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" "To me the opinions of mankind, taken without any contrary prejudice (since I have no rival opinions to propose) but simply contrasted with the course of nature, seem surprising fictions; and the marvel is how they can be maintained. What strange religions, what ferocious moralities, what slavish fashions, what sham interests! I an explain it all only by saying to myself that intelligence is naturally forthright; it forges ahead; it piles fiction on fiction; and the fact that the dogmatic structure, for the time being, stands and grows, passes for a proof of its rightness. Right indeed it is in one sense, as vegetation is right; it is vital; it has plasticity and warmth, and a certain indirect correspondence with its soil and climate. Many obviously fabulous dogmas, like those of religion, might for ever dominate the most active minds, except for one circumstance. In the jungle one tree strangles another, and luxuriance itself is murderous. So is luxuriance in the human mind. What kills spontaneous fictions, what recalls the impassioned fancy from its improvisation is the angry void of some contrary fancy. nature, silently making fools of us all our lives, never would bring us to our senses; but the maddest assertions of the mind may do so, when they challenge one another. Criticism arises out of the conflict of dogmas.
Jorge Agustín Nicolás Ruiz de Santayana y Borrás, known in English as George Santayana (16 December 1863 in Madrid, Spain – 26 September 1952 in Rome, Italy) was a Spanish-American philosopher, essayist, poet and novelist.
Biography information from Wikiquote
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Now the zest of romanticism consists in taking what you know is an independent and ancient world as if it were material for your private emotions. The savage or the animal, who should not be aware of nature or history at all, could not be romantic about them, nor about himself. He would be blandly idiotic, and take everything quite unsuspectingly for what it was in him. The romanticist, then, should be a civilized man, so that his primitiveness and egotism may have something paradoxical and conscious about them; and so that his life may contain a rich experience, and his reflection may play with all varieties of sentiment and thought. At the same time, in his inmost genius, he should be a barbarian, a child, a transcendentalist, so that his life may seem to him absolutely fresh, self-determined, unