Marius the Epicurean — Volume 1 by Walter Pater (13 ebook reader TXT) 📖

Such were the practical conclusions drawn for himself by Marius, when somewhat later he had outgrown the mastery of others, from the principle that “all is vanity.” If he could but count upon the present, if a life brief at best could not certainly be shown to conduct one anywhere beyond itself, if men’s highest curiosity was indeed so persistently baffled—then, with the Cyrenaics of all ages, he would at least fill up the measure of that present with vivid sensations, and such intellectual apprehensions, as, in strength and directness and their immediately realised values at the bar of an actual experience, are most like sensations. So some have spoken in every age; for, like all theories which really express a strong natural tendency of the human mind or even one of its characteristic modes of weakness, this vein of reflection is a constant tradition in philosophy. Every age of European thought has had its Cyrenaics or Epicureans, under many disguises: even under the hood of the monk.

But—Let us eat and drink, for to-morrow we die!—is a proposal, the real import of which differs immensely, according to the natural taste, and the acquired judgment, of the guests who sit at the table. It may express nothing better than the instinct of Dante’s Ciacco, the accomplished glutton, in the mud of the Inferno;+ or, since on no hypothesis does man “live by bread alone,” may come to be identical with—“My meat is to do what is just and kind;” while the soul, which can make no sincere claim to have apprehended anything beyond the veil of immediate experience, yet never loses a sense of happiness in conforming to the highest moral ideal it can clearly define for itself; and actually, though but with so faint hope, does the “Father’s business.”

In that age of Marcus Aurelius, so completely disabused of the metaphysical ambition to pass beyond “the flaming ramparts of the world,” but, on the other hand, possessed of so vast an accumulation of intellectual treasure, with so wide a view before it over all varieties of what is powerful or attractive in man and his works, the thoughts of Marius did but follow the line taken by the majority of educated persons, though to a different issue. Pitched to a really high and serious key, the precept—Be perfect in regard to what is here and now: the precept of “culture,” as it is called, or of a complete education—might at least save him from the vulgarity and heaviness of a generation, certainly of no general fineness of temper, though with a material well-being abundant enough. Conceded that what is secure in our existence is but the sharp apex of the present moment between two hypothetical eternities, and all that is real in our experience but a series of fleeting impressions:—so Marius continued the sceptical argument he had condensed, as the matter to hold by, from his various philosophical reading:—given, that we are never to get beyond the walls of the closely shut cell of one’s own personality; that the ideas we are somehow impelled to form of an outer world, and of other minds akin to our own, are, it may be, but a day-dream, and the thought of any world beyond, a day-dream perhaps idler still: then, he, at least, in whom those fleeting impressions—faces, voices, material sunshine—were very real and imperious, might well set himself to the consideration, how such actual moments as they passed might be made to yield their utmost, by the most dexterous training of capacity. Amid abstract metaphysical doubts, as to what might lie one step only beyond that experience, reinforcing the deep original materialism or earthliness of human nature itself, bound so intimately to the sensuous world, let him at least make the most of what was “here and now.” In the actual dimness of ways from means to ends—ends in themselves desirable, yet for the most part distant and for him, certainly, below the visible horizon—he would at all events be sure that the means, to use the well-worn terminology, should have something of finality or perfection about them, and themselves partake, in a measure, of the more excellent nature of ends—that the means should justify the end.

With this view he would demand culture, paideia,+ as the Cyrenaics said, or, in other words, a wide, a complete, education—an education partly negative, as ascertaining the true limits of man’s capacities, but for the most part positive, and directed especially to the expansion and refinement of the power of reception; of those powers, above all, which are immediately relative to fleeting phenomena, the powers of emotion and sense. In such an education, an “aesthetic” education, as it might now be termed, and certainly occupied very largely with those aspects of things which affect us pleasurably through sensation, art, of course, including all the finer sorts of literature, would have a great part to play. The study of music, in that wider Platonic sense, according to which, music comprehends all those matters over which the Muses of Greek mythology preside, would conduct one to an exquisite appreciation of all the finer traits of nature and of man. Nay! the products of the imagination must themselves be held to present the most perfect forms of life—spirit and matter alike under their purest and most perfect conditions—the most strictly appropriate objects of that impassioned contemplation, which, in the world of intellectual discipline, as in the highest forms of morality and religion, must be held to be the essential function of the “perfect.” Such manner of life might come even to seem a kind of religion—an inward, visionary, mystic piety, or religion, by virtue of its effort to live days “lovely and pleasant” in themselves, here and now, and with an all-sufficiency of well-being in the immediate sense of the object contemplated, independently of any faith, or hope that might be entertained as to their ulterior tendency. In this way, the true aesthetic culture would be realisable as a new form of the contemplative life, founding its claim on the intrinsic “blessedness” of “vision”—the vision of perfect men and things. One’s human nature, indeed, would fain reckon on an assured and endless future, pleasing itself with the dream of a final home, to be attained at some still remote date, yet with a conscious, delightful home-coming at last, as depicted in many an old poetic Elysium. On the other hand, the world of perfected sensation, intelligence, emotion, is so close to us, and so attractive, that the most visionary of spirits must needs represent the world unseen in colours, and under a form really borrowed from it. Let me be sure then—might he not plausibly say?—that I miss no detail of this life of realised consciousness in the present! Here at least is a vision, a theory, theôria,+ which reposes on no basis of unverified hypothesis, which makes no call upon a future after all somewhat problematic; as it would be unaffected by any discovery of an Empedocles (improving on the old story of Prometheus) as to what had really been the origin, and course of development, of man’s actually attained faculties and that seemingly divine particle of reason or spirit in him. Such a doctrine, at more leisurable moments, would of course have its precepts to deliver on the embellishment, generally, of what is near at hand, on the adornment of life, till, in a not impracticable rule of conduct, one’s existence, from day to day, came to be like a well-executed piece of music; that “perpetual motion” in things (so Marius figured the matter to himself, under the old Greek imageries) according itself to a kind of cadence or harmony.

