Three Philosophical Poets: Lucretius, Dante, and Goethe — Dante Alighieri — John Shaqi
Three Philosophical Poets: Lucretius, Dante, and Goethe
Dante Alighieri · en
This last ambition of Faust’s is as romantic as the others. He feels the
prompting towards political art, as he had felt the prompting towards
love or beauty.[19] The notion of transforming things by his will, of
leaving for ages his mark upon nature and upon human society, fascinates
him;[20] but this passion for activity and power, which some
simple-minded commentators dignify with the name of altruism and of
living for others, has no steady purpose or standard about it.[21]
Goethe is especially lavish in details to prove this point. Magic, the
exercise of an unteachable will, is still Faust’s instrument.
Mephistopheles, by various arts of illusion, secures the triumph of the
emperor in a desperate war which he is carrying on against a justifiable
insurrection. As a reward for the aid rendered, Faust receives the shore
marches in fief. The necessary dykes and canals are built by magic; the
spirits that Mephistopheles commands dig and build them with strange
incantations. The commerce that springs up is also illegitimate: piracy
is involved in it.
Nor is this all. On some sand-dunes that diversified the original beach,
an old man and his wife, Philemon and Baucis, lived before the advent of
Faust and his improvements. On the hillock, besides their cottage, there
stood a small chapel, with a bell which disturbed Faust in his newly
built palace, partly by its importunate sound, partly by its Christian
suggestions, and partly by reminding him that he was not master of the
country altogether, and that something existed in it not the product of
his magical will. The old people would not sell out; and in a fit of
impatience Faust orders that they should be evicted by force, and
transferred to a better dwelling elsewhere. Mephistopheles and his
minions execute these orders somewhat roughly: the cottage and chapel
are set on fire, and Philemon and Baucis are consumed in the flames, or
buried in the ruins.
Faust regrets this accident; but it is one of those inevitable
developments of action which a brave man must face, and forget as soon
as possible. He had regretted in the same way the unhappiness of
Gretchen, and, presumably, the death of Euphorion; but such is romantic
life. His will, though shaken, is not extinguished by such
misadventures. He would continue, if life could last, doing things that,
in some respect, he would be obliged to regret: but he would banish that
regret easily, in the pursuit of some new interest, and, on the whole,
he would not regret having been obliged to regret them. Otherwise, he
would not have shared the whole experience of mankind, but missed the
important experience of self-accusation and of self-recovery.