IV
A LONG WAY ROUND TO NIRVANA
That the end of life is death may be called a truism, since the various kinds of immortality that might perhaps supervene would none of them abolish death, but at best would weave life and death together into the texture of a more comprehensive destiny. The end of one life might be the beginning of another, if the Creator had composed his great work like a dramatic poet, assigning successive lines to different characters. Death would then be merely the cue at the end of each speech, summoning the next personage to break in and keep the ball rolling. Or perhaps, as some suppose, all the characters are assumed in turn by a single supernatural Spirit, who amid his endless improvisations is imagining himself living for the moment in this particular solar and social system. Death in such a universal monologue would be but a change of scene or of metre, while in the scramble of a real comedy it would be a change of actors. In either case every voice would be silenced sooner or later, and death would end each particular life, in spite of all possible sequels.
The relapse of created things into nothing is no violent fatality, but something naturally quite smooth and proper. This has been set forth recently, in a novel way, by a philosopher from whom we hardly expected such a lesson, namely Professor Sigmund Freud. He has now broadened his conception of sexual craving or libido into a general principle of attraction or concretion in matter, like the Eros of the ancient poets Hesiod and Empedocles. The windows of that stuffy clinic have been thrown open; that smell of acrid disinfectants, those hysterical shrieks, have escaped into the cold night. The troubles of the sick soul, we are given to understand, as well as their cure, after all flow from the stars.
I am glad that Freud has resisted the tendency to represent this principle of Love as the only principle in nature. Unity somehow exercises an evil spell over metaphysicians. It is admitted that in real life it is not well for One to be alone, and I think pure unity is no less barren and graceless in metaphysics. You must have plurality to start with, or trinity, or at least duality, if you wish to get anywhere, even if you wish to get effectively into the bosom of the One, abandoning your separate existence. Freud, like Empedocles, has prudently introduced a prior principle for Love to play with; not Strife, however (which is only an incident in Love), but Inertia, or the tendency towards peace and death. Let us suppose that matter was originally dead, and perfectly content to be so, and that it still relapses, when it can, into its old equilibrium. But the homogeneous (as Spencer would say) when it is finite is unstable: and matter, presumably not being co-extensive with space, necessarily forms aggregates which have an inside and an outside. The parts of such bodies are accordingly differently exposed to external influences and differently related to one another. This inequality, even in what seems most quiescent, is big with changes, destined to produce in time a wonderful complexity. It is the source of all uneasiness, of life, and of love.
"Let us imagine [writes Freud][11] an undifferentiated vesicle of sensitive substance: then its surface, exposed as it is to the outer world, is by its very position differentiated, and serves as an organ for receiving stimuli.... This morsel of living substance floats about in an outer world which is charged with the most potent energies, and it would be destroyed ... if it were not furnished with protection against stimulation. [On the other hand] the sensitive cortical layer has no protective barrier against excitations emanating from within.... The most prolific sources of such excitations are the so-called instincts of the organism.... The child never gets tired of demanding the repetition of a game ... he wants always to hear the same story instead of a new one, insists inexorably on exact repetition, and corrects each deviation which the narrator lets slip by mistake.... According to this, an instinct would be a tendency in living organic matter impelling it towards reinstatement of an earlier condition, one which it had abandoned under the influence of external disturbing forces—a kind of organic elasticity, or, to put it another way, the manifestation of inertia in organic life.
"If, then, all organic instincts are conservative, historically acquired, and directed towards regression, towards reinstatement of something earlier, we are obliged to place all the results of organic development to the credit of external, disturbing, and distracting influences. The rudimentary creature would from its very beginning not have wanted to change, would, if circumstances had remained the same, have always merely repeated the same course of existence.... It would be counter to the conservative nature of instinct if the goal of life were a state never hitherto reached. It must be rather an ancient starting point, which the living being left long ago, and to which it harks back again by all the circuitous paths of development.... The goal of all life is death....
"Through a long period of time the living substance may have ... had death within easy reach ... until decisive external influences altered in such a way as to compel [it] to ever greater deviations from the original path of life, and to ever more complicated and circuitous routes to the attainment of the goal of death. These circuitous ways to death, faithfully retained by the conservative instincts, would be neither more nor less than the phenomena of life as we know it."
