A noble doubt perpetually suggests itself, whether this end be not the Final Cause of the Universe; and whether nature outwardly exists. It is a sufficient account of that Appearance we call the World, that God will teach a human mind, and so makes it the receiver of a certain number of congruent sensations, which we call sun and moon, man and woman, house and trade. In my utter impotence to test the authenticity4 of the report of my senses, to know whether the impressions they make on me correspond with outlying objects, what difference does it make, whether Orion is up there in heaven, or some god paints the image in the firmament5 of the soul? The relations of parts and the end of the whole remaining the same, what is the difference, whether land and sea interact, and worlds revolve6 and intermingle without number or end, — deep yawning under deep, and galaxy7 balancing galaxy, throughout absolute space, — or, whether, without relations of time and space, the same appearances are inscribed8 in the constant faith of man? Whether nature enjoy a substantial existence without, or is only in the apocalypse of the mind, it is alike useful and alike venerable to me. Be it what it may, it is ideal to me, so long as I cannot try the accuracy of my senses.
The frivolous9 make themselves merry with the Ideal theory, as if its consequences were burlesque10; as if it affected11 the stability of nature. It surely does not. God never jests with us, and will not compromise the end of nature, by permitting any inconsequence in its procession. Any distrust of the permanence of laws, would paralyze the faculties12 of man. Their permanence is sacredly respected, and his faith therein is perfect. The wheels and springs of man are all set to the hypothesis of the permanence of nature. We are not built like a ship to be tossed, but like a house to stand. It is a natural consequence of this structure, that, so long as the active powers predominate over the reflective, we resist with indignation any hint that nature is more short-lived or mutable than spirit. The broker13, the wheelwright, the carpenter, the toll-man, are much displeased14 at the intimation.
But whilst we acquiesce15 entirely16 in the permanence of natural laws, the question of the absolute existence of nature still remains17 open. It is the uniform effect of culture on the human mind, not to shake our faith in the stability of particular phenomena18, as of heat, water, azote; but to lead us to regard nature as a phenomenon, not a substance; to attribute necessary existence to spirit; to esteem19 nature as an accident and an effect.
To the senses and the unrenewed understanding, belongs a sort of instinctive20 belief in the absolute existence of nature. In their view, man and nature are indissolubly joined. Things are ultimates, and they never look beyond their sphere. The presence of Reason mars this faith. The first effort of thought tends to relax this despotism of the senses, which binds21 us to nature as if we were a part of it, and shows us nature aloof22, and, as it were, afloat. Until this higher agency intervened, the animal eye sees, with wonderful accuracy, sharp outlines and colored surfaces. When the eye of Reason opens, to outline and surface are at once added, grace and expression. These proceed from imagination and affection, and abate23 somewhat of the angular distinctness of objects. If the Reason be stimulated24 to more earnest vision, outlines and surfaces become transparent25, and are no longer seen; causes and spirits are seen through them. The best moments of life are these delicious awakenings of the higher powers, and the reverential withdrawing of nature before its God.
Let us proceed to indicate the effects of culture. 1. Our first institution in the Ideal philosophy is a hint from nature herself.
Nature is made to conspire with spirit to emancipate26 us. Certain mechanical changes, a small alteration27 in our local position apprizes us of a dualism. We are strangely affected by seeing the shore from a moving ship, from a balloon, or through the tints28 of an unusual sky. The least change in our point of view, gives the whole world a pictorial29 air. A man who seldom rides, needs only to get into a coach and traverse his own town, to turn the street into a puppet-show. The men, the women, — talking, running, bartering30, fighting, — the earnest mechanic, the lounger, the beggar, the boys, the dogs, are unrealized at once, or, at least, wholly detached from all relation to the observer, and seen as apparent, not substantial beings. What new thoughts are suggested by seeing a face of country quite familiar, in the rapid movement of the rail-road car! Nay31, the most wonted objects, (make a very slight change in the point of vision,) please us most. In a camera obscura, the butcher’s cart, and the figure of one of our own family amuse us. So a portrait of a well-known face gratifies us. Turn the eyes upside down, by looking at the landscape through your legs, and how agreeable is the picture, though you have seen it any time these twenty years!
