he had never tasted peace. His spirit was that of courage and labour. He was tender in a bashful way, as if in tenderness there was something pathological, as indeed to his sense there was, since he conceived love and loyalty to be divine obsessions refusing to be rationalised; he saw their essence in the child who clings to an old battered doll rather than accept a new and better one. Following orthodox tradition in philosophy, he insisted on seeing reason at the bottom of things as well as at the top, so that he never could understand either the root or the flower of anything. He watched the movement of events as if they were mysterious music, and instead of their causes and potentialities he tried to divine their motif. On current affairs his judgements were highly seasoned and laboriously wise. If anything escaped him, it was only the simplicity of what is best. His reward was that he became a prophet to a whole class of earnest, troubled people who, having discarded doctrinal religion, wished to think their life worth living when, to look at what it contained, it might not have seemed so; it reassured them to learn that a strained and joyless existence was not their unlucky lot, or a consequence of their solemn folly, but was the necessary fate of all good men and angels. Royce had always experienced and seen about him a groping, burdened, mediocre life; he had observed how fortune is continually lying in ambush for us, in order to bring good out of evil and evil out of good. In his age and country all was change, preparation, hurry, material achievement; nothing was an old and sufficient possession; nowhere, or very much in the background, any leisure, simplicity, security, or harmony. The whole scene was filled with arts and virtues which were merely useful or remedial. The most pressing arts, like war and forced labour, presuppose evil, work immense havoc, and take the place of greater possible goods. The most indispensable virtues, like courage and industry, do likewise. But these seemed in Royce’s world the only honourable things, and he took them to be typical of all art and virtue—a tremendous error. It is very true, however, that in the welter of material existence no concrete thing can be good or evil in every respect; and so long as our rough arts and virtues do more good than harm we give them honourable names, such as unselfishness, patriotism, or religion; and it remains a mark of good breeding among us to practise them instinctively. But an absolute love of such forced arts and impure virtues is itself a vice; it is, as the case may be, barbarous, vain, or fanatical. It mistakes something specific—some habit or emotion which may be or may have been good in some respect, or under some circumstances the lesser of two evils—for the very principle of excellence. But good and evil, like light and shade, are ethereal; all things, events, persons, and conventional virtues are in themselves utterly valueless, save as an immaterial harmony (of which mind is an expression) plays about them on occasion, when their natures meet propitiously, and bathes them in some tint of happiness or beauty. This immaterial harmony may be made more and more perfect; the difficulties in the way of perfection, either in man, in society, or in universal nature, are physical not logical. Worship of barbarous virtue is the blackest conservatism; it shuts the gate of heaven, and surrenders existence to perpetual follies and crimes, Moralism itself is a superstition. In its abstract form it is moral, too moral; it adores the conventional conscience, or perhaps a morbid one. In its romantic form, moralism becomes barbarous and actually immoral; it obstinately craves action and stress for their own sake, experience in the gross, and a good-and-bad way of living.

Royce sometimes conceded that there might be some pure goods, music, for instance, or mathematics; but the impure moral goods were better and could not be spared. Such a concession, however, if it had been taken to heart, would have ruined his whole moral philosophy. The romanticist must maintain that only what is painful can be noble and only what is lurid bright. A taste for turbid and contrasted values would soon seem perverse when once anything perfect had been seen and loved. Would it not have been better to leave out the worst of the crimes and plagues that have heightened the tragic value of the world? But if so, why stop before we had deleted them all? We should presently be horrified at the mere thought of passions that before had been found necessary by the barbarous tragedian to keep his audience awake; and the ear at the same time would become sensitive to a thousand harmonies that had been inaudible in the hurly-burly of romanticism. The romanticist thinks he has life by virtue of his confusion and torment, whereas in truth that torment and confusion are his incipient death, and it is only the modicum of harmony he has achieved in his separate faculties that keeps him alive at all. As Aristotle taught, unmixed harmony would be intensest life. The spheres might make a sweet and perpetual music, and a happy God is at least possible.

