Three Philosophical Poets Part 6

[14] _Ibid_., xxviii.

[15] _Inferno_, iii. 124-26:

E p.r.o.nti sono a trapa.s.sar lo rio, Che la divina giustizia gli sp.r.o.na Si che la tema si volge in disio.

[16] _Purgatorio_, xxi. 61-69:

Della mondizia sol voler fa prova, Che, tutta libera a mutar convento, L' alma sorprende, e di voler le giova....

Ed io che son giaciuto a questa doglia Cinquecento anni e piu, pur mo sentii Libera volonta di miglior soglia.

[17] _Inferno_, xiv. 63-66:

"O Capaneo, in ci che non s' ammorza La tua superbia, se' tu piu punito: Nullo martirio, fuor che la tua rabbia, Sarebbe al tuo furor dolor compito."

[18] Alfred de Musset, _Poesies Nouvelles, Souvenir_:

Dante, pourquoi dis-tu qu'il n'est pire misere Qu'un souvenir heureux dans les jours de douleur?

Quel chagrin t'a dicte cette parole amere, Cette offense au malheur?

... Ce blaspheme vante ne vient pas de ton cur.

Un souvenir heureux est peut-etre sur terre Plus vrai que le bonheur....

Et c'est a ta Francoise, a ton ange de gloire, Que tu pouvais donner ces mots a p.r.o.noncer, Elle qui s'interrompt, pour conter son histoire, D'un eternel baiser!

[19] _Paradiso_, iii. 73-90:

"Se disia.s.simo esser piu superne, Foran discordi li nostri disiri Dal voler di colui che qui ne cerne,...

E la sua volontate e nostra pace; Ella e quel mare al qual tutto si move Ci ch' ella crea, e che natura face."

Chiaro mi fu allor com' ogni dove In cielo e Paradiso, e s la grazia Del sommo ben d' un modo non vi piove.

[20] _Paradiso_, xxii. 133-39:

Col viso ritornai per tutte e quante Le sette spere, e vidi questo globo Tal, ch' io sorrisi del suo vil sembiante; E quel consiglio per migliore approbo Che l' ha per meno; e chi ad altro pensa Chiamar si puote veramente probo.

IV.

GOETHE'S FAUST

In approaching the third of our philosophical poets, there is a scruple that may cross the mind. Lucretius was undoubtedly a philosophical poet; his whole poem is devoted to expounding and defending a system of philosophy. In Dante the case is almost as plain. The _Divine Comedy_ is a moral and personal fable; yet not only are many pa.s.sages explicitly philosophical, but the whole is inspired and controlled by the most definite of religious systems and of moral codes. Dante, too, is unmistakably a philosophical poet. But was Goethe a philosopher? And is _Faust_ a philosophical poem?

If we say so, it must be by giving a certain lat.i.tude to our terms.

Goethe was the wisest of mankind; too wise, perhaps, to be a philosopher in the technical sense, or to try to harness this wild world in a brain-spun terminology. It is true that he was all his life a follower of Spinoza, and that he may be termed, without hesitation, a naturalist in philosophy and a pantheist. His adherence to the general att.i.tude of Spinoza, however, did not exclude a great plasticity and freedom in his own views, even on the most fundamental points. Thus Goethe did not admit the mechanical interpretation of nature advocated by Spinoza. He also a.s.signed, at least to privileged souls, like his own, a more personal sort of immortality than Spinoza allowed. Moreover, he harboured a generous sympathy with the dramatic explanations of nature and history current in the Germany of his day. Yet such transcendental idealism, making the world the expression of a spiritual endeavour, was a total reversal of that conviction, so profound in Spinoza, that all moral energies are resident in particular creatures, themselves sparks in an absolutely infinite and purposeless world. In a word, Goethe was not a systematic philosopher. His feeling for the march of things and for the significance of great personages and great ideas was indeed philosophical, although more romantic than scientific. His thoughts upon life were fresh and miscellaneous. They voiced the genius and learning of his age. They did not express a firm personal att.i.tude, radical and unified, and transmissible to other times and persons. For philosophers, after all, have this advantage over men of letters, that their minds, being more organic, can more easily propagate themselves. They scatter less influence, but more seeds.

If from Goethe we turn to _Faust_--and it is as the author of _Faust_ only that we shall consider him--the situation is not less ambiguous. In the play, as the young Goethe first wrote it, philosophy appeared in the first line,--_Hab nun ach die Philosophey_; but it appeared there, and throughout the piece, merely as a human experience, a pa.s.sion or an illusion, a fund of images or an ambitious art. Later, it is true, under the spell of fas.h.i.+on and of Schiller, Goethe surrounded his original scenes with others, like the prologue in heaven, or the apotheosis of Faust, in which a philosophy of life was indicated; namely, that he who strives strays, yet in that straying finds his salvation. This idea left standing all that satirical and Mephistophelian wisdom with which the whole poem abounds, the later parts no less than the earlier. Frankly, it was a moral that adorned the tale, without having been the seed of it, and without even expressing fairly the spirit which it breathes.

_Faust_ remained an essentially romantic poem, written to give vent to a pregnant and vivid genius, to touch the heart, to bewilder the mind with a carnival of images, to amuse, to thrill, to humanize; and, if we must speak of philosophy, there were many express maxims in the poem, and many insights, half betrayed, that exceeded in philosophic value the belated and official moral which the author affixed to it, and which he himself warned us not to take too seriously.[1]

_Faust_ is, then, no philosophical poem, after an open or deliberate fas.h.i.+on; and yet it offers a solution to the moral problem of existence as truly as do the poems of Lucretius and Dante. Heard philosophies are sweet, but those unheard may be sweeter. They may be more unmixed and more profound for being adopted unconsciously, for being lived rather than taught. This is not merely to say what might be said of every work of art and of every natural object, that it could be made the starting-point for a chain of inferences that should reveal the whole universe, like the flower in the crannied wall. It is to say, rather, that the vital straining towards an ideal, definite but latent, when it dominates a whole life, may express that ideal more fully than could the best-chosen words.

Now _Faust_ is the foam on the top of two great waves of human aspiration, merging and heaping themselves up together,--the wave of romanticism rising from the depths of northern traditions and genius, and the wave of a new paganism coming from Greece over Italy. These are not philosophies to be read into _Faust_ by the critic; they are pa.s.sions seething in the drama. It is the drama of a philosophical adventure; a rebellion against convention; a flight to nature, to tenderness, to beauty; and then a return to convention again, with a feeling that nature, tenderness, and beauty, unless found there, will not be found at all. Goethe never depicts, as Dante does, the object his hero is pursuing; he is satisfied with depicting the pursuit. Like Lessing, in his famous apologue, he prefers the pursuit of the ideal to the ideal itself; perhaps, as in the case of Lessing, because the hope of realizing the ideal, and the interest in realizing it, were beginning to forsake him.

The case is somewhat as that of Dante would have been if, instead of recognizing and loving Beatrice at first sight and rising into a vision of the eternal world, ready-made and perfectly ordered, Dante had pa.s.sed from love to love, from _donna gentile_ to _donna gentile_, always longing for the eyes of Beatrice without ever meeting them. The _Divine Comedy_ would then have been only human, yet it might have suggested and required the very consummation that the _Divine Comedy_ depicts; and without expressing this consummation, our human comedy might have furnished materials and momentum for it, such that, if ever that consummation came to be expressed, it would be more deeply felt and more adequately understood. Dante gives us a philosophical goal, and we have to recall and retrace the journey; Goethe gives us a philosophic journey, and we have to divine the goal.

Goethe is a romantic poet; he is a novelist in verse. He is a philosopher of experience as it comes to the individual; the philosopher of life, as action, memory, or soliloquy may put life before each of us in turn. Now the zest of romanticism consists in taking what you know is an independent and ancient world as if it were material for your private emotions. The savage or the animal, who should not be aware of nature or history at all, could not be romantic about them, nor about himself. He would be blandly idiotic, and take everything quite unsuspectingly for what it was in him. The romanticist, then, should be a civilized man, so that his primitiveness and egotism may have something paradoxical and conscious about them; and so that his life may contain a rich experience, and his reflection may play with all varieties of sentiment and thought. At the same time, in his inmost genius, he should be a barbarian, a child, a transcendentalist, so that his life may seem to him absolutely fresh, self-determined, unforeseen, and unforeseeable. It is part of his inspiration to believe that he creates a new heaven and a new earth with each revolution in his moods or in his purposes. He ignores, or seeks to ignore, all the conditions of life, until perhaps by living he personally discovers them.[2] Like Faust, he flouts science, and is minded to make trial of magic, which renders a man's will master of the universe in which he seems to live.

He disowns all authority, save that mysteriously exercised over him by his deep faith in himself. He is always honest and brave; but he is always different, and absolves himself from his past as soon as he has outgrown or forgotten it. He is inclined to be wayward and foolhardy, justifying himself on the ground that all experience is interesting, that the springs of it are inexhaustible and always pure, and that the future of his soul is infinite. In the romantic hero the civilized man and the barbarian must be combined; he should be the heir to all civilization, and, nevertheless, he should take life arrogantly and egotistically, as if it were an absolute personal experiment.

This singular combination was strikingly exemplified in Doctor Johannes Faustus, a figure half historical, half legendary, familiar to Goethe in his boyhood in puppet-shows and chapbooks. An adventurer in the romantic as well as in the vulgar sense of the word, somewhat like Paracelsus or Giordano Bruno, Doctor Faustus had felt the mystery of nature, had scorned authority, had credited magic, had lived by imposture, and had fled from the police. His blasphemous boasts and rascally conduct, together with his magic arts, had made him even in his lifetime a scandalous and interesting personage. He was scarcely dead when legends gathered about his name. It was published abroad that he had sold his soul to the devil, in exchange for twenty-four years of wild pleasures upon earth.

This legend purported to offer a terrible and edifying example, a warning to all Christians to avoid the snares of science, of pleasure, and of ambition. These things had sent Doctor Faustus into h.e.l.l-fire; his corpse, found face downward, could not be turned over upon its back.

Nevertheless, we may suspect that even at the beginning people recognized in Doctor Faustus a braver brother, a somewhat enviable reprobate who had dared to relish the good things of this life above the sad joys vaguely promised for the other. All that the Renaissance valued was here represented as in the devil's gift; and the man in the street might well doubt whether it was religion or worldly life that was thereby made the more unlovely. Doubtless the Lutheran authors of the first chapbook felt, and felt rightly, that those fine things which tempted Faustus were unevangelical, pagan, and popish; yet they could not cease altogether to admire and even to covet them, especially when the first ardours of the Old-Christian revival had had time to cool.

Marlowe, who wrote only a few years later, made a beginning in the rehabilitation of the hero. His Faustus is still d.a.m.ned, but he is transformed into the sort of personage that Aristotle approves of for the hero of tragedy, essentially human and n.o.ble, but led astray by some excusable vice or error. Marlowe's public would see in Doctor Faustus a man and a Christian like themselves, carried a bit too far by ambition and the love of pleasure. He is no radical unbeliever, no natural mate for the devil, conscienceless and heathen, like the typical villain of the Renaissance. On the contrary, he has become a good Protestant, and holds manfully to all those parts of the creed which express his spontaneous affections. A good angel is often overheard whispering in his ear; and if the bad angel finally prevails, it is in spite of continual remorse and hesitation on the Doctor's part. This excellent Faustus is d.a.m.ned by accident or by predestination; he is brow-beaten by the devil and forbidden to repent when he has really repented. The terror of the conclusion is thereby heightened; we see an essentially good man, because in a moment of infatuation he had signed away his soul, driven against his will to despair and d.a.m.nation. The alternative of a happy solution lies almost at hand; and it is only a lingering taste for the lurid and the horrible, ingrained in this sort of melodrama, that sends him shrieking to h.e.l.l.

What makes Marlowe's conclusion the more violent and the more unphilosophical is the fact that, to any one not dominated by convention, the good angel, in the dialogue, seems to have so much the worse of the argument. All he has to offer is sour admonition and external warnings:

_O Faustus, lay that d.a.m.ned book aside,_ _And gaze not on it lest it tempt thy soul,_ _And heap G.o.d's heavy wrath upon thy head._ _Read, read, the Scriptures; that is blasphemy...._ _Sweet Faustus, think of heaven, and heavenly things._

To which the evil angel replies:

_No, Faustus, think of honour and of wealth._

And in another place:

_Go forward, Faustus, in that famous art,_ _Wherein all nature's treasure is contained._ _Be thou on earth as Jove is in the sky,_ _Lord and commander of these elements._

There can be no doubt that the devil here represents the natural ideal of Faustus, or of any child of the Renaissance; he appeals to the vague but healthy ambitions of a young soul, that would make trial of the world. In other words, this devil represents the true good, and it is no wonder if the honest Faustus cannot resist his suggestions. We like him for his love of life, for his trust in nature, for his enthusiasm for beauty. He speaks for us all when he cries:

_Was this the face that launched a thousand s.h.i.+ps_ _And burnt the topless towers of Ilium?_

Even his irreverent pranks, being directed against the pope, endear him the more to an anti-clerical public; and he appeals to courtiers and cavaliers by his lofty poetical scorn for such crabbed professions as the law, medicine, or theology. In a word, Marlowe's Faustus is a martyr to everything that the Renaissance prized,--power, curious knowledge, enterprise, wealth, and beauty.