In these cases, by mechanical means, is suggested the difference between the observer and the spectacle, — between man and nature. Hence arises a pleasure mixed with awe33; I may say, a low degree of the sublime34 is felt from the fact, probably, that man is hereby apprized, that, whilst the world is a spectacle, something in himself is stable.
2. In a higher manner, the poet communicates the same pleasure. By a few strokes he delineates, as on air, the sun, the mountain, the camp, the city, the hero, the maiden35, not different from what we know them, but only lifted from the ground and afloat before the eye. He unfixes the land and the sea, makes them revolve around the axis36 of his primary thought, and disposes them anew. Possessed37 himself by a heroic passion, he uses matter as symbols of it. The sensual man conforms thoughts to things; the poet conforms things to his thoughts. The one esteems38 nature as rooted and fast; the other, as fluid, and impresses his being thereon. To him, the refractory39 world is ductile40 and flexible; he invests dust and stones with humanity, and makes them the words of the Reason. The Imagination may be defined to be, the use which the Reason makes of the material world. Shakspeare possesses the power of subordinating nature for the purposes of expression, beyond all poets. His imperial muse32 tosses the creation like a bauble41 from hand to hand, and uses it to embody42 any caprice of thought that is upper-most in his mind. The remotest spaces of nature are visited, and the farthest sundered43 things are brought together, by a subtle spiritual connection. We are made aware that magnitude of material things is relative, and all objects shrink and expand to serve the passion of the poet. Thus, in his sonnets44, the lays of birds, the scents45 and dyes of flowers, he finds to be the shadow of his beloved; time, which keeps her from him, is his chest; the suspicion she has awakened46, is her ornament47;
The ornament of beauty is Suspect,
A crow which flies in heaven’s sweetest air.
His passion is not the fruit of chance; it swells49, as he speaks, to a city, or a state.
No, it was builded far from accident;
It suffers not in smiling pomp, nor falls
Under the brow of thralling discontent;
It fears not policy, that heretic,
That works on leases of short numbered hours,
But all alone stands hugely politic50.
In the strength of his constancy, the Pyramids seem to him recent and transitory. The freshness of youth and love dazzles him with its resemblance to morning.
Take those lips away
Which so sweetly were forsworn;
And those eyes, — the break of day,
Lights that do mislead the morn.
The wild beauty of this hyperbole, I may say, in passing, it would not be easy to match in literature.
This transfiguration which all material objects undergo through the passion of the poet, — this power which he exerts to dwarf51 the great, to magnify the small, — might be illustrated52 by a thousand examples from his Plays. I have before me the Tempest, and will cite only these few lines.
ARIEL. The strong based promontory53
Have I made shake, and by the spurs plucked up
The pine and cedar54.
Prospero calls for music to soothe55 the frantic56 Alonzo, and his companions;
A solemn air, and the best comforter
To an unsettled fancy, cure thy brains
Now useless, boiled within thy skull57.
Again;
The charm dissolves apace,
And, as the morning steals upon the night,
Melting the darkness, so their rising senses
Begin to chase the ignorant fumes58 that mantle59
Their clearer reason.
Their understanding
Begins to swell48: and the approaching tide
Will shortly fill the reasonable shores
That now lie foul60 and muddy.
The perception of real affinities61 between events, (that is to say, of ideal affinities, for those only are real,) enables the poet thus to make free with the most imposing62 forms and phenomena of the world, and to assert the predominance of the soul.
3. Whilst thus the poet animates63 nature with his own thoughts, he differs from the philosopher only herein, that the one proposes Beauty as his main end; the other Truth. But the philosopher, not less than the poet, postpones64 the apparent order and relations of things to the empire of thought. “The problem of philosophy,” according to Plato, “is, for all that exists conditionally65, to find a ground unconditioned and absolute.” It proceeds on the faith that a law determines all phenomena, which being known, the phenomena can be predicted. That law, when in the mind, is an idea. Its beauty is infinite. The true philosopher and the true poet are one, and a beauty, which is truth, and a truth, which is beauty, is the aim of both. Is not the charm of one of Plato’s or Aristotle’s definitions, strictly67 like that of the Antigone of Sophocles? It is, in both cases, that a spiritual life has been imparted to nature; that the solid seeming block of matter has been pervaded68 and dissolved by a thought; that this feeble human being has penetrated69 the vast masses of nature with an informing soul, and recognised itself in their harmony, that is, seized their law. In physics, when this is attained70, the memory disburthens itself of its cumbrous catalogues of particulars, and carries centuries of observation in a single formula.
Thus even in physics, the material is degraded before the spiritual. The astronomer72, the geometer, rely on their irrefragable analysis, and disdain73 the results of observation. The sublime remark of Euler on his law of arches, “This will be found contrary to all experience, yet is true;” had already transferred nature into the mind, and left matter like an outcast corpse74.
4. Intellectual science has been observed to beget75 invariably a doubt of the existence of matter. Turgot said, “He that has never doubted the existence of matter, may be assured he has no aptitude76 for metaphysical inquiries77.” It fastens the attention upon immortal necessary uncreated natures, that is, upon Ideas; and in their presence, we feel that the outward circumstance is a dream and a shade. Whilst we wait in this Olympus of gods, we think of nature as an appendix to the soul. We ascend78 into their region, and know that these are the thoughts of the Supreme79 Being. “These are they who were set up from everlasting80, from the beginning, or ever the earth was. When he prepared the heavens, they were there; when he established the clouds above, when he strengthened the fountains of the deep. Then they were by him, as one brought up with him. Of them took he counsel.”
Their influence is proportionate. As objects of science, they are accessible to few men. Yet all men are capable of being raised by piety81 or by passion, into their region. And no man touches these divine natures, without becoming, in some degree, himself divine. Like a new soul, they renew the body. We become physically82 nimble and lightsome; we tread on air; life is no longer irksome, and we think it will never be so. No man fears age or misfortune or death, in their serene83 company, for he is transported out of the district of change. Whilst we behold84 unveiled the nature of Justice and Truth, we learn the difference between the absolute and the conditional66 or relative. We apprehend85 the absolute. As it were, for the first time, we exist. We become immortal, for we learn that time and space are relations of matter; that, with a perception of truth, or a virtuous86 will, they have no affinity87.
5. Finally, religion and ethics88, which may be fitly called, — the practice of ideas, or the introduction of ideas into life, — have an analogous89 effect with all lower culture, in degrading nature and suggesting its dependence90 on spirit. Ethics and religion differ herein; that the one is the system of human duties commencing from man; the other, from God. Religion includes the personality of God; Ethics does not. They are one to our present design. They both put nature under foot. The first and last lesson of religion is, “The things that are seen, are temporal; the things that are unseen, are eternal.” It puts an affront91 upon nature. It does that for the unschooled, which philosophy does for Berkeley and Viasa. The uniform language that may be heard in the churches of the most ignorant sects92, is — ——”Contemn the unsubstantial shows of the world; they are vanities, dreams, shadows, unrealities; seek the realities of religion.” The devotee flouts93 nature. Some theosophists have arrived at a certain hostility94 and indignation towards matter, as the Manichean and Plotinus. They distrusted in themselves any looking back to these flesh-pots of Egypt. Plotinus was ashamed of his body. In short, they might all say of matter, what Michael Angelo said of external beauty, “it is the frail95 and weary weed, in which God dresses the soul, which he has called into time.”
It appears that motion, poetry, physical and intellectual science, and religion, all tend to affect our convictions of the reality of the external world. But I own there is something ungrateful in expanding too curiously96 the particulars of the general proposition, that all culture tends to imbue97 us with idealism. I have no hostility to nature, but a child’s love to it. I expand and live in the warm day like corn and melons. Let us speak her fair. I do not wish to fling stones at my beautiful mother, nor soil my gentle nest. I only wish to indicate the true position of nature in regard to man, wherein to establish man, all right education tends; as the ground which to attain71 is the object of human life, that is, of man’s connection with nature. Culture inverts98 the vulgar views of nature, and brings the mind to call that apparent, which it uses to call real, and that real, which it uses to call visionary. Children, it is true, believe in the external world. The belief that it appears only, is an afterthought, but with culture, this faith will as surely arise on the mind as did the first.
The advantage of the ideal theory over the popular faith, is this, that it presents the world in precisely99 that view which is most desirable to the mind. It is, in fact, the view which Reason, both speculative100 and practical, that is, philosophy and virtue101, take. For, seen in the light of thought, the world always is phenomenal; and virtue subordinates it to the mind. Idealism sees the world in God. It beholds102 the whole circle of persons and things, of actions and events, of country and religion, not as painfully accumulated, atom after atom, act after act, in an aged103 creeping Past, but as one vast picture, which God paints on the instant eternity104, for the contemplation of the soul. Therefore the soul holds itself off from a too trivial and microscopic105 study of the universal tablet. It respects the end too much, to immerse itself in the means. It sees something more important in Christianity, than the scandals of ecclesiastical history, or the niceties of criticism; and, very incurious concerning persons or miracles, and not at all disturbed by chasms106 of historical evidence, it accepts from God the phenomenon, as it finds it, as the pure and awful form of religion in the world. It is not hot and passionate107 at the appearance of what it calls its own good or bad fortune, at the union or opposition108 of other persons. No man is its enemy. It accepts whatsoever109 befalls, as part of its lesson. It is a watcher more than a doer, and it is a doer, only that it may the better watch.
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1
intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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conspire
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| v.密谋，（事件等）巧合，共同导致 | |
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authenticity
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| n.真实性 | |
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firmament
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| n.苍穹；最高层 | |
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revolve
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| vi.(使)旋转；循环出现 | |
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galaxy
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| n.星系；银河系；一群(杰出或著名的人物) | |
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inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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frivolous
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| adj.轻薄的；轻率的 | |
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burlesque
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| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
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affected
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| adj.不自然的，假装的 | |
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faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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broker
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| n.中间人，经纪人；v.作为中间人来安排 | |
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14
displeased
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| a.不快的 | |
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15
acquiesce
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| vi.默许，顺从，同意 | |
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16
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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17
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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18
phenomena
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| n.现象 | |
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19
esteem
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| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
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20
instinctive
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| adj.(出于)本能的；直觉的；(出于)天性的 | |
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21
binds
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| v.约束( bind的第三人称单数 )；装订；捆绑；（用长布条）缠绕 | |
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aloof
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| adj.远离的；冷淡的，漠不关心的 | |
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23
abate
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| vi.(风势，疼痛等)减弱，减轻，减退 | |
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24
stimulated
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| a.刺激的 | |
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transparent
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| adj.明显的，无疑的；透明的 | |
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26
emancipate
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| v.解放，解除 | |
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alteration
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| n.变更，改变；蚀变 | |
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28
tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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29
pictorial
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| adj.绘画的；图片的；n．画报 | |
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30
bartering
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| v.作物物交换，以货换货( barter的现在分词 ) | |
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31
nay
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| adv.不；n.反对票，投反对票者 | |
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32
muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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33
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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34
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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35
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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axis
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| n.轴，轴线，中心线；坐标轴，基准线 | |
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37
possessed
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| adj.疯狂的；拥有的，占有的 | |
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38
esteems
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| n.尊敬，好评( esteem的名词复数 )v.尊敬( esteem的第三人称单数 )；敬重；认为；以为 | |
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39
refractory
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| adj.倔强的，难驾驭的 | |
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40
ductile
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| adj.易延展的，柔软的 | |
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41
bauble
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| n.美观而无价值的饰物 | |
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42
embody
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| vt.具体表达，使具体化；包含，收录 | |
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43
sundered
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| v.隔开，分开( sunder的过去式和过去分词 ) | |
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sonnets
