The Approach to Philosophy

by Ralph Barton Perry

CHAPTER II

POETRY AND PHILOSOPHY

Who is the Philosopher-Poet?

§ [7]. As the ultimate criticism of all human interests, philosophy may be approached by avenues as various as these interests. Only when philosophy is discovered as the implication of well-recognized special interests, is the significance of its function fully appreciated. For the sake of such a further understanding of philosophy, those who find either inspiration or entertainment in poetry are invited in the present chapter to consider certain of the relations between poetry and philosophy.

We must at the very outset decline to accept unqualifiedly the poet's opinion in the matter, for he would not think it presumptuous to incorporate philosophy in poetry. "No man," said Coleridge, "was ever yet a great poet without being at the same time a great philosopher." This would seem to mean that a great poet is a great philosopher, and more too. We shall do better to begin with the prosaic and matter of fact minimum of truth: some poetry is philosophical. This will enable us to search for the portion of philosophy that is in some poetry, without finally defining their respective boundaries. It may be that all true poetry is philosophical, as it may be that all true philosophy is poetical; but it is much more certain that much actual poetry is far from philosophical, and that most actual philosophy was not conceived or written by a poet. The mere poet and the mere philosopher must be tolerated, if it be only for the purpose of shedding light upon the philosopher-poet and the poet-philosopher. And it is to the philosopher-poet that we turn, in the hope that under the genial spell of poetry we may be brought with understanding to the more forbidding land of philosophy.

Poetry as Appreciation.

§ [8]. Poetry is well characterized, though not defined, as an interpretation of life. The term "life" here signifies the human purposive consciousness, and active pursuit of ends. An interpretation of life is, then, a selection and account of such values in human experience as are actually sought or are worth the seeking. For the poet all things are good or bad, and never only matters of fact. He is neither an annalist nor a statistician, and is even an observer only for the sake of a higher design. He is one who appreciates, and expresses his appreciation so fittingly that it becomes a kind of truth, and a permanently communicable object. That "unbodied joy," the skylark's song and flight, is through the genius of Shelley so faithfully embodied, that it may enter as a definite joy into the lives of countless human beings. The sensuous or suggestive values of nature are caught by the poet's quick feeling for beauty, and fixed by his creative activity. Or with his ready sympathy he may perceive the value of some human ideal or mastering passion, and make it a reality for our common feeling. Where the poet has to do with the base and hateful, his attitude is still appreciative. The evil is apprehended as part of a dramatic whole having positive moral or æsthetic value. Moral ideas may appear in both poetry and life as the inspiration and justification of struggle. Where there is no conception of its moral significance, the repulsive possesses for the poet's consciousness the æsthetic value of diversity and contrast. Even where the evil and ugly is isolated, as in certain of Browning's dramatic monologues, it forms, both for the poet and the reader, but a part of some larger perception of life or character, which is sublime or beautiful or good. Poetry involves, then, the discovery and presentation of human experiences that are satisfying and appealing. It is a language for human pleasures and ideals. Poetry is without doubt a great deal more than this, and only after a careful analysis of its peculiar language could one distinguish it from kindred arts; but it will suffice for our purposes to characterize and not differentiate. Starting from this most general truth respecting poetry, we may now look for that aspect of it whereby it may be a witness of philosophical truth.

Sincerity in Poetry. Whitman.

§ [9]. For the answer to our question, we must turn to an examination of the intellectual elements of poetry. In the first place, the common demand that the poet shall be accurate in his representations is suggestive of an indispensable intellectual factor in his genius. As we have seen, he is not to reproduce nature, but the human appreciative experience of nature. Nevertheless, he must even here be true to his object. His art involves his ability to express genuinely and sincerely what he himself experiences in the presence of nature, or what he can catch of the inner lives of others by virtue of his intelligent sympathy. No amount of emotion or even of imagination will profit a poet, unless he can render a true account of them. To be sure, he need not define, or even explain; for it is his function to transfer the immediate qualities of experience: but he must be able to speak the truth, and, in order to speak it, he must have known it. In all this, however, we have made no demand that the poet should see more than one thing at a time. Sincerity of expression does not require what is distinctly another mode of intelligence, comprehensiveness of view. It is easier, and accordingly more usual, to render an account of the moments and casual units of experience, than of its totality. There are poets, little and great, who possess the intellectual virtue of sincerity, without the intellectual power of synthesis and reconciliation. This distinction will enable us to separate the intelligence exhibited in all poetry, from that distinct form of intelligence exhibited in such poetry as is properly to be called philosophical.