Nevertheless, æsthetic harmony, so incomplete in its basis as to be fleeting and deceptive, is most complete in its form. This so partial synthesis is a synthesis indeed, and just because settlements made in fancy are altogether premature, and ignore almost everything in the world, in type they can be the most perfect settlements. The artist, being a born lover of the good, a natural breeder of perfections, clings to his insight. If the world calls his accomplishments vain, he can, with better reason, call vain the world’s cumbrous instrumentalities, by which nothing clearly good is attained. Appearances, he may justly urge, are alone actual. All forces, substances, realities, and principles are inferred and potential only and in the moral scale mere instruments to bring perfect appearances about. To have grasped such an appearance, to have embodied a form in matter, is to have justified for the first time whatever may underlie appearance and to have put reality to some use. It is to have begun to live. As the standard of perfection is internal and is measured by the satisfaction felt in realising it, every artist has tasted, in his activity, what activity essentially is. He has moulded existence into the likeness of thought and lost himself in that ideal achievement which, so to speak, beckons all things into being. Even if a thousand misfortunes await him and a final disappointment, he has been happy once. He may be inclined to rest his case there and challenge practical people to justify in the same way the faith that is in them.
That a moment of the most perfect happiness should prove a source of unhappiness is no paradox to any one who has observed the world. A hope, a passion, a crime, is a flash of vitality. It is inwardly congruous with the will that breeds it, yet the happiness it pictures is so partial that even while it is felt it may be overshadowed by sinister forebodings. A certain unrest and insecurity may consciously harass it. With time, or by a slight widening in the field of interest, this submerged unhappiness may rise to the surface. If, as is probable, it is caused or increased by the indulgence which preceded, then the only moment in which a good was tasted, the only vista that had opened congenially before the mind, will prove a new and permanent curse. In this way love often misleads individuals, ambition cities, and religion whole races of men. That art, also, should often be an indulgence, a blind that hides reality from ill-balanced minds and ultimately increases their confusion, is by no means incompatible with art’s ideal essence. On the contrary, such a result is inevitable when ideality is carried at all far upon a narrow basis. The more genuine and excellent the vision the greater havoc it makes if, being inadequate, it establishes itself authoritatively in the soul. Art, in the better sense, is a condition of happiness for a practical and labouring creature, since without art he remains a slave; but it is one more source of unhappiness for him so long as it is not squared with his necessary labours and merely interrupts them. It then alienates him from his world without being able to carry him effectually into a better one.
The artist is in many ways like a child. He seems happy, because his life is spontaneous, yet he is not competent to secure his own good. To be truly happy he must be well bred, reared from the cradle, as it were, under propitious influences, so that he may have learned to love what conduces to his development. In that rare case his art will expand as his understanding ripens; he will not need to repent and begin again on a lower key. The ideal artist, like the ideal philosopher, has all time and all existence for his virtual theme. Fed by the world he can help to mould it, and his insight is a kind of wisdom, preparing him as science might for using the world well and making it more fruitful. He can then be happy, not merely in the sense of having now and then an ecstatic moment, but happy in having light and resource enough within him to cope steadily with real things and to leave upon them the vestige of his mind.
One effect of growing experience is to render what is unreal uninteresting. Momentous alternatives in life are so numerous and the possibilities they open up so varied that imagination finds enough employment of a historic and practical sort in trying to seize them. A child plans Towers of Babel; a mature architect, in planning, would lose all interest if he were bidden to disregard gravity and economy. The conditions of existence, after they are known and accepted, become conditions for the only pertinent beauty. In each place, for each situation, the plastic mind finds an appropriate ideal. It need not go afield to import something exotic. It need make no sacrifices to whim and to personal memories. It rather breeds out of the given problem a new and singular solution, thereby exercising greater invention than would be requisite for framing an arbitrary ideal and imposing it at all costs on every occasion.
In other words, a happy result can be secured in art, as in life, only by intelligence. Intelligence consists in having read the heart and deciphered the promptings latent there, and then in reading the world and deciphering its law and constitution, to see how and where the heart’s ideal may be embodied. Our troubles come from the colossal blunders made by our ancestors (who had worse ancestors of their own) in both these interpretations, blunders which have come down to us in our blood and in our institutions. The vices thus transmitted cloud our intelligence. We fail in practical affairs when we ignore the conditions of action and we fail in works of imagination when we concoct what is fantastic and without roots in the world.