Freud puts forth these interesting suggestions with much modesty, admitting that they are vague and uncertain and (what it is even more important to notice) mythical in their terms; but it seems to me that, for all that, they are an admirable counterblast to prevalent follies. When we hear that there is, animating the whole universe, an Élan vital, or general impulse toward some unknown but single ideal, the terms used are no less uncertain, mythical, and vague, but the suggestion conveyed is false—false, I mean, to the organic source of life and aspiration, to the simple naturalness of nature: whereas the suggestion conveyed by Freud's speculations is true. In what sense can myths and metaphors be true or false? In the sense that, in terms drawn from moral predicaments or from literary psychology, they may report the general movement and the pertinent issue of material facts, and may inspire us with a wise sentiment in their presence. In this sense I should say that Greek mythology was true and Calvinist theology was false. The chief terms employed in psycho-analysis have always been metaphorical: "unconscious wishes", "the pleasure-principle", "the Oedipus complex", "Narcissism", "the censor"; nevertheless, interesting and profound vistas may be opened up, in such terms, into the tangle of events in a man's life, and a fresh start may be made with fewer encumbrances and less morbid inhibition. "The shortcomings of our description", Freud says, "would probably disappear if for psychological terms we could substitute physiological or chemical ones. These too only constitute a metaphorical language, but one familiar to us for a much longer time, and perhaps also simpler." All human discourse is metaphorical, in that our perceptions and thoughts are adventitious signs for their objects, as names are, and by no means copies of what is going on materially in the depths of nature; but just as the sportsman's eye, which yields but a summary graphic image, can trace the flight of a bird through the air quite well enough to shoot it and bring it down, so the myths of a wise philosopher about the origin of life or of dreams, though expressed symbolically, may reveal the pertinent movement of nature to us, and may kindle in us just sentiments and true expectations in respect to our fate—for his own soul is the bird this sportsman is shooting.
Now I think these new myths of Freud's about life, like his old ones about dreams, are calculated to enlighten and to chasten us enormously about ourselves. The human spirit, when it awakes, finds itself in trouble; it is burdened, for no reason it can assign, with all sorts of anxieties about food, pressures, pricks, noises, and pains. It is born, as another wise myth has it, in original sin. And the passions and ambitions of life, as they come on, only complicate this burden and make it heavier, without rendering it less incessant or gratuitous. Whence this fatality, and whither does it lead? It comes from heredity, and it leads to propagation. When we ask how heredity could be started or transmitted, our ignorance of nature and of past time reduces us to silence or to wild conjectures. Something—let us call it matter—must always have existed, and some of its parts, under pressure of the others, must have got tied up into knots, like the mainspring of a watch, in such a violent and unhappy manner that when the pressure is relaxed they fly open as fast as they can, and unravel themselves with a vast sense of relief. Hence the longing to satisfy latent passions, with the fugitive pleasure in doing so. But the external agencies that originally wound up that mainspring never cease to operate; every fresh stimulus gives it another turn, until it snaps, or grows flaccid, or is unhinged. Moreover, from time to time, when circumstances change, these external agencies may encrust that primary organ with minor organs attached to it. Every impression, every adventure, leaves a trace or rather a seed behind it. It produces a further complication in the structure of the body, a fresh charge, which tends to repeat the impressed motion in season and out of season. Hence that perpetual docility or ductility in living substance which enables it to learn tricks, to remember facts, and (when the seeds of past experiences marry and cross in the brain) to imagine new experiences, pleasing or horrible. Every act initiates a new habit and may implant a new instinct. We see people even late in life carried away by political or religious contagions or developing strange vices; there would be no peace in old age, but rather a greater and greater obsession by all sorts of cares, were it not that time, in exposing us to many adventitious influences, weakens or discharges our primitive passions; we are less greedy, less lusty, less hopeful, less generous. But these weakened primitive impulses are naturally by far the strongest and most deeply rooted in the organism: so that although an old man may be converted or may take up some hobby, there is usually something thin in his elderly zeal, compared with the heartiness of youth; nor is it edifying to see a soul in which the plainer human passions are extinct becoming a hotbed of chance delusions.
In any case each fresh habit taking root in the organism forms a little mainspring or instinct of its own, like a parasite; so that an elaborate mechanism is gradually developed, where each lever and spring holds the other down, and all hold the mainspring down together, allowing it to unwind itself only very gradually, and meantime keeping the whole clock ticking and revolving, and causing the smooth outer face which it turns to the world, so clean and innocent, to mark the time of day amiably for the passer-by. But there is a terribly complicated labour going on beneath, propelled with difficulty, and balanced precariously, with much secret friction and failure. No wonder that the engine often gets visibly out of order, or stops short: the marvel is that it ever manages to go at all. Nor is it satisfied with simply revolving and, when at last dismounted, starting afresh in the person of some seed it has dropped, a portion of its substance with all its concentrated instincts wound up tightly within it, and eager to repeat the ancestral experiment; all this growth is not merely material and vain. Each clock in revolving strikes the hour, even the quarters, and often with lovely chimes. These chimes we call perceptions, feelings, purposes, and dreams; and it is because we are taken up entirely with this mental music, and perhaps think that it sounds of itself and needs no music-box to make it, that we find such difficulty in conceiving the nature of our own clocks and are compelled to describe them only musically, that is, in myths. But the ineptitude of our aesthetic minds to unravel the nature of mechanism does not deprive these minds of their own clearness and euphony. Besides sounding their various musical notes, they have the cognitive function of indicating the hour and catching the echoes of distant events or of maturing inward dispositions. This information and emotion, added to incidental pleasures in satisfying our various passions, make up the life of an incarnate spirit. They reconcile it to the external fatality that has wound up the organism, and is breaking it down; and they rescue this organism and all its works from the indignity of being a vain complication and a waste of motion.