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| n.十四行诗( sonnet的名词复数 ) | |
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scents
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| n.香水( scent的名词复数 )；气味；（动物的）臭迹；（尤指狗的）嗅觉 | |
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46
awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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swell
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| vi.膨胀，肿胀；增长，增强 | |
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swells
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| 增强( swell的第三人称单数 )； 肿胀； （使）凸出； 充满（激情） | |
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50
politic
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| adj.有智虑的；精明的；v.从政 | |
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dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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52
illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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53
promontory
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| n.海角；岬 | |
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cedar
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| n.雪松，香柏(木) | |
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55
soothe
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| v.安慰；使平静；使减轻；缓和；奉承 | |
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frantic
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| adj.狂乱的，错乱的，激昂的 | |
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skull
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| n.头骨；颅骨 | |
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58
fumes
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| n.(强烈而刺激的)气味，气体 | |
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mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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60
foul
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| adj.污秽的；邪恶的；v.弄脏；妨害；犯规；n.犯规 | |
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affinities
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| n.密切关系( affinity的名词复数 )；亲近；（生性）喜爱；类同 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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animates
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| v.使有生气( animate的第三人称单数 )；驱动；使栩栩如生地动作；赋予…以生命 | |
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64
postpones
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| v.延期，推迟( postpone的第三人称单数 ) | |
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65
conditionally
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| adv. 有条件地 | |
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66
conditional
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| adj.条件的，带有条件的 | |
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67
strictly
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| adv.严厉地，严格地；严密地 | |
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pervaded
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| v.遍及，弥漫( pervade的过去式和过去分词 ) | |
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penetrated
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| adj. 击穿的，鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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attain
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| vt.达到，获得，完成 | |
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astronomer
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| n.天文学家 | |
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disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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corpse
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| n.尸体，死尸 | |
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beget
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| v.引起；产生 | |
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aptitude
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| n.(学习方面的)才能，资质，天资 | |
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inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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ascend
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| vi.渐渐上升，升高；vt.攀登，登上 | |
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supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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everlasting
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| adj.永恒的，持久的，无止境的 | |
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piety
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| n.虔诚，虔敬 | |
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physically
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| adj.物质上，体格上，身体上，按自然规律 | |
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serene
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| adj. 安详的，宁静的，平静的 | |
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behold
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| v.看，注视，看到 | |
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apprehend
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| vt.理解，领悟，逮捕，拘捕，忧虑 | |
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virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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affinity
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| n.亲和力，密切关系 | |
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ethics
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| n.伦理学；伦理观，道德标准 | |
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analogous
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| adj.相似的；类似的 | |
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dependence
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| n.依靠，依赖；信任，信赖；隶属 | |
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affront
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| n./v.侮辱，触怒 | |
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sects
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| n.宗派，教派( sect的名词复数 ) | |
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flouts
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| v.藐视，轻视( flout的第三人称单数 ) | |
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hostility
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| n.敌对，敌意；抵制［pl.］交战，战争 | |
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frail
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| adj.身体虚弱的；易损坏的 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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imbue
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| v.灌输(某种强烈的情感或意见)，感染 | |
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inverts
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| v.使倒置，使反转( invert的第三人称单数 ) | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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speculative
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| adj.思索性的，暝想性的，推理的 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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beholds
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| v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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aged
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| adj.年老的，陈年的 | |
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eternity
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| n.不朽，来世；永恒，无穷 | |
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microscopic
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| adj.微小的，细微的，极小的，显微的 | |
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chasms
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| 裂缝( chasm的名词复数 )； 裂口； 分歧； 差别 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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opposition
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| n.反对，敌对 | |
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whatsoever
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| adv.（用于否定句中以加强语气）任何；pron.无论什么 | |
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