The value of art lies in making people happy, first in practising the art and then in possessing its product. This observation might seem needless, and ought to be so; but if we compare it with what is commonly said on these subjects, we must confess that it may often be denied and more often, perhaps, may not be understood. Happiness is something men ought to pursue, although they seldom do so; they are drawn away from it at first by foolish impulses and afterwards by perverse laws. To secure happiness conduct would have to remain spontaneous while it learned not to be criminal; but the fanatical attachment of men, now to a fierce liberty, now to a false regimen, keeps them barbarous and wretched. A rational pursuit of happiness—which is one thing with progress or with the Life of Reason—would embody that natural piety which leaves to the episodes of life their inherent values, mourning death, celebrating love, sanctifying civic traditions, enjoying and correcting nature’s ways. To discriminate happiness is therefore the very soul of art, which expresses experience without distorting it, as those political or metaphysical tyrannies distort it which sanctify unhappiness. A free mind, like a creative imagination, rejoices at the harmonies it can find or make between man and nature; and, where it finds none, it solves the conflict so far as it may and then notes and endures it with a shudder.
A morality organised about the human heart in an ingenuous and sincere fashion would involve every fine art and would render the world pervasively beautiful—beautiful in its artificial products and beautiful in its underlying natural terrors. The closer we keep to elementary human needs and to the natural agencies that may satisfy them, the closer we are to beauty. Industry, sport, and science, with the perennial intercourse and passions of men, swarm with incentives to expression, because they are everywhere creating new moulds of being and compelling the eye to observe those forms and to recast them ideally. Art is simply an adequate industry; it arises when industry is carried out to the satisfaction of all human demands, even of those incidental sensuous demands which we call æsthetic and which a brutal industry, in its haste, may despise or ignore.
Arts responsive in this way to all human nature would be beautiful according to reason and might remain beautiful long. Poetic beauty touches the world whenever it attains some unfeigned harmony either with sense or with reason; and the more unfeignedly human happiness was made the test of all institutions and pursuits, the more beautiful they would be, having more numerous points of fusion with the mind, and fusing with it more profoundly. To distinguish and to create beauty would then be no art relegated to a few abstracted spirits, playing with casual fancies; it would be a habit inseparable from practical efficiency. All operations, all affairs, would then be viewed in the light of ultimate interests, and in their deep relation to human good. The arts would thus recover their Homeric glory; touching human fate as they clearly would, they would borrow something of its grandeur and pathos, and yet the interest that worked in them would be warm, because it would remain unmistakably animal and sincere.
The principle that all institutions should subserve happiness runs deeper than any cult for art and lays the foundation on which the latter might rest safely. If social structure were rational its free expression would be so too. Many observers, with no particular philosophy to adduce, feel that the arts among us are somehow impotent, and they look for a better inspiration, now to ancient models, now to the raw phenomena of life. A dilettante may, indeed, summon inspiration whence he will; and a virtuoso will never lack some material to keep him busy; but if what is hoped for is a genuine, native, inevitable art, a great revolution would first have to be worked in society. We should have to abandon our vested illusions, our irrational religions and patriotisms and schools of art, and to discover instead our genuine needs, the forms of our possible happiness. To call for such self-examination seems revolutionary only because we start from a sophisticated system, a system resting on traditional fashions and superstitions, by which the will of the living generation is misinterpreted and betrayed. To shake off that system would not subvert order but rather institute order for the first time; it would be an Instauratio Magna, a setting things again on their feet.
We in Christendom are so accustomed to artificial ideals and to artificial institutions, kept up to express them, that we hardly conceive how anomalous our situation is, sorely as we may suffer from it. We found academies and museums, as we found missions, to fan a flame that constantly threatens to die out for lack of natural fuel. Our overt ideals are parasites in the body politic, while the ideals native to the body politic, those involved in our natural structure and situation, are either stifled by that alien incubus, leaving civic life barbarous, or else force their way up, unremarked or not justly honoured as ideals. Industry and science and social amenities, with all the congruous comforts and appurtenances of contemporary life, march on their way, as if they had nothing to say to the spirit, which remains entangled in a cobweb of dead traditions. An idle pottering of the fancy over obsolete forms—theological, dramatic, or plastic—makes that by-play to the sober business of life which men call their art or their religion; and the more functionless and gratuitous this by-play is the more those who indulge in it think they are idealists. They feel they are champions of what is most precious in the world, as a sentimental lady might fancy herself a lover of flowers when she pressed them in a book instead of planting their seeds in the garden.