It was not in this direction, however, that Royce broke away on occasion from his Hegelian ethics; he did so in the direction of ethical dogmatism and downright sincerity. The deepest thing in him personally was conscience, firm recognition of duty, and the democratic and American spirit of service. He could not adopt a moral bias histrionically, after the manner of Hegel or Nietzsche. To those hardened professionals any rôle was acceptable, the more commanding the better; but the good Royce was like a sensitive amateur, refusing the rôle of villain, however brilliant and necessary to the play. In contempt of his own speculative insight, or in an obedience to it which forgot it for the time being, he lost himself in his part, and felt that it was infinitely important to be cast only for the most virtuous of characters. He retained inconsistently the Jewish allegiance to a God essentially the vindicator of only one of the combatants, not in this world often the victor; he could not stomach the providential scoundrels which the bad taste of Germany, and of Carlyle and Browning, was wont to glorify. The last notable act of his life was an illustration of this, when he uttered a ringing public denunciation of the sinking of the Lusitania. Orthodox Hegelians might well have urged that here, if anywhere, was a plain case of the providential function of what, from a finite merely moral point of view, was an evil in order to make a higher good possible—the virtue of German self-assertion and of American self-assertion in antithesis to it, synthesised in the concrete good of war and victory, or in the perhaps more blessed good of defeat. What could be more unphilosophical and gedankenlos than the intrusion of mere morality into the higher idea of world-development? Was not the Universal Spirit compelled to bifurcate into just such Germans and just such Americans, in order to attain self-consciousness by hating, fighting against, and vanquishing itself? Certainly it was American duty to be angry, as it was German duty to be ruthless. The Idea liked to see its fighting-cocks at it in earnest, since that was what it had bred them for; but both were good cocks. Villains, as Hegel had observed in describing Greek tragedy, were not less self-justified than heroes; they were simply the heroes of a lower stage of culture. America and England remained at the stage of individualism; Germany had advanced to the higher stage of organisation. Perhaps this necessary war was destined, through the apparent defeat of Germany, to bring England and America up to the German level. Of course; and yet somehow, on this occasion, Royce passed over these profound considerations, which life-long habit must have brought to his lips. A Socratic demon whispered No, No in his ear; it would have been better for such things never to be. The murder of those thousand passengers was not a providential act, requisite to spread abroad a vitalising war; it was a crime to execrate altogether. It would have been better for Hegel, or whoever was responsible for it, if a millstone had been hanged about his neck and he, and not those little ones, had been drowned at the bottom of the sea. Of this terrestrial cock-pit Royce was willing to accept the agony, but not the ignominy. The other cock was a wicked bird.

This honest lapse from his logic was habitual with him at the sight of sin, and sin in his eyes was a fearful reality. His conscience spoiled the pantheistic serenity of his system; and what was worse (for he was perfectly aware of the contradiction) it added a deep, almost remorseful unrest to his hard life. What calm could there be in the double assurance that it was really right that things should be wrong, but that it was really wrong not to strive to right them? There was no conflict, he once observed, between science and religion, but the real conflict was between religion and morality. There could indeed be no conflict in his mind between faith and science, because his faith began by accepting all facts and all scientific probabilities in order to face them religiously. But there was an invincible conflict between religion as he conceived it and morality, because morality takes sides and regards one sort of motive and one kind of result as better than another, whereas religion according to him gloried in everything, even in the evil, as fulfilling the will of God. Of course the practice of virtue was not excluded; it was just as needful as evil was in the scheme of the whole; but while the effort of morality was requisite, the judgements of morality were absurd. Now I think we may say that a man who finds himself in such a position has a divided mind, and that while he has wrestled with the deepest questions like a young giant, he has not won the fight. I mean, he has not seen his way to any one of the various possibilities about the nature of things, but has remained entangled, sincerely, nobly, and pathetically, in contrary traditions stronger than himself. In the goodly company of philosophers he is an intrepid martyr.

In metaphysics as in morals Royce perpetually laboured the same points, yet they never became clear; they covered a natural complexity in the facts which his idealism could not disentangle. There was a voluminous confusion in his thought; some clear principles and ultimate possibilities turned up in it, now presenting one face and now another, like chips carried down a swollen stream; but the most powerful currents were below the surface, and the whole movement was hard to trace. He had borrowed from Hegel a way of conceiving systems of philosophy, and also the elements of his own thought, which did not tend to clarify them. He did not think of correcting what incoherence there might remain in any view, and then holding it in reserve, as one of the possibilities, until facts should enable us to decide whether it was true or not. Instead he clung to the incoherence as if it had been the heart of the position, in order to be driven by it to some other position altogether, so that while every view seemed to be considered, criticised, and in a measure retained (since the argument