The Symbolist Movement in LiteratureSymons, Arthur
History
The Symbolist Movement in Literature
Symons, Arthur
French literature -- 19th century -- History and criticism; Symbolism (Literary movement) -- France
Our only chance, in this world, of a complete happiness, lies in the
measure of our success in shutting the eyes of the mind, and deadening
its sense of hearing, and dulling the keenness of its apprehension of
the unknown. Knowing so much less than nothing, for we are entrapped
in smiling and many-coloured appearances, our life may seem to be but
a little space of leisure, in which it will be the necessary business
of each of us to speculate on what is so rapidly becoming the past
and so rapidly becoming the future, that scarcely existing present
which is after all our only possession. Yet, as the present passes
from us, hardly to be enjoyed except as memory or as hope, and only
with an at best partial recognition of the uncertainty or inutility
of both, it is with a kind of terror that we wake up, every now and
then, to the whole knowledge of our ignorance, and to some perception
of where it is leading us. To live through a single day with that
overpowering consciousness of our real position, which, in the moments
in which alone it mercifully comes, is like blinding light or the
thrust of a flaming sword, would drive any man out of his senses. It
is our hesitations, the excuses of our hearts, the compromises of
our intelligence, which save us. We can forget so much, we can bear
suspense with so fortunate an evasion of its real issues; we are so
admirably finite.
And so there is a great, silent conspiracy between us to forget death;
all our lives are spent in busily forgetting death. That is why we
are active about so many things which we know to be unimportant; why
we are so afraid of solitude, and so thankful for the company of our
fellow-creatures. Allowing ourselves, for the most part, to be but
vaguely conscious of that great suspense in which we live, we find
our escape from its sterile, annihilating reality in many dreams,
in religion, passion, art; each a forgetfulness, each a symbol of
creation; religion being the creation of a new heaven, passion the
creation of a new earth, and art, in its mingling of heaven and
earth, the creation of heaven out of earth. Each is a kind of sublime
selfishness, the saint, the lover, and the artist having each an
incommunicable ecstasy which he esteems as his ultimate attainment,
however, in his lower moments, he may serve God in action, or do the
will of his mistress, or minister to men by showing them a little
beauty. But it is, before all things, an escape: and the prophets
who have redeemed the world, and the artists who have made the world
beautiful, and the lovers who have quickened the pulses of the world,
have really, whether they knew it or not, been fleeing from the
certainty of one thought: that we have, all of us, only our one day;
and from the dread of that other thought: that the day, however used,
must after all be wasted.
Public-domain text, read in full here on John Shaqi.
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