It is clear that gratuitous and functionless habits cannot bring happiness; they do not constitute an activity at once spontaneous and beneficent, such as noble art is an instance of. Those habits may indeed give pleasure; they may bring extreme excitement, as madness notably does, though it is in the highest degree functionless and gratuitous. Nor is such by-play without consequences, some of which might conceivably be fortunate. What is functionless is so called for being worthless from some ideal point of view, and not conducing to the particular life considered. But nothing real is dissociated from the universal flux; everything—madness and all unmeaning cross-currents in being—count in the general process and discharge somewhere, not without effect, the substance they have drawn for a moment into their little vortex. So our vain arts and unnecessary religions are not without real effects and not without a certain internal vitality. When life is profoundly disorganised it may well happen that only in detached episodes, only in moments snatched for dreaming in, can men see the blue or catch a glimpse of something like the ideal. In that case their esteem for their irrelevant visions may be well grounded, and their thin art and far-fetched religion may really constitute what is best in their experience. In a pathetic way these poor enthusiasms may be justified, but only because the very conception of a rational life lies entirely beyond the horizon.
It is no marvel, when art is a brief truancy from rational practice, that the artist himself should be a vagrant, and at best, as it were, an infant prodigy. The wings of genius serve him only for an escapade, enabling him to skirt the perilous edge of madness and of mystical abysses. But such an erratic workman does not deserve the name of artist or master; he has burst convention only to break it, not to create a new convention more in harmony with nature. His originality, though it may astonish for a moment, will in the end be despised and will find no thoroughfare. He will meantime be wretched himself, torn from the roots of his being by that cruel, unmeaning inspiration; or, if too rapt to see his own plight, he will be all the more pitied by practical men, who cannot think it a real blessing to be lost in joys that do not strengthen the character and yield nothing for posterity.
Art, in its nobler acceptation, is an achievement, not an indulgence. It prepares the world in some sense to receive the soul, and the soul to master the world; it disentangles those threads in each that can be woven into the other. That the artist should be eccentric, homeless, dreamful may almost seem a natural law, but it is none the less a scandal. An artist’s business is not really to cut fantastical capers or be licensed to play the fool. His business is simply that of every keen soul to build well when it builds, and to speak well when it speaks, giving practice everywhere the greatest possible affinity to the situation, the most delicate adjustment to every faculty it affects. The wonder of an artist’s performance grows with the range of his penetration, with the instinctive sympathy that makes him, in his mortal isolation, considerate of other men’s fate and a great diviner of their secret, so that his work speaks to them kindly, with a deeper assurance than they could have spoken with to themselves. And the joy of his great sanity, the power of his adequate vision, is not the less intense because he can lend it to others and has borrowed it from a faithful study of the world.
If happiness is the ultimate sanction of art, art in turn is the best instrument of happiness. In art more directly than in other activities man’s self-expression is cumulative and finds an immediate reward; for it alters the material conditions of sentience so that sentience becomes at once more delightful and more significant. In industry man is still servile, preparing the materials he is to use in action. In action itself, though he is free, he exerts his influence on a living and treacherous medium and sees the issue at each moment drift farther and farther from his intent. In science he is an observer, preparing himself for action in another way, by studying its results and conditions. But in art he is at once competent and free; he is creative. He is not troubled by his materials, because he has assimilated them and may take them for granted; nor is he concerned with the chance complexion of affairs in the actual world, because he is making the world over, not merely considering how it grew or how it will consent to grow in future. Nothing, accordingly, could be more delightful than genuine art, nor more free from remorse and the sting of vanity. Art springs so completely from the heart of man that it makes everything speak to him in his own language; it reaches, nevertheless, so truly to the heart of nature that it co-operates with her, becomes a parcel of her creative material energy, and builds by her instinctive hand. If the various formative impulses afoot in the world never opposed stress to stress and made no havoc with one another, nature might be called an unconscious artist. In fact, just where such a formative impulse finds support from the environment, a consciousness supervenes. If that consciousness is adequate enough to be prophetic, an art arises. Thus the emergence of arts out of instincts is the token and exact measure of nature’s success and of mortal happiness.
