George Santayana Quotes

The tendency of everything to maintain and propagate its nature is simply the inertia of a stable juxtaposition of elements, which are not enough disturbed by ordinary accidents to lose their equilibrium; while the incident of a too great disturbance causes that disruption we call death , or that variation of type , which , on account of it's incapacity to establish itself permanently, we call abnormal. Nature thus organizes herself into recognizable species ; and the aesthetic eye ,studying her forms ,tends ,as we have already shown , to bring the type within even narrower limits than do the external exigencies of life

The true Christian is in all countries a pilgrim and a stranger; not his kinsmen, but whoever does the will of his Father who is in heaven is his brother and sister and mother and his real compatriot. In a nation that calls itself Christian every child may be pledged, at baptism, to renounce the world, the flesh, and the devil; but the flesh will assert itself notwithstanding, the devil will have his due, and the nominal Christian, become a man of business and the head of a family, will form an integral part of that very world which he will pledge his children to renounce in turn as he holds them over the font.

Moreover, in my own way, I have discerned in pure Being the involution of all forms. As felt, pure Being may be indeterminate, but as conceived reflectively it includes all determinations: so that when deployed into the realm of essence, infinite or indeterminate Being truly contains entertainment for all eternity.

The word nature has many senses; but if we preserve the one which etymology justifies, and which is the most philosophical as well, nature should mean the principle of birth or genesis, the universal mother, the great cause, or system of causes, that brings phenomena to light. If we take the word nature in this sense, it may be said that Lucretius, more than any other man, is the poet of nature. Of course, being an ancient, he is not particularly a poet of landscape. He runs deeper than that; he is a poet of the source of landscape, a poet of matter. A poet of landscape might try to suggest, by well-chosen words, the sensations of light, movement, and form which nature arouses in us; but in this attempt he would encounter the insuperable difficulty which Lessing long ago pointed out, and warned poets of: I mean the unfitness of language to render what is spatial and material; its fitness to render only what, like language itself, is bodiless and flowing, — action, feeling, and thought.

It is noticeable, accordingly, that poets who are fascinated by pure sense and seek to write poems about it are called not impressionists, but symbolists; for in trying to render some absolute sensation they render rather the field of association in which that sensation lies, or the emotions and half-thoughts that shoot and play about it in their fancy. They become — against their will, perhaps — psychological poets, ringers of mental chimes, and listeners for the chance overtones of consciousness. Hence we call them symbolists, mixing perhaps some shade of disparagement in the term, as if they were symbolists of an empty, super-subtle, or fatuous sort. For they play with things luxuriously, making them symbols for their thoughts, instead of mending their thoughts intelligently, to render them symbols for things.

A poet might be a symbolist in another sense, — if he broke up nature, the object suggested by landscape to the mind, and reverted to the elements of landscape, not in orde

If all the arts aspire to the condition of music, all the sciences aspire to the condition of mathematics.

A picture you hold long enough in your head becomes your reality..

We study the past as a dead object, as a ruin, not as an authority and as an experiment. One reason why history was less interesting to former ages was that they were less conscious of separation from the past. The perspective of time was less clear because the synthesis of experience was more complete. The mind does not easily discriminate the successive phases of an action in which it is still engaged; it does not arrange in a temporal series the elements of a single perception, but posits them all together as constituting a permanent and real object. Human nature and the life of the world were real and stable objects to the apprehension of our forefathers; the actors changed, but not the characters or the play. Men were then less studious of derivations because they were more conscious of identities.

Mein Leben durchgestürmt; erst gross und mächtig, Nun aber geht es weise, geht bedächtig.

Therefore Whitman failed radically in his dearest ambition: he can never be a poet of the people. For the people, like the early races whose poetry was ideal, are natural believers in perfection. They have no doubts about the absolute desirability of wealth and learning and power, none about the worth of pure goodness and pure love. Their chosen poets, if they have any, will he always those who have known how to paint these ideals in lively even if in gaudy colours. Nothing is farther from the common people than the corrupt desire to be primitive. They instinctively look toward a more exalted life, which they imagine to be full of distinction and pleasure, and the idea of that brighter existence fills them with hope or with envy or with humble admiration.