It was intelligible that this “aesthetic” philosophy might find itself (theoretically, at least, and by way of a curious question in casuistry, legitimate from its own point of view) weighing the claims of that eager, concentrated, impassioned realisation of experience, against those of the received morality. Conceiving its own function in a somewhat desperate temper, and becoming, as every high-strung form of sentiment, as the religious sentiment itself, may become, somewhat antinomian, when, in its effort towards the order of experiences it prefers, it is confronted with the traditional and popular morality, at points where that morality may look very like a convention, or a mere stage-property of the world, it would be found, from time to time, breaking beyond the limits of the actual moral order; perhaps not without some pleasurable excitement in so bold a venture.

With the possibility of some such hazard as this, in thought or even in practice—that it might be, though refining, or tonic even, in the case of those strong and in health, yet, as Pascal says of the kindly and temperate wisdom of Montaigne, “pernicious for those who have any natural tendency to impiety or vice,” the line of reflection traced out above, was fairly chargeable.—Not, however, with “hedonism” and its supposed consequences. The blood, the heart, of Marius were still pure. He knew that his carefully considered theory of practice braced him, with the effect of a moral principle duly recurring to mind every morning, towards the work of a student, for which he might seem intended. Yet there were some among his acquaintance who jumped to the conclusion that, with the “Epicurean stye,” he was making pleasure—pleasure, as they so poorly conceived it—the sole motive of life; and they precluded any exacter estimate of the situation by covering it with a high-sounding general term, through the vagueness of which they were enabled to see the severe and laborious youth in the vulgar company of Lais. Words like “hedonism”— terms of large and vague comprehension—above all when used for a purpose avowedly controversial, have ever been the worst examples of what are called “question-begging terms;” and in that late age in which Marius lived, amid the dust of so many centuries of philosophical debate, the air was full of them. Yet those who used that reproachful Greek term for the philosophy of pleasure, were hardly more likely than the old Greeks themselves (on whom regarding this very subject of the theory of pleasure, their masters in the art of thinking had so emphatically to impress the necessity of “making distinctions”) to come to any very delicately correct ethical conclusions by a reasoning, which began with a general term, comprehensive enough to cover pleasures so different in quality, in their causes and effects, as the pleasures of wine and love, of art and science, of religious enthusiasm and political enterprise, and of that taste or curiosity which satisfied itself with long days of serious study. Yet, in truth, each of those pleasurable modes of activity, may, in its turn, fairly become the ideal of the “hedonistic” doctrine. Really, to the phase of reflection through which Marius was then passing, the charge of “hedonism,” whatever its true weight might be, was not properly applicable at all. Not pleasure, but fulness of life, and “insight” as conducting to that fulness—energy, variety, and choice of experience, including noble pain and sorrow even, loves such as those in the exquisite old story of Apuleius, sincere and strenuous forms of the moral life, such as Seneca and Epictetus—whatever form of human life, in short, might be heroic, impassioned, ideal: from these the “new Cyrenaicism” of Marius took its criterion of values. It was a theory, indeed, which might properly be regarded as in great degree coincident with the main principle of the Stoics themselves, and an older version of the precept “Whatsoever thy hand findeth to do, do it with thy might”—a doctrine so widely acceptable among the nobler spirits of that time. And, as with that, its mistaken tendency would lie in the direction of a kind of idolatry of mere life, or natural gift, or strength—l’idôlatrie des talents.

To understand the various forms of ancient art and thought, the various forms of actual human feeling (the only new thing, in a world almost too opulent in what was old) to satisfy, with a kind of scrupulous equity, the claims of these concrete and actual objects on his sympathy, his intelligence, his senses—to “pluck out the heart