How thoroughly Marlowe and Goethe are on the way towards reversing the Christian philosophy of life may be seen if we compare _Faust_ for a moment (as, in other respects, has often been done) with _The Wonder-working Magician_ of Calderon. This earlier hero, St. Cyprian of Antioch, is like Faust in being a scholar, signing away his soul to the devil, practising magic, embracing the ghost of beauty, and being ultimately saved. Here the a.n.a.logy ends. Cyprian, far from being disgusted with all theory, and particularly with theology, is a pagan philosopher eagerly seeking G.o.d, and working his way, with full faith in his method, toward Christian orthodoxy. He floors the devil in scholastic argument about the unity of G.o.d, his power, wisdom, and goodness. He falls in love, and sells his soul merely in the hope of satisfying his pa.s.sion. He studies magic chiefly for the same reason; but magic cannot overrule the free-will of the Christian lady he loves (a modern and very Spanish one, though supposed to adorn ancient Antioch). The devil can supply only a false phantasm of her person, and as Cyprian approaches her and lifts her veil, he finds a hideous death's-head beneath; for G.o.d can work miracles to cap those of any magician, and can beat the devil at his own game. Thunderstruck at this portent, Cyprian becomes a Christian. Half-naked, ecstatic, taken for a madman, he bears witness loudly and persistently to the power, wisdom, and goodness of the one true G.o.d; and, since the persecution of Decius is then going on, he is hurried away to martyrdom. His lady, sentenced also for the same cause, encourages him by her heroic att.i.tude and words. Their earthly pa.s.sion is dead; but their souls are united in death and in immortality.

In this drama we see magic checkmated by miracles, doubt yielding to faith, purity resisting temptation, pa.s.sion transformed into zeal, and all the glories of the world collapsing before disillusion and asceticism. These glories are nothing, the poet tells us, but dust, ashes, smoke, and air.

The contrast with Goethe's _Faust_ could not be more complete. Both poets take the greatest liberties with their chronology, yet the spirit of their dramas is remarkably true to the respective ages in which they are supposed to occur. Calderon glorifies the movement from paganism to Christianity. The philosophy in which that movement culminated--Catholic orthodoxy--still dominates the poet's mind, not in a perfunctory way, but so as to kindle his imagination, and render his personages sublime and his verses rapturous. Goethe's _Faust_, on the contrary, glorifies the return from Christianity to paganism. It shows the spirit of the Renaissance liberating the soul, and bursting the bonds of traditional faith and traditional morals. This spirit, after manifesting itself brilliantly at the time of the historical Faust, had seemed to be smothered in the great world during the seventeenth century. Men's characters and laws had reaffirmed their old allegiance to Christianity, and the Renaissance survived only abstractly, in scholars.h.i.+p or the fine arts, to which it continued to lend a certain cla.s.sic or pseudo-cla.s.sic elegance. In Goethe's time, however, a second Renaissance was taking place in the souls of men. The love of life, primal and adventurous, was gathering head in many an individual. In the romantic movement and in the French Revolution, this love of life freed itself from the politic compromises and conventions that had been stifling it for two hundred years. Goethe's hero embodies this second, romantic emanc.i.p.ation of the mind, too long an unwilling pupil of Christian tradition. He cries for air, for nature, for all experience. Cyprian, on the other hand, an unwilling pupil of paganism, had yearned for truth, for solitude, and for heaven.

Such was the legend that, to the great good fortune of mankind, fascinated the young Goethe, and took root in his fancy. Around it gathered the experiences and insights of sixty well-filled years: _Faust_ became the poetical autobiography and the philosophic testament of Goethe. He stuffed it with every enthusiasm that diversified his own life, from the great alternative of romantic or cla.s.sical art, down to the controversy between Neptunism and Vulcanism in geology, and to his fatherly admiration for Lord Byron. Yet in spite of the liberties he took with the legend, and the personal turn he gave it, nothing in its historical a.s.sociations escaped him. His life in Frankfort and in Stra.s.sburg had made the mediaeval scene familiar to his fancy; Herder had communicated to him an imaginative cult for all that was national and characteristic in art and manners; the spell of Gothic architecture had fallen on him; and he had learned to feel in Shakespeare the infinite strength of suggestion in details, in mult.i.tudinous glimpses, in lifelike medleys of sadness and mirth, in a humble realism in externals, amid lyric and metaphysical outpourings of the pa.s.sions. The sense for cla.s.sic beauty which had inspired Marlowe with immortal lines, and was later to inspire his own _Helena,_ was as yet dormant; but instead he had caught the humanitarian craze, then prevalent, for defending and idealizing the victims of law and society, among others, the poor girl who, to escape disgrace, did away with her new-born child.