Interpretations of Poetry and ReligionSantayana, George
Religion
Interpretations of Poetry and Religion
Santayana, George
Aesthetics; Literature -- History and criticism; Poetry; Religion
All, as it behooves a poet, is the transcript of personal experience.
We must not look for the inclusion of elements, however important
in themselves, which the author has not found in his own life. The
omissions are in this case as characteristic as the inclusions. We
look in vain, for instance, for any appreciation of Christianity or
of all that side of human nature and experience on which faith in
Christianity rests; we hear nothing of love and its ideal suggestions,
nothing of the aspiration to immortality, nothing of the whole
transcendental attitude toward experience. These are grave omissions.
They may seem to condemn Jean Lahor, if not as a general philosopher,
at least as a representative of an age in which religious thought has
so largely centred about these very questions. But our century has
been an age of confusion; and a man who at its end wishes to attain
some coherence of life and mind, must begin by letting drop much that
the age has held in solution. It is by not being an average that a man
may become a guide. Only by manifesting the direction of change and
embodying that change in his own person can he be a sign of progress.
It remains for time to show whether what survives in a given man has
fortune on its side and contains the inward elements of vitality.
The presumption in this case, when we abstract from our personal
prejudices, will seem to be wholly in favour of our author.
The three influences to which he has yielded and which have moulded
his mind are the pantheism of the Hindoos, our contemporary natural
science, and the ideal of Greek civilization. These three elements
might at first sight seem incongruous, and the principle of selection
by which they are preferred above all others might seem as hard
to find as the principle of union by which they are to be welded
into one philosophy. But a little study of these maxims and of the
autobiographical sketch which precedes them will, I think, enable
us to discover both the principles we miss. The selection of the
three influences in question is due to the poetical temperament and
scientific tastes of the author, to an individual disposition and to
studies which drew him successively to these different sources of
instruction. The principle of synthesis, or rather, we should perhaps
say, of subordination, by which these various habits of thought are
combined in one philosophy, is a moral principle. It is a native power
to conceive the ideal and a native loyalty to the ideal when once
conceived. This moral enthusiasm is in no sense vapid or sentimental;
it hardly comes to the surface in any direct or enthusiastic
expression; but it is betrayed and proved to be sincere, now by a
passionate pessimism about the natural world, now in detailed and
practical demands for a better state of society. A genial individuality
and a well-reasoned form of pessimism are, then, the two factors in the
development of this interesting thinker, the two keys to the apparently
Public-domain text, read in full here on John Shaqi.
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