Outlines of a Philosophy of Religion based on Psychology and History

by Auguste Sabatier

Born in the artist's soul, of the subjective activity of his ego, the symbol addresses itself much less to the pure intellect than to the inner life and to the emotions of those who contemplate it. It awakes and sets in motion the subjective activity of the ego; it has produced its whole effect when it has produced in us the emotions, the transport, the enthusiasm, the faith, that the poet himself experienced in engendering it. Such is the source and the explanation of "the magic of art," of eloquence, of religious inspiration. All the creators of living symbols pour their soul into our soul, their life into our life. They subjugate and ravish us. By symbols, much better than by scientific notions, the community and fraternity of spirits is realised, and the fusion of souls into a collective consciousness effected; a consciousness which includes all individual minds and tunes them into harmony; the consciousness of a nation, of a church, of humanity. It is not science that rules the world—it is symbols.

Inferior to the exact ideas of science in logical clearness, symbolic forms are superior to them in power and reach. Science is forcibly arrested at the surface of things, at the appearances continually arising in the universe. In it is found neither the principle of energy, nor, consequently, the secret of life, or the key to our destiny. You seek the meaning and the end of your action; you ask for some sufficient reason for living; do you not feel that it is contradictory to address yourself to the science of phenomena, seeing that, from the strictly scientific point of view, phenomena have not in themselves their own raison d'être? That which you seek is beyond phenomena, and it is symbols alone that can, not make you comprehend it, but reveal it to you.

Since Nature may become and does become, in art and in religion, the constant symbol of the inner life of spirit and of its normal development,—since it is susceptible of this perpetual and glorious transfiguration by spirit,—it is impossible not to admit the inner correspondence of the laws of Nature and the laws of conscious life, and to believe in their deep unity. It is, in fact, secret and powerful analogies which rule and inspire symbolical creations. Art and religion are more than conventions; they are revelations of that which is hidden at once in spirit and in Nature, of the principle of Being itself, of the absolute energy which is manifested, parallelly, in the unfolding of the physical universe and of the moral universe. All things cover some mystery; phenomena are simply veils. That is why, by their very destination, they become symbols.

The idea of symbol and the idea of mystery are correlative. Who says symbol says at the same time occultation and revelation. In becoming present and even sensible, the living verity still remains veiled. The same image that reveals it to the heart remains for the intellect an impassable barrier. One may say of it what the poet says of the sense of the infinite, for, at bottom, it is the same thing. "We are restless because we see it but can never comprehend it."

This inquietude is soothed by a clear knowledge of the cause from which it springs. Symbols are the only language suited to religion. We need to know that which we adore; for no one adores that of which he has no perception; but it is not less necessary that we should not comprehend it, for one does not adore that which he comprehends too clearly, because to comprehend is to dominate. Such is the twofold and contradictory condition of piety, to which symbols seem to be made expressly in order to respond. Piety has never had any other language.

In considerations of this kind might be found the explanation of the bond which in the beginning unites religion and art. But we must confine ourselves to our special topic, and proceed to inquire what it is that constitutes the life and power of religious symbols.

It would be an illusion to believe that a religious symbol represents God in Himself, and that its value, therefore, depends on the exactitude with which it represents Him. The true content of the symbol is entirely subjective: it is the conscious relation of the subject to God, or rather, it is the way he feels himself affected by God. Thus when the Psalmist exclaims: "The Lord is my rock"; or "God is a devouring fire"; when the Christ teaches us to say, "Our Father,"—these are not scientific, and in this case metaphysical, definitions of God. What these images simply translate is the relation of absolute confidence, of awe, of filial love, which, by His mysterious action, the Spirit of God creates in revealing Himself in the spirit of man. From these divers feelings spring spontaneously the strong and simple images which translate them, and which, if these subjective experiences are eliminated, have no content and no truth.

From this point of view we may see in what religious inspiration psychologically consists. Neither its aim nor its effect is to communicate to men exact, objective, ready-made ideas on that which by its nature is unknowable under the scientific mode; but it consists in an enrichment and exaltation of the inner life of its subject; it sets in motion his inward religious activity, since it is in that that God reveals Himself; it excites new feelings, constituting new concrete relations of God to man, and by the fact of this creative activity it spontaneously engenders new images and new symbols, of which the real content is precisely this revelation of the God-spirit in the inner life of the spirit of man.

The greatest initiators in the religious order have been the greatest creators of symbols. Prophecy, in the Biblical sense of the word, has never given divine revelation except in the form of images. And whence spring these images but from the exaltation of the religious life of the prophet which spontaneously expresses itself without? Every other conception of inspiration is anti-psychological.

To the question, Whence come the life and power of symbols? we reply: From the primitive organic unity of the sentiment of piety, and of the image which translates it first to consciousness. It is the organic unity of soul and body. The greater the creative force that engenders the symbol, the stronger is this unity. It constitutes its truth because it constitutes its life. For a symbol, to be living it suffices that it should be sincere, that the feeling should not be separate from the image, nor the image from the feeling. To this cry of confidence in God, "The Lord is my rock," there is no objection, so long as this confidence is really felt, although a rock is a very poor image of God. It follows that the value of a symbol must not be measured by the nature of the image employed, but by the moral value, in the scale of feeling, of the relation in which it places us to God. It is the moral value of this relation which alone makes the intrinsic value of a religion, and which permits us to assign to it its true place in the development of humanity.