hê gar noy enhergeia zôhê
TYPES AND AIMS OF SCIENCE
Science still young.—Its miscarriage in Greece.—Its timid reappearance in modern times.—Distinction between science and myth.—Platonic status of hypothesis.—Meaning of verification.—Possible validity of myths.—Any dreamed-of thing might be experienced.—But science follows the movement of its subject-matter.—Moral value of science.—Its continuity with common knowledge.—Its intellectual essence.—Unity of science.—In existence, judged by reflection, there is a margin of waste.—Sciences converge from different points of origin.—Two chief kinds of science, physics and dialectic.—Their mutual implication.—Their coöperation.—No science a priori.—Role of criticism. Pages 3-38
HISTORY
History an artificial memory.—Second sight requires control.—Nature the theme common to various memories.—Growth of legend.—No history without documents.—The aim is truth.—Indirect methods of attaining it.—Historical research a part of physics.—Verification here indirect.—Futile ideal to survey all facts.—Historical theory.—It is arbitrary.—A moral critique of the past is possible.—How it might be just.—Transition to historical romance.—Possibility of genuine epics.—Literal truth abandoned.—History exists to be transcended.—Its great rôle. Pages 39-68
MECHANISM
Recurrent forms in nature.—Their discovery makes the flux calculable.—Looser principles tried first.—Mechanism for the most part hidden.—Yet presumably pervasive.—Inadequacy of consciousness.—Its articulation inferior to that of its objects.—Science consequently retarded, and speculation rendered necessary.—Dissatisfaction with mechanism partly natural, and partly artificial.—Biassed judgments inspired by moral inertia.—Positive emotions proper to materialism.—The material world not dead nor ugly, nor especially cruel.—Mechanism to be judged by its fruits. Pages 69-94
HESITATIONS IN METHOD
Mechanism restricted to one-half of existence.—Men of science not speculative.—Confusion in semi-moral subjects.—“Physic of metaphysic begs defence.”—Evolution by mechanism.—Evolution by ideal attraction.—If species are evolved they cannot guide evolution.—Intrusion of optimism.—Evolution according to Hegel.—The conservative interpretation.—The radical one.—Megalomania.—Chaos in the theory of mind.—Origin of self-consciousness.—The notion of spirit.—The notion of sense.—Competition between the two.—The rise of scepticism. Pages 95-125
PSYCHOLOGY
Mind reading not science.—Experience a reconstruction.—The honest art of education.—Arbitrary readings of the mind.—Human nature appealed to rather than described.—Dialectic in psychology.—Spinoza on the passions.—A principle of estimation cannot govern events.—Scientific psychology a part of biology.—Confused attempt to detach the psychic element.—Differentia of the psychic.—Approach to irrelevant sentience.—Perception represents things in their practical relation to the body.—Mind the existence in which form becomes actual.—Attempt at idealistic physics.—Association not efficient.—It describes coincidences.—Understanding is based on instinct and expressed in dialectic.—Suggestion a fancy name for automatism, and will another.—Double attachment of mind to nature.—Is the subject-matter of psychology absolute being?—Sentience is representable only in fancy.—The conditions and objects of sentience, which are not sentience, are also real.—Mind knowable and important in so far as it represents other things. Pages 126-166
THE NATURE OF INTENT
Dialectic better than physics.—Maladjustments to nature render physics conspicuous and unpleasant.—Physics should be largely virtual, and dialectic explicit.—Intent is vital and indescribable.—It is analogous to flux in existence.—It expresses natural life.—It has a material basis.—It is necessarily relevant to earth.—The basis of intent becomes appreciable in language.—Intent starts from a datum, and is carried by a feeling.—It demands conventional expression.—A fable about matter and form. Pages 167-186
DIALECTIC
Dialectic elaborates given forms.—Forms are abstracted from existence by intent.—Confusion comes of imperfect abstraction, or ambiguous intent.—The fact that mathematics applies to existence is empirical.—Its moral value is therefore contingent.—Quantity submits easily to dialectical treatment—Constancy and progress in intent.—Intent determines the functional essence of objects.—Also the scope of ideals.—Double status of mathematics.—Practical rôle of dialectic.—Hegel’s satire on dialectic.—Dialectic expresses a given intent.—Its empire is ideal and autonomous. Pages 187-209
