Three Philosophical Poets by George Santayana (free children's ebooks pdf TXT) 📖

This long allegory is charming enough, as a series of pictures and melodies, to leave the reader content not to interpret it; yet the intention of the poet is clear, if we care to disentangle it. By going down into the bowels of nature, where the earth goddesses dwell, who are the first mothers of all life and of all civilizations alike, we may gather intelligence to comprehend even the most alien existence. Greece, after such a reversion to the elemental, will appear to us in her unmatched simplicity and beauty. The vision will be granted us, although the object we see belongs to a distant past; and if our enthusiasm, like that of Faust, is passionate and indomitable, we may actually persuade the Queen of the Dead to yield up Helen that we may wed her. Our scholarship and philosophy, our faithful imitation of Greek art and literature, may actually render the Greek scene familiar to us. Yet the setting of this recovered genius will still be modern; it will become half modern itself; we shall have to teach Helen to rhyme. The product of this hybrid inspiration will be a romantic soul in the garb of classicism, a lovely wild thing, fated to die young. When this enthusiasm has dashed itself against the hard conditions of life, the beauty of Greece, that was its mother, will also pale before our eyes. We shall be, perforce, content to let it return to the realm of irrevocable past things. Only its garment, the monuments of its art and thought, will remain to raise us, if we have loved them, above all vulgarity in taste and in moral allegiance.

It is an evidence of Goethe's great wisdom that he felt that romantic classicism must be subordinated or abandoned; that Helen must evaporate, while Faust returned to Germany and to the feeling that after all Gretchen was his true love.[17] At the same time the issue of this wonderful episode is a little disappointing. At the beginning, the vision of Helen in a mirror had inspired Faust with renewed enthusiasm. The sight of her again, in the magic play, had altogether enraptured and overwhelmed him; and this inspiration had come just when, after the death of Gretchen, he had resolved to pursue not all experience, as at first, but rather the best, experience,[18]—a hint that the transformations of Faust's will were expected somehow to constitute a real progress. There was, indeed, among mortals such an infinite need of this incomparable and symbolic Helen, that it could move the very guardians of the dead to mercy and to tears. When we remember all this, we have some reason to expect that a great and permanent improvement in the life and heart of our hero should follow on his obtaining so rare a boon. But to live within Arcadia Helen was not needed; any Phyllis would have served.

Helen, to be sure, leaves some relics behind, by which we may understand that the influence of Greek history, literature, and sculpture may still avail to cultivate the mind and give it an air of distinction. Perhaps in the commonwealth he is about to found, Faust would wish to establish not only dykes and freedom, but also professorships of Greek and archaeological museums. And the lyre of Euphorion, which is also left us, may signify that poems like Byron's Isles of Greece, Keats's Grecian Urn, Die Götter Griechenlands of Schiller, and Goethe's own classical pieces will continue to enrich European literature. This is something, but not enough to lift Faust's immense enthusiasm for Helen above a crass illusion. That dream of a perfect beauty to be achieved, of a perfect life to be lived according to nature and reason, would have ended in a little scholarship and a little pedantry. Faust would have won Helen in order to hand her over to Wagner.

Helen was queen of Sparta; and although of course the Doric Sparta of Lycurgus was something much later, and had nothing to do with the Sparta of Homer, yet taken symbolically it is the happiest accident that Helen, the type of Greek perfection in beauty, should have been queen of Sparta, the type of Greek perfection in discipline. A Faust that had, truly deserved and understood Helen would have built her an Hellenic city; he would have become himself an ἄναξ ἀνδρῶν, a master of men, one of those poets in things, those shapers of well-bred generations and wise laws, of which Plato speaks, contrasting them with Homer and other poets in words only. For the beauty of mind and body that fascinates the romantic classicist, and which inspired the ancient poets themselves, was not a product of idleness and sentimentality, nor of material and forced activity; it was a product of orderly war, religion, gymnastics, and deliberate self-government.

The next turn in Faust's fortunes actually finds him a trader, a statesman, an empire-builder; and if such a rolling stone could gather any moss, we should expect to see here, if anywhere, the fruits of that "aesthetic education of mankind" which Helen represented. We should expect Faust, who had lain in the lap of absolute beauty, to understand its nature. We should expect him, in eager search after perfection, to establish his state on the distinction between the better and the worse,—a distinction never to be abolished or obscured for one who has loved beauty. In other words, he might have established a moral society founding it on great renunciations and on enlightened heroisms, so that the highest beauty might really come down and dwell within that city. But we find nothing of the sort. Faust founds his kingdom because he must do something; and his only ideal of what he hopes to secure for his subjects is that they shall always have something to do. Thus the will to live, in Faust, is not in the least educated by his experience. It changes its objects because it must; the passions of youth yield to those of age; and among all the illusions of his life the most fatuous is the illusion of progress.

It is characteristic of the absolute romantic spirit that when it has finished with something it must invent a new interest. It beats the bush for fresh game; it is always on the verge of being utterly bored. So now that Helen is flown, Mephistopheles must come to the rescue, like an amiable nurse, and propose all sorts of pastimes. Frankfort, Leipzig, Paris, Versailles, are described, with the entertainments that life there might afford; but Faust, who was always difficile, has been rendered more so by his recent splendid adventures. However, a new impulse suddenly arises in his breast. From the mountain-top to which Helen's mantle has borne him, he can see the German Ocean, with its tides daily covering great stretches of the flat shore, and rendering them brackish and uninhabitable. It would be a fine thing to reclaim those wastes, to plant there a prosperous population. After Greece, Faust has a vision of Holland.

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.

It is impossible to suppose that the citizens he is establishing behind leaky dykes, so that they may always have something to keep them busy, would have given him unmixed satisfaction if he could really have foreseen their career in its concrete details. Holland is an interesting country, but hardly a spectacle which would long entrance an idealist like Faust, so exacting that he has found the arts and sciences wholly vain, domesticity impossible, and kitchens and beer-cellars beneath consideration. The career of Faust himself had been far more free and active than that of his industrious burghers could ever hope to be. His interest in establishing them is a masterful, irresponsible interest. It is one more arbitrary passion, one more selfish illusion. As he had no conscience in his love, and sought and secured nobody's happiness, so he has no conscience in his ambition and in his political architecture; but if only his will is done, he does not ask whether, judged by its fruits, it will be worth doing. As his immense dejection at the beginning, when he was a doctor in his laboratory, was not founded on any real misfortune, but on restlessness and a vague infinite ambition, so his ultimate satisfaction in his work is not founded on any good done, but on a passionate wilfulness. He calls the thing he wants for others good, because he now wants to bestow it on them, not because they naturally want it for themselves. Incapable of sympathy, he has a momentary pleasure in policy; and in the last and "highest" expression of his will, in his statesmanship and supposed public spirit, he remains romantic and, if need be, aggressive and criminal.

Meantime, his end is approaching. The smoke from that poor little conflagration turns into shadowy-shapes of want, guilt, care, and death, which come and hover about him. Want is kept off by his wealth, and guilt is transcended by his romantic courage. But care slips through the keyhole, breathes upon him, and blinds him; while death, though he does not see it, follows