Nothing can exceed the absurdity of these claims.
If we wish to improve the condition of mankind—if we wish for nobler men and women we must develop the brain, we must encourage thought and investigation. We must convince the world that credulity is a vice,—that there is no virtue in believing without, or against evidence, and that the really honest man is true to himself. We must fill the world with intellectual light. We must applaud mental courage. We must educate the children, rescue them from ignorance and crime. School-houses are the real temples, and teachers are the true priests. We must supply the wants of the mind, satisfy the hunger of the brain. The people should be familiar with the great poets, with the tragedies of �?schylus, the dramas of Shakespeare, with the poetry of Homer and Virgil. Shakespeare should be taught in every school, found in every house.
Through photography the whole world may become acquainted with the great statues, the great paintings, the victories of art. In this way the mind is enlarged, the sympathies quickened, the appreciation of the beautiful intensified, the taste refined and the character ennobled.
The great novels should be read by all. All should be acquainted with the men and women of fiction, with the ideal world. The imagination should be developed, trained and strengthened. Superstition has degraded art and literature. It gave us winged monsters, scenes from heaven and hell, representations of gods and devils, sculptured the absurd and painted the impossible in the name of Art. It gave us the dreams of the insane, the lives of fanatical saints, accounts of miracles and wonders, of cures wrought by the bones of the dead, descriptions of Paradise, purgatory and the eternal dungeon, discourses on baptism, on changing wine and wafers into the the blood and flesh of God, on the forgiveness of sins by priests, on fore-ordination and accountability, predestination and free will, on devils, ghosts and goblins, the ministrations of guardian angels, the virtue of belief and the wickedness of doubt. And this was called "sacred literature."
The church taught that those who believed, counted beads, mumbled prayers, and gave their time or property for the support of the gospel were the good and that all others were traveling the "broad road" to eternal pain. According to the theologians, the best people, the saints, were dead, and real beauty was to be found only in heaven. They denounced the joys of life as husks and filthy rags, declared that the world had been cursed, and that it brought forth thistles and thorns because of the sins of man. They regarded the earth as a kind of dock, running out into the sea of eternity,—on which the pious waited for the ship on which they were to be transported to another world.
But the real poets and the real artists clung to this world, to this life. They described and represented things that exist. They expressed thoughts of the brain, emotions of the heart, the griefs and joys, the hope and despair of men and women. They found strength and beauty on every hand. They found their angels here. They were true to human experience and they touched the brain and heart of the world. In the tragedies and comedies of life, in the smiles and tears, in the ecstasies of love, in the darkness of death, in the dawn of hope, they found their materials for statue and song, for poem and painting. Poetry and art are the children of this world, born and nourished here. They are human. They have left the winged monsters of heaven, the malicious deformities of hell, and have turned their attention to men and women, to the things of this life.
There is a poem called "The Skylark," by Shelley, graceful as the motions of flames. Another by Robert Burns, called "The Daisy," exquisite, perfect as the pearl of virtue in the beautiful breast of a loving girl. Between this lark and this daisy, neither above nor below, you will find all the poetry of the world. Eloquence, sublimity, poetry and art must have the foundation of fact, of reality. Imaginary worlds and beings are nothing to us.
At last the old creeds are becoming cruel and vulgar. We now have imagination enough to put ourselves in the place of others. Believers in hell, in eternal pain, like murderers, lack imagination. The murderer has not imagination enough to see his victim dead. He does not see the sightless and pathetic eyes. He does not see the widow's arms about the corpse, her lips upon the dead. He does not hear the sobs of children. He does not see the funeral. He does not hear the clods as they fall on the coffin. He does not feel the hand of arrest, the scene of the trial is not before him. He does not hear the awful verdict, the sentence of the court, the last words. He does not see the scaffold, nor feel about his throat the deadly noose.
Let us develop the brain, civilize the heart, and give wings to the imagination.
VII.