The Drama of Love and Death: A Study of Human Evolution and TransfigurationCarpenter, Edward
Philosophy
The Drama of Love and Death: A Study of Human Evolution and Transfiguration
Carpenter, Edward
Death; Love; Personality
With regard to this view that the real person is so much greater than
his visible manifestation, Frederick Myers and Oliver Lodge have used
the simile of a ship. And it is a fine one. A ship gliding through the
sea has a manifestation of its own, a very partial one, in the
waterworld below—a ponderous hull moving in the upper layers of that
world—a form encrusted with barnacles and sea-weed. But what denizen of
the deep could have any inkling or idea of the real life of that ship in
the aerial plane—the glory of sails and spars trimmed to the breeze and
glancing in the sun, the blue arch of heaven flecked with clouds, the
leaping waves and the boundless horizon around the ship as she speeds
onward, the ingenious provision for her voyage, the compass, the
helmsman and the captain directing her course? Surely (except in moments
of divination and inspiration) we have little idea of what we really
are! But there _are_ such moments—moments of profound grief, of
passionate love, of great and splendid angers and enthusiasms which dart
light back into the farthest recesses of our natures and astonish us
with the vision they disclose. And (perhaps more often) there are
moments which disclose the wonder-self in others. If we do not recognize
(which is naturally not easy!) our own divinity, it is certain that we
cannot really _love_ without discovering a divine being in the loved
one—a being remote, resplendent, inaccessible, who calls for and indeed
demands our devotion, but of whom the mortal form is most obviously a
mere symbol and disguise. There are times when this strange illumination
falls on people at large, and we see them as gods walking: when we look
even on the tired overworked mother in the slum, and her face is shining
like heaven; or on the ploughboy in the field with his team, and see the
mould and the material of ancient heroes. Yet of what is really nearest
to them all the time these folk say nothing, and we are astonished to
find them haggling over halfpence or seriously troubled about
wire-worms. It is as if a play, or some kind of deliberate
mystification, were being carried on—with disguises a little too thin.
We see, as plain as day—and nothing can contravene our conclusion—that
it is only a fraction of the real person that is concerned.
Public-domain text, read in full here on John Shaqi.
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