Art lives by appearances, but these appearances are spiritual visions, fixed dreams. Poetry represents to us nature become con-substantial with the soul, because in it nature is only a reminiscence touched with emotion, an image vibrating with our own life, a form without weight—in short, a mode of the soul. The poetry which is most real and objective is the expression of a soul which throws itself into things, and forgets itself in their presence more readily than others; but still, it is the expression of the soul, and hence what we call style. Style may be only collective, hieratic, national, so long as the artist is still the interpreter of the community; it tends to become personal in proportion as society makes room for individuality and favors its expansion.
There is a way of killing truth by truths. Under the pretense that we want to study it more in detail we pulverize the statue—it is an absurdity of which our pedantry is constantly guilty. Those who can only see the fragments of a thing are to me esprits faux, just as much as those who disfigure the fragments. The good critic ought to be master of the three capacities, the three modes of seeing men and things—he should be able simultaneously to see them as they are, as they might be, and as they ought to be.
Modern culture is a delicate electuary made up of varied savors and subtle colors, which can be more easily felt than measured or defined. Its very superiority consists in the complexity, the association of contraries, the skillful combination it implies. The man of to-day, fashioned by the historical and geographical influences of twenty countries and of thirty centuries, trained and modified by all the sciences and all the arts, the supple recipient of all literatures, is an entirely new product. He finds affinities, relationships, analogies everywhere, but at the same time he condenses and sums up what is elsewhere scattered. He is like the smile of La Gioconda, which seems to reveal a soul to the spectator only to leave him the more certainly under a final impression of mystery, so many different things are expressed in it at once.
To understand things we must have been once in them and then have come out of them; so that first there must be captivity and then deliverance, illusion followed by disillusion, enthusiasm by disappointment. He who is still under the spell, and he who has never felt the spell, are equally incompetent. We only know well what we have first believed, then judged. To understand we must be free, yet not have been always free. The same truth holds, whether it is a question of love, of art, of religion, or of patriotism. Sympathy is a first condition of criticism; reason and justice presuppose, at their origin, emotion.
What is an intelligent man? A man who enters with ease and completeness into the spirit of things and the intention of persons, and who arrives at an end by the shortest route. Lucidity and suppleness of thought, critical delicacy and inventive resource, these are his attributes.
Analysis kills spontaneity. The grain once ground into flour springs and germinates no more.
January 3, 1879.—Letter from–. This kind friend of mine has no pity.... I have been trying to quiet his over-delicate susceptibilities.... It is difficult to write perfectly easy letters when one finds them studied with a magnifying glass, and treated like monumental inscriptions, in which each character has been deliberately engraved with a view to an eternity of life. Such disproportion between the word and its commentary, between the playfulness of the writer and the analytical temper of the reader, is not favorable to ease of style. One dares not be one’s natural self with these serious folk who attach importance to everything; it is difficult to write open-heartedly if one must weigh every phrase and every word.
Esprit means taking things in the sense which they are meant to have, entering into the tone of other people, being able to place one’s self on the required level; esprit is that just and accurate sense which divines, appreciates, and weighs quickly, lightly, and well. The mind must have its play, the Muse is winged—the Greeks knew it, and Socrates.
January 13, 1879.—It is impossible for me to remember what letters I wrote yesterday. A single night digs a gulf between the self of yesterday and the self of to-day. My life is without unity of action, because my actions themselves are escaping from the control of memory. My mental power, occupied in gaining possession of itself under the form of consciousness, seems to be letting go its hold on all that generally peoples the understanding, as the glacier throws off the stones and fragments fallen into its crevasses, that it may remain pure crystal. The philosophic mind is both to overweight itself with too many material facts or trivial memories. Thought clings only to thought—that is to say, to itself, to the psychological process. The mind’s only ambition is for an enriched experience. It finds its pleasure in studying the play of its own facilities, and the study passes easily into an aptitude and habit. Reflection becomes nothing more than an apparatus for the registration of the impressions, emotions, and ideas which pass across the mind. The whole moulting process is carried on so energetically that the mind is not only unclothed, but stripped of itself, and, so to speak, de-substantiated. The wheel turns so quickly that it melts around the mathematical axis, which alone remains cold because it is impalpable, and has no thickness. All this is natural enough, but very dangerous.
So long as one is numbered among the living—so long, that is to say, as one is still plunged in the world of men, a sharer of their interests, conflicts, vanities, passions, and duties, one is bound to deny one’s self this subtle state of consciousness; one must consent to be a separate individual, having one’s special name, position, age, and sphere of activity. In spite of all the temptations of impersonality, one must resume the position of a being imprisoned within certain limits of time and space, an individual with special surroundings, friends, enemies, profession, country, bound to house and feed himself, to make up his accounts and look after his affairs; in short, one must behave like all the world. There are days when all these details seem to me a dream—when I wonder at the desk under my hand, at my body itself—when I ask myself if there is a street before my house, and if all this geographical and topographical phantasmagoria is indeed real. Time and space become then mere specks; I become a sharer in a purely spiritual existence; I see myself sub specie oeternitatis.
Is not mind simply that which enables us to merge finite reality in the infinite possibility around it? Or, to put it differently, is not mind the universal virtuality, the universe latent? If so, its zero would be the germ of the infinite, which is expressed mathematically by the double zero (00).
Deduction: that the mind may experience the infinite in itself; that in the human individual there arises sometimes the divine spark which reveals to him the existence of the original, fundamental, principal Being, within which all is contained like a series within its generating formula. The universe is but a radiation of mind; and the radiations of the Divine mind are for us more than appearances; they have a reality parallel to our own. The radiations of our mind are imperfect reflections from the great show of fireworks set in motion by Brahma, and great art is great only because of its conformities with the Divine order—with that which is.