If the people are ever won over to hostility to such ideals, it is only because they are cheated by demagogues who tell them that if all the flowers of civilization were destroyed its fruits would become more abundant. A greater share of happiness, people think, would fall to their lot could they destroy everything beyond their own possible possessions. But they are made thus envious and ignoble only by a deception: what they really desire is an ideal good for themselves which they are told they may secure by depriving others of their preeminence. Their hope is always to enjoy perfect satisfaction themselves; and therefore a poet who loves the picturesque aspects of labour and vagrancy will hardly be the poet of the poor. He may have described their figure and occupation, in neither of which they are much interested; he will not have read their souls. They will prefer to him any sentimental story-teller, any sensational dramatist any moralizing poet; for they are hero-worshippers by temperament, and are too wise or too unfortunate to be much enamoured of themselves or of the conditions of their existence.

Lucretius, I. 936-47: Veluti pueris absinthia tetra medentes Cum dare conantur, prius oras pocula circura Contingunt mellis dulci flavoque liquore, Ut puerorum aetas improvida ludificetur Labrorum tenus, interea perpotet amarum Absinthi laticem, deceptaque non capiatur, Sed potius tali pacto recreata valescat: Sic ego nunc ... volui tibi suaviloquenti Carmine Pierio rationem exponere nostram, Et quasi musaeo dulci contingere melle. [2] Lucretius, i. 922-34, 948-50: Acri Percussit thyrso laudis spes magna meum cor Et simul incussit suavem mi in pectus amorem Musarum, quo nunc instinctus mente vigenti Avia Pieridum peragro loca nullius ante Trita solo: iuvat integros accedere fontes, Atque haurire; iuvatque novos decerpere flores, Insignemque meo capiti petere inde coronam, Unde prius nulli velarint tempora musae. Primum, quod magnis doceo de rebus, et artis Religionum animum nodis exsolvere pergo: Deinde, quod obscura de re tam lucida pango Carmina, musaeo contingens cuncta lepore.... Si tibi forte animum tali ratione tenere Versibus in nostris possem, dum perspicis omnem Naturam rerum, qua constet compta figura.

When man was in the world a wide-eyed boy,
And clouds of sorrow crossed his sky of joy
To scatter dewdrops on the buds of May.
Then could he work and love and fight and pray,
Nor heartsick grow in fortune's long employ.
Mighty to build and ruthless to destroy
He lived, while masked death unquestioned lay.
Now ponder we the ruins of the years,
And groan beneath the weight of boasted gain;
No unsung bacchanal can charm our ears
And lead our dances to the woodland fane,
No hope of heaven sweeten our few tears
And hush the importunity of pain.

A good citizen must follow the movement of public affairs, so as to cast his vote intelligently, and know whether the party in power deserved his vote.

"The literature of democracy was to ignore all extraordinary gifts of genius or virtue, all distinction drawn even from great passions or romantic adventures. In Whitman's works, in which this new literature is foreshadowed, there is accordingly not a single character nor a single story. His only hero is Myself, the "single separate person," endowed with the primary impulses, with health, and with sensitiveness to the elementary aspects of Nature. The perfect man of the future, the prolific begetter of other perfect men, is to work with his hands, chanting the poems of some future Walt, some ideally democratic bard. Women are to have as nearly as possible the same character as men: the emphasis is to pass from family life and local ties to the friendship of comrades and the general brotherhood of man. Men are to be vigorous, comfortable, sentimental, and irresponsible."

He described what he knew best or had heard most, and felt he had described the universe. (on Hegel)

At the prompting of some stray instinct or chance association, you will invent delightful or fearsome circumstances, identifying them, with the most shameful doubleness, with the real ones...you will burst into passionate eloquence, or pant in the direst predicament, all for the fun of it, or by virtue of a terrible inner compulsion; and this dream which is byplay, or play which is a waking dream, will exhibit your brooding soul, if not always to moral advantage or with much coherence, at least in its unsuspected ingenuities of invention. What brilliant images, what subtle emotions, what dramatic turns in the argument of a dream, and in the make-believe of children! You seem to dictate and compose your fiction deliberately, rejecting, foreseeing, feeling the oncoming revolution towards which circumstances must be addressed.