Three Philosophical Poets: Lucretius, Dante, and Goethe — Dante Alighieri — John Shaqi
Three Philosophical Poets: Lucretius, Dante, and Goethe
Dante Alighieri · en
In Goethe’s first version of the poem, before the story of Gretchen, we
find the studious Faust, as in Marlowe, soliloquizing on the vanity of
the sciences. They grasp nothing of the genuine truth; they are verbal
shams. They have not even brought Faust fame or riches. Perhaps magic
might do better. The air was full of spirits; could they be summoned to
our aid, possibly the secrets of nature might be unlocked. We might
reach true science, and through it undreamt-of power over the material
world. For Nature, according to Goethe, really has secrets. She is not
all open to eventual inspection; she is no mere mechanism of minute
parts and statable laws. Our last view of her, like our first glimpse,
must be interpreted; from the sum of her manifestations we must divine
her soul. Therefore only a poetic and rhetorical art, like magic, has
any chance of unveiling her, and of bringing us face to face with the
truth.
In this invocation of spirits, as Goethe’s Faust makes it, there is no
question of selling, or even of risking, the soul. This Faust, unlike
Marlowe’s, has no faith and no fear. From the point of view of the
church he is damned already as an unbeliever; but, as an unbeliever, he
is looking for salvation in another quarter. Like the bolder spirits of
the Renaissance, he is hoping to find in universal nature, infinite,
placid, non-censorious, an escape from the prison-house of Christian
doctrine and Christian law. His magic arts are the sacrament that will
initiate him into his new religion, the religion of nature. He turns to
nature also in another sense, more characteristic of the age of Goethe
than of that of Faust. He longs for grandiose solitudes. He feels that
moonlight, caves, mountains, driving clouds, would be his best medicine
and his best counsellors. The souls of Rousseau, Byron, and Shelley are
pre-incarnate in this Faust, the epitome of all romantic rebellions.
They coexist there with the souls of Paracelsus and Giordano Bruno. The
wild aspects of nature, he thinks, will melt and renew his heart, while
magic reveals the mysteries of cosmic law and helps him to exploit them.