Three Philosophical Poets: Lucretius, Dante, and Goethe

by George Santayana

Although science for its own sake could not interest so monkish a nature, yet science might be useful in buttressing the faith, or in removing objections to it. Epicurus therefore departed from the reserve of Socrates, and looked for a natural philosophy that might support his ethics. Of all the systems extant—and they were legion—he found that of Democritus the most helpful and edifying. Better than any other it would persuade men to renounce the madness that must be renounced and to enjoy the pleasures that may be enjoyed. But, since it was adopted on these external and pragmatic grounds, the system of Democritus did not need to be adopted entire. In fact, one change at least was imperative. The motion of the atoms must not be wholly regular and mechanical. Chance must be admitted, that Fate might be removed. Fate was a terrifying notion. It was spoken of by the people with superstitious unction. Chance was something humbler, more congenial to the man in the street. If only the atoms were allowed to deflect a little now and then from their courses, the future might remain unpredictable, and free-will might be saved. Therefore, Epicurus decreed that the atoms deflected, and fantastic arguments were added to show that this intrusion of chance would aid in the organization of nature; for the declension of the atoms, as it is called, would explain how the original parallel downpour of them might have yielded to vortices, and so to organized bodies. Let us pass on.

Materialism, like any system of natural philosophy, carries with it no commandments and no advice. It merely describes the world, including the aspirations and consciences of mortals, and refers all to a material ground. The materialist, being a man, will not fail to have preferences, and even a conscience, of his own; but his precepts and policy will express, not the logical implications of his science, but his human instincts, as inheritance and experience may have shaped them. Any system of ethics might accordingly coexist with materialism; for if materialism declares certain things (like immortality) to be impossible, it cannot declare them to be undesirable. Nevertheless, it is not likely that a man so constituted as to embrace materialism will be so constituted as to pursue things which he considers unattainable. There is therefore a psychological, though no logical, bond between materialism and a homely morality.

The materialist is primarily an observer; and he will probably be such in ethics also; that is, he will have no ethics, except the emotion produced upon him by the march of the world. If he is an esprit fort and really disinterested, he will love life; as we all love perfect vitality, or what strikes us as such, in gulls and porpoises. This, I think, is the ethical sentiment psychologically consonant with a vigorous materialism: sympathy with the movement of things, interest in the rising wave, delight at the foam it bursts into, before it sinks again. Nature does not distinguish the better from the worse, but the lover of nature does. He calls better what, being analogous to his own life, enhances his vitality and probably possesses some vitality of its own. This is the ethical feeling of Spinoza, the greatest of modern naturalists in philosophy; and we shall see how Lucretius, in spite of his fidelity to the ascetic Epicurus, is carried by his poetic ecstasy in the same direction.

But mark the crux of this union: the materialist will love the life of nature when he loves his own life; but if he should hate his own life, how should the life of nature please him? Now Epicurus, for the most part, hated life. His moral system, called hedonism, recommends that sort of pleasure which has no excitement and no risk about it. This ideal is modest, and even chaste, but it is not vital. Epicurus was remarkable for his mercy, his friendliness, his utter horror of war, of sacrifice, of suffering. These are not sentiments that a genuine naturalist would be apt to share. Pity and repentance, Spinoza said, were vain and evil; what increased a man’s power and his joy increased his goodness also. The naturalist will believe in a certain hardness, as Nietzsche did; he will incline to a certain scorn, as the laughter of Democritus was scornful. He will not count too scrupulously the cost of what he achieves; he will be an imperialist, rapt in the joy of achieving something. In a word, the moral hue of materialism in a formative age, or in an aggressive mind, would be aristocratic and imaginative; but in a decadent age, or in a soul that is renouncing everything, it would be, as in Epicurus, humanitarian and timidly sensual.

We have now before us the antecedents and components of Lucretius’ poem on nature. There remains the genius of the poet himself. The greatest thing about this genius is its power of losing itself in its object, its impersonality. We seem to be reading not the poetry of a poet about things, but the poetry of things themselves. That things have their poetry, not because of what we make them symbols of, but because of their own movement and life, is what Lucretius proves once for all to mankind.