PRERATIONAL MORALITY
Empirical alloy in dialectic.—Arrested rationality in morals.—Its emotional and practical power.—Moral science is an application of dialectic, not a part of anthropology.—Estimation the soul of philosophy.—Moral discriminations are natural and inevitable.—A choice of proverbs.—Their various representative value.—Conflict of partial moralities.—The Greek ideal.—Imaginative exuberance and political discipline.—Sterility of Greek example.—Prerational morality among the Jews.—The development of conscience.—Need of Hebraic devotion to Greek aims.—Prerational morality marks an acquisition but offers no programme. Pages 210-232
RATIONAL ETHICS
Moral passions represent private interests.—Common ideal interests may supervene.—To this extent there is rational society.—A rational morality not attainable, but its principle clear.—It is the logic of an autonomous will.—Socrates’ science.—Its opposition to sophistry and moral anarchy.—Its vitality.—Genuine altruism is natural self-expression.—Reason expresses impulses, but impulses reduced to harmony.—Self-love artificial.—The sanction of reason is happiness.—Moral science impeded by its chaotic data, and its unrecognised scope.—Fallacy in democratic hedonism.—Sympathy a conditional duty.—All life, and hence right life, finite and particular. Pages 233-261
POST-RATIONAL MORALITY
Socratic ethics retrospective.—Rise of disillusioned moralities.—The illusion subsisting in them.—Epicurean refuge in pleasure.—Stoic recourse to conformity.—Conformity the core of Islam, enveloped in arbitrary doctrines.—The latter alone lend it practical force.—Moral ambiguity in pantheism.—Under stress, it becomes ascetic and requires a mythology.—A supernatural world made by the Platonist out of dialectic.—The Hebraic cry for redemption.—The two factors meet in Christianity.—Consequent eclecticism.—The negation of naturalism never complete.—Spontaneous values rehabilitated.—A witness out of India.—Dignity of post-rational morality.—Absurdities nevertheless involved.—The soul of positivism in all ideals.—Moribund dreams and perennial realities. Pages 262-300
THE VALIDITY OF SCIENCE
Various modes of revising science.—Science its own best critic.—Obstruction by alien traditions.—Needless anxiety for moral interests.—Science an imaginative and practical art.—Arrière-pensée in transcendentalism.—Its romantic sincerity.—Its constructive impotence.—Its dependence on common-sense.—Its futility.—Ideal science is self-justified.—Physical science is presupposed in scepticism.—It recurs in all understanding of perception.—Science contains all trustworthy knowledge.—It suffices for the Life of Reason. Pages 301-320
TYPES AND AIMS OF SCIENCE
Science is so new a thing and so far from final, it seems to the layman so hopelessly accurate and extensive, that a moralist may well feel some diffidence in trying to estimate its achievements and promises at their human worth. The morrow may bring some great revolution in science, and is sure to bring many a correction and many a surprise. Religion and art have had their day; indeed a part of the faith they usually inspire is to believe that they have long ago revealed their secret. A critic may safely form a judgment concerning them; for even if he dissents from the orthodox opinion and ventures to hope that religion and art may assume in the future forms far nobler and more rational than any they have hitherto worn, still he must confess that art and religion have had several turns at the wheel; they have run their course through in various ages and climes with results which anybody is free to estimate if he has an open mind and sufficient interest in the subject. Science, on the contrary, which apparently cannot exist where intellectual freedom is denied, has flourished only twice in recorded times: once for some three hundred years in ancient Greece, and again for about the same period in modern Christendom. Its fruits have scarcely begun to appear; the lands it is discovering have not yet been circumnavigated, and there is no telling what its ultimate influence will be on human practice and feeling.
The first period in the life of science was brilliant but ineffectual. The Greeks’ energy and liberty were too soon spent, and the very exuberance of their genius made its expression chaotic. Where every mind was so fresh and every tongue so clever no scientific tradition could arise, and no laborious applications could be made to test the value of rival notions and decide between them. Men of science were mere philosophers. Each began, not where his predecessor had ended, but at the very beginning. Another circumstance that impeded the growth of science was the forensic and rhetorical turn proper to Greek intelligence. This mental habit gave a tremendous advantage in philosophy to the moralist and poet over the naturalist or mathematician. Hence what survived in Greece after the heyday of theoretic achievement was chiefly philosophies of life, and these—at the death of liberty—grew daily more personal and ascetic. Authority in scientific matters clung chiefly to Plato and Aristotle, and this not for the sake of their incomparable moral philosophy—for in ethics that decadent age preferred the Stoics and Epicureans—but just for those rhetorical expedients which in the Socratic school took the place of natural science. Worse influences in this field could hardly be imagined, since Plato’s physics ends in myth and apologue, while Aristotle’s ends in nomenclature and teleology.
All that remained of Greek physics, therefore, was the conception of what physics should be—a great achievement due to the earlier thinkers—and certain hints and guesses in that field. The elements of geometry had also been formulated, while the Socratic school bequeathed to posterity a well-developed group of moral sciences, rational in principle, but destined to be soon overlaid with metaphysical and religious accretions, so that the dialectical nerve and reasonableness of them were obliterated, and there survived only miscellaneous conclusions, fragments of wisdom built topsy-turvy into the new mythical edifice. It is the sad task reserved for historical criticism to detach those sculptured stones from the rough mass in which they have been embedded and to rearrange them in their pristine order, thus rediscovering the inner Socratic principle of moral philosophy, which is nothing but self-knowledge—a circumspect, systematic utterance of the speaker’s mind, disclosing his implicit meaning and his ultimate preferences.
At its second birth science took a very different form. It left cosmic theories to pantheistic enthusiasts like Giordano Bruno, while in sober laborious circles it confined itself to specific discoveries—the earth’s roundness and motion about the sun, the laws of mechanics, the development and application of algebra, the invention of the calculus, and a hundred other steps forward in various disciplines. It was a patient siege laid to the truth, which was approached blindly and without a general, as by an army of ants; it was not stormed imaginatively as by the ancient Ionians, who had reached at once the notion of nature’s dynamic unity, but had neglected to take possession in detail of the intervening tracts, whence resources might be drawn in order to maintain the main position.
Nevertheless, as discoveries accumulated, they fell insensibly into a system, and philosophers like Descartes and Newton arrived at a general physics. This physics, however, was not yet meant to cover the whole existent world, or to be the genetic account of all things in their system. Descartes excluded from his physics the whole mental and moral world, which became, so far as his science went, an inexplicable addendum. Similarly Newton’s mechanical principles, broad as they were, were conceived by him merely as a parenthesis in theology. Not until the nineteenth century were the observations that had been accumulated given their full value or in fact understood; for Spinoza’s system, though naturalistic in spirit, was still dialectical in form, and had no influence on science and for a long time little even on speculation.
Indeed the conception of a natural order, like the Greek cosmos, which shall include all existences—gods no less than men, if gods actually exist—is one not yet current, although it is implied in every scientific explanation and is favoured by two powerful contemporary movements which, coming from different quarters, are leading men’s minds back to the same ancient and obvious naturalism. One of these movements is the philosophy of evolution, to which Darwin gave such an irresistible impetus. The other is theology itself, where it has been emancipated from authority and has set to work to square men’s conscience with history and experience. This theology has generally passed into speculative idealism, which under another name recognises the universal empire of law and conceives man’s life as an incident in a prodigious natural process, by which his mind and his interests are produced and devoured. This “idealism” is in truth a system of immaterial physics, like that of Pythagoras or Heraclitus. While it works with fantastic and shifting categories, which no plain naturalist would care to use, it has nothing to apply those categories to except what the naturalist or historian may already have discovered and expressed in the categories of common prose. German idealism is a translation of physical evolution into mythical language, which presents the facts now in the guise of a dialectical progression, now in that of a romantic drama. In either case the facts are the same, and just those which positive knowledge has come upon. Thus many who are not brought to naturalism by science are brought to it, quite unwillingly and unawares, by their religious speculations.
