Three Philosophical Poets, George Santayana [great novels to read .TXT] 📗

level of romanticism. The worth of life lies in pursuit, not in attainment therefore, everything is worth pursuing, and nothing brings satisfaction—save this endless destiny itself.

Such is the official moral of Faust, and what we may call its general philosophy. But, as we saw just now, this moral is only an afterthought, and is far from exhausting the philosophic ideas which the poem contains. Here is a scheme for experience; but experience, in filling it out, opens up many vistas; and some of these reveal deeper and higher things than experience itself. The path of the pilgrim and the inns he stops at are neither the whole landscape he sees as he travels, nor the true shrine he is making for. And the incidental philosophy or philosophies of Goethe's Faust are, to my mind, often better than its ultimate philosophy. The first scene of the second part, for instance, is better, poetically and philosophically, than the last. It shows a deeper sense for the realities of nature and of the soul, and it is more sincere. Goethe there is interpreting nature with Spinoza; he is not dreaming with Swedenborg, nor talking equivocal paradoxes with Hegel.

In fact, the great merit of the romantic attitude in poetry, and of the transcendental method in philosophy, is that they put us back at the beginning of our experience. They disintegrate convention, which is often cumbrous and confused, and restore us to ourselves, to immediate perception and primordial will. That, as it would seem, is the true and inevitable starting-point. Had we not been born, had we not peeped into this world, each out of his personal eggshell, this world might indeed have existed without us, as a thousand undiscoverable worlds may now exist; but for us it would not have existed. This obvious truth would not need to be insisted on but for two reasons: one that conventional knowledge, such as our notions of science and morality afford, is often top-heavy; asserts and imposes on us much more than our experience warrants,—our experience, which is our only approach to reality. The other reason is the reverse or counterpart of this; for conventional knowledge often ignores and seems to suppress parts of experience no less actual and important for us as those parts on which the conventional knowledge itself is reared. The public world is too narrow for the soul, as well as too mythical and fabulous. Hence the double critical labour and reawakening which romantic reflection is good for,—to cut off the dead branches and feed the starving shoots. This philosophy, as Kant said, is a cathartic: it is purgative and liberating; it is intended to make us start afresh and start right.

It follows that one who has no sympathy with such a philosophy is a comparatively conventional person. He has a second-hand mind. Faust has a first-hand mind, a truly free, sincere, courageous soul. It follows also, however, that one who has no philosophy but this has no wisdom; he can say nothing that is worth carrying away; everything in him is attitude and nothing is achievement. Faust, and especially Mephistopheles, do have other philosophies on top of their transcendentalism; for this is only a method, to be used in reaching conclusions that shall be critically safeguarded and empirically grounded. Such outlooks, such vistas into nature, are scattered liberally through the pages of Faust. Words of wisdom diversify this career of folly, as exquisite scenes fill this tortuous and overloaded drama. The mind has become free and sincere, but it has remained bewildered.

The literary merits of Goethe's Faust correspond accurately with its philosophical excellences. In the prologue in the theatre Goethe himself has described them; much scenery, much wisdom, some folly, great wealth of incident and characterization; and behind, the soul of a poet singing with all sincerity and fervour the visions of his life. Here is profundity, inwardness, honesty, waywardness; here are the most touching accents of nature, and the most varied assortment of curious lore and grotesque fancies. This work, says Goethe (in a quatrain intended as an epilogue, but not ultimately inserted in the play),—this work is like human life: it has a beginning, it has an end; but it has no totality, it is not one whole.[29] How, indeed, should we draw the sum of an infinite experience that is without conditions to determine it, and without goals in which it terminates? Evidently all a poet of pure experience can do is to represent some snatches of it, more or less prolonged; and the more prolonged the experience represented is the more it will be a collection of snatches, and the less the last part of it will have to do with the beginning. Any character which we may attribute to the whole of what we have surveyed would fail to dominate it, if that whole had been larger, and if we had had memory or foresight enough to include other parts of experience differing altogether in kind from the episodes we happen to have lived through. To be miscellaneous, to be indefinite, to be unfinished, is essential to the romantic life. May we not say that it is essential to all life, in its immediacy; and that only in reference to what is not life—to objects, ideals, and unanimities that cannot be experienced but may only be conceived—can life become rational and truly progressive? Herein we may see the radical and inalienable excellence of romanticism; its sincerity, freedom, richness, and infinity. Herein, too, we may see its limitations, in that it cannot fix or trust any of its ideals, and blindly believes the universe to be as wayward as itself, so that nature and art are always slipping through its fingers. It is obstinately empirical, and will never learn anything from experience.