Of course, the poetry we see in nature is due to the emotion the spectacle produces in us; the life of nature might be as romantic and sublime as it chose, it would be dust and ashes to us if there were nothing sublime and romantic in ourselves to be stirred by it to sympathy. But our emotion may be ingenuous; it may be concerned with what nature really is and does, has been and will do for ever. It need not arise from a selfish preoccupation with what these immense realities involve for our own persons or may be used to suggest to our self-indulgent fancy. No, the poetry of nature may be discerned merely by the power of intuition which it awakens and the understanding which it employs. These faculties, more, I should say, than our moodiness or stuffy dreams, draw taut the strings of the soul, and bring out her full vitality and music. Naturalism is a philosophy of observation, and of an imagination that extends the observable; all the sights and sounds of nature enter into it, and lend it their directness, pungency, and coercive stress. At the same time, naturalism is an intellectual philosophy; it divines substance behind appearance, continuity behind change, law behind fortune. It therefore attaches all those sights and sounds to a hidden background that connects and explains them. So understood, nature has depth as well as surface, force and necessity as well as sensuous variety. Before the sublimity of this insight, all forms of the pathetic fallacy seem cheap and artificial. Mythology, that to a childish mind is the only possible poetry, sounds like bad rhetoric in comparison. The naturalistic poet abandons fairy land, because he has discovered nature, history, the actual passions of man. His imagination has reached maturity; its pleasure is to dominate, not to play.

Poetic dominion over things as they are is seen best in Shakespeare for the ways of men, and in Lucretius for the ways of nature. Unapproachably vivid, relentless, direct in detail, he is unflinchingly grand and serious in his grouping of the facts. It is the truth that absorbs him and carries him along. He wishes us to be convinced and sobered by the fact, by the overwhelming evidence of thing after thing, raining down upon us, all bearing witness with one voice to the nature of the world.

Suppose, however,—and it is a tenable supposition,—that Lucretius is quite wrong in his science, and that there is no space, no substance, and no nature. His poem would then lose its pertinence to our lives and personal convictions; it would not lose its imaginative grandeur. We could still conceive a world composed as he describes. Fancy what emotions those who lived in such a world would have felt on the day when a Democritus or a Lucretius revealed to them their actual situation. How great the blindness or the madness dissipated, and how wonderful the vision gained! How clear the future, how intelligible the past, how marvellous the swarming atoms, in their unintentional, perpetual fertility! What the sky is to our eyes on a starry night, that every nook and cranny of nature would resemble, with here and there the tentative smile of life playing about those constellations. Surely that universe, for those who lived in it, would have had its poetry. It would have been the poetry of naturalism. Lucretius, thinking he lived in such a world, heard the music of it, and wrote it down.

And yet, when he set himself to make his poem out of the system of Epicurus, the greatness of that task seems to have overwhelmed him. He was to unfold for the first time, in sonorous but unwieldy Latin, the birth and nature of all things, as Greek subtlety had discerned them. He was to dispel superstition, to refute antagonists, to lay the sure foundations of science and of wisdom, to summon mankind compellingly from its cruel passions and follies to a life of simplicity and peace. He was himself combative and distracted enough—as it is often our troubles, more than our attainments, that determine our ideals. Yet in heralding the advent of human happiness, and in painting that of the gods, he was to attain his own, soaring upon the strong wings of his hexameters into an ecstasy of contemplation and enthusiasm. When it is so great an emotion to read these verses, what must it have been to compose them? Yet could he succeed? Could such great things fall to his lot? Yes, they might, if only the creative forces of nature, always infinite and always at hand, could pass into his brain and into his spirit; if only the seeds of corruption and madness, which were always coursing through the air, could be blown back for a moment; and if the din of civil conflicts could be suspended while he thought and wrote. To a fortunate conjunction of atoms, a child owes his first being. To a propitious season and atmosphere, a poet owes his inspiration and his success. Conscious that his undertaking hangs upon these chance conjunctions, Lucretius begins by invoking the powers he is about to describe, that they may give him breath and genius enough to describe them. And at once these powers send him a happy inspiration, perhaps a happy reminiscence of Empedocles. There are two great perspectives which the moralist may distinguish in the universal drift of atoms,—a creative movement, producing what the moralist values, and a destructive movement, abolishing the same. Lucretius knows very well that this distinction is moral only, or as people now say, subjective. No one else has pointed out so often and so clearly as he that nothing arises in this world not helped to life by the death of some other thing;[3] so that the destructive movement creates and the creative movement destroys. Yet from the point of view of any particular life or interest, the distinction between a creative force and a destructive force is real and all-important. To make it is not to deny the mechanical structure of nature, but only to show how this mechanical structure is fruitful morally, how the outlying parts of it are friendly or hostile to me or to you, its local and living products.

This double colouring of things is supremely interesting to the philosopher; so much so that before his physical science has reached the mechanical stage, he will doubtless regard the double aspect which things present to him as a dual principle in these things themselves. So Empedocles had spoken of Love and Strife as two forces which respectively gathered and disrupted the elements, so as to carry on between them the Penelope’s labour of the world, the one perpetually weaving fresh forms of life, and the other perpetually undoing them.[4]