The gulf that yawns between such idealistic cosmogonies and a true physics may serve to make clear the divergence in principle which everywhere divides natural science from arbitrary conceptions of things. This divergence is as far as possible from lying in the merit of the two sorts of theory. Their merit, and the genius and observation required to frame them, may well be equal, or an imaginative system may have the advantage in these respects. It may even be more serviceable for a while and have greater pragmatic value, so long as knowledge is at best fragmentary, and no consecutive or total view of things is attempted by either party. Thus in social life a psychology expressed in terms of abstract faculties and personified passions may well carry a man farther than a physiological psychology would. Or, again, we may say that there was more experience and love of nature enshrined in ancient mythology than in ancient physics; the observant poet might then have fared better in the world than the pert and ignorant materialist. Nor does the difference between science and myth lie in the fact that the one is essentially less speculative than the other. They are differently speculative, it is true, since myth terminates in unverifiable notions that might by chance represent actual existences; while science terminates in concepts or laws, themselves not possibly existent, but verified by recurring particular facts, belonging to the same experience as those from which the theory started.
The laws formulated by science—the transitive figments describing the relation between fact and fact—possess only a Platonic sort of reality. They are more real, if you will, than the facts themselves, because they are more permanent, trustworthy, and pervasive; but at the same time they are, if you will, not real at all, because they are incompatible with immediacy and alien to brute existence. In declaring what is true of existences they altogether renounce existence on their own behalf. This situation has made no end of trouble in ill-balanced minds, not docile to the diversities and free complexity of things, but bent on treating everything by a single method. They have asked themselves persistently the confusing question whether the matter or the form of things is the reality; whereas, of course, both elements are needed, each with its incommensurable kind of being. The material element alone is existent, while the ideal element is the sum of all those propositions which are true of what exists materially. Anybody’s knowledge of the truth, being a complex and fleeting feeling, is of course but a moment of existence or material being, which whether found in God or man is as far as possible from being that truth itself which it may succeed in knowing.
The true contrast between science and myth is more nearly touched when we say that science alone is capable of verification. Some ambiguity, however, lurks in this phrase, since verification comes to a method only vicariously, when the particulars it prophesies are realised in sense. To verify a theory as if it were not a method but a divination of occult existences would be to turn the theory into a myth and then to discover that what the myth pictured had, by a miracle, an actual existence also. There is accordingly a sense in which myth admits substantiation of a kind that science excludes. The Olympic hierarchy might conceivably exist bodily; but gravitation and natural selection, being schemes of relation, can never exist substantially and on their own behoof. Nevertheless, the Olympic hierarchy, even if it happened to exist, could not be proved to do so unless it were a part of the natural world open to sense; while gravitation and natural selection, without being existences, can be verified at every moment by concrete events occurring as those principles require. A hypothesis, being a discursive device, gains its utmost possible validity when its discursive value is established. It is not, it merely applies; and every situation in which it is found to apply is a proof of its truth.
The case would not be different with fables, were their basis and meaning remembered. But fables, when hypostatised, forget that they, too, were transitive symbols and boast to reveal an undiscoverable reality. A dogmatic myth is in this sorry plight: that the more evidence it can find to support it the more it abrogates its metaphysical pretensions, while the more it insists on its absolute truth the less relevance it has to experience and the less meaning. To try to support fabulous dogmas by evidence is tantamount to acknowledging that they are merely scientific hypotheses, instruments of discourse, and methods of expression. But in that case their truth would no longer be supposed to lie in the fact that somewhere beyond the range of human observation they descended bodily to the plane of flying existence, and were actually enacted there. They would have ceased to resemble the society of Olympus, which to prove itself real would need to verify itself, since only the gods and those mortals admitted to their conclave could know for a fact that that celestial gathering existed. On the contrary, a speculation that could be supported by evidence would be one that might be made good without itself descending to the plane of immediacy, but would be sufficiently verified when diffuse facts fall out as it had led us to expect. The myth in such a case would have become transparent again and relevant to experience, which could continually serve to support or to correct it. Even if somewhat overloaded and poetical, it would be in essence a scientific theory. It would no longer terminate in itself; it would point forward, leading the thinker that used it to eventual facts of experience, facts which his poetic wisdom would have prepared him to meet and to use.