The school to the realist presupposes the library. The teacher needs books, plenty of books in order to increase his knowledge and thus become better acquainted with that world through which he has to pilot his pupils. In the books, then, in the long shelves, culture lives: in the innumerable volumes that no one ever hopes to read; in the shelves which contain a world of beautiful things, and so valuable that man, as Horace says, should spend sleepless nights in order to acquire them, should endure cold and heat, fatigue and sacrifice. For humanity, we are told, lives in those volumes to which the teacher must somehow link himself if he intends to advance properly, to live the life which our forefathers have generously endowed for us, and to protect our spiritual inheritance from dispersion. In this atmosphere he must live; he must plunge in that spiritual sea which rolls limitless across the centuries. The pupil looks out upon this ocean which allures every man who is born to the life of culture. At first he clings to the shore, dreads the water, and asks to be helped until he has at least become familiar with the element. Who will encourage the beginner to leave the dry land and plunge into the deep where he would meet sure destruction? He must first be trained in some sheltered cove, where protected from the violence of the tumultuous surf, from the might of the indivisible mass of the ocean, he may gradually learn the ways of the deep.
The student must accordingly begin with a definite book; he must be saved from the haunting power of the library, which draws the youthful mind towards every volume, towards every subject. In the multitude of books, not all of them read, not all of them readable, thought founders, sees nothing, thinks nothing, is unable to rest in any of the things which he imagines exist in the vast library shelves. He must choose. Let him select, say, Dante. He reads the Divine Comedy, the poem written by that great Italian who has been dead these six centuries and now rests at Ravenna, no longer mindful of his Francesca, of his magnanimous Farinata, of his kindly master Brunetto, or of Beatrice. Dante created his miraculous world, he breathed life into his characters, wrote the last line of his last canto, smiled in rapture at the divine beauty of his creation, now complete and perfect, and died. His manuscript was copied thousands of times; and after the discovery of printing, millions of copies were made. In one of these we now are able to find it, this divine poem, just as it was written,—for we want it exactly as it flowed from his pen without the change of a letter, without the omission of a comma. And this volume is an example of what exists in a library,—of the culture that teachers strive to find there, and thence communicate to their pupils!—something that belongs to the world, something which is a part of reality, which men therefore can grasp, if they want to, 81 just as they can get to know the stars and the plants, and all things of nature. The Divine Comedy can be realistically conceived in respect to us who open the volume and prepare to read it, for the reason that it already exists and arouses our desire. If we had left it on the shelf where it was resting, it would have had exactly the same existence. What we find in the volume, as we read of that land of the dead which is much more living than all the living beings who surround us in our daily life, would all of it have been in that book, would have continued to be there, even if we had never opened it.
But is it really so? If we reflect a while we shall see that this is not the case. The book contains exactly what we find there, what we are capable of finding there, nothing more, nothing less. Different persons discover in it different things, but it is nevertheless obvious that for each individual the book contains only what he finds in it; and in order to be able to say that the book contains more than what a given reader discovers in it, it is necessary that some other person should find that something more; and that the text contains this additional beauty is only true for him who discovered it and for those who seek it after him.
Dante waited for centuries for De Sanctis[1] to appear and to disclose the meaning of Francesca’s words. 82 Therefore it has been said that to understand Dante is a sign of greatness. Abstractly considered, of course, the poet is what he is, but only in the abstract. In the concrete, Dante is the author whom we admire and appreciate proportionately to our power. For as we read the poem in accordance with our training, and the development of our personality, Dante is grafted on a trunk which did not exist before us, which, on the contrary, is our very life; and before this life is realised, evidently none of those things can be found there which actually come into being in the process of its realisation. So that if we had not read the book, far from its being true that everything we found in it would still continue to be there, nothing would remain of what we find in it, absolutely nothing.
We have said nothing of “what we find.” But if we consider the matter we shall see that what we find is everything; everything for me; everything for everybody. Only that can come out of a book which the reader with his soul and with his labours is capable of getting out of it; and in consequence of these labours and in virtue of his soul he is able to say that a certain book has a content. In fact, to return to our example, the Divine Comedy which we know, the only one which we can know, the only one which exists, is the one which lives in our souls, and which is a function of the criticism that interprets it, understands it, and appreciates it. That Divine Comedy therefore did not 83 close the circle of its life on the day when Dante wrote the last line of the last canto; it continued to live, still continues to exist in the history, in the life of the spirit. Its life never draws to a close. The poem is never finished.
This is true of the poem of Dante; it is true of everything which we conceive of as inherited from our great predecessors, from those who built up the patrimony of human culture. Culture then is not before us, a treasure ready to be excavated from the depths of the earth, awaiting to be revealed to us. Culture is what we ourselves are making; it is the life of our spirit.
Abstract culture, on the contrary, is merely as realistically conceived. It slumbers in the libraries, in the sepulchres of those who lived, who passed away and created it once for all. It belongs to the past, to the things that have died. But the past, if we really mean to grasp it, if we want to see it close by as something that is and not merely as an abstraction, the past itself, becoming the present, made into that actuality which we call living memory, is history,—history constructed by us, meditated by us, re-created by us, in accordance with our abilities;—and with our powers of evocation we awaken the past from its slumber and breathe into it the life of the spiritual interests, of the ideas, of the sentiments that are, after all, the living substance in which the past really survives, in which it is real. In the same way the only culture that can be bestowed 84 upon the spirit, the only one that admits of being concretely taught and learned, the only one that can be sought, because it is the only one that really exists, is idealistic culture. It is not in books, nor in the brains of others. It exists in our own souls as it is gradually being formed there. It cannot therefore be an antecedent to the activity of the spirit, since it consists in this very activity.
This must be the faith of all those who cannot bring themselves to believe that they are strangers in this world, and that they have come here to exercise a function which is not their own. For the world in general, and the sphere of culture in particular, is not completed when we arrive upon the scene. This is why human life has a value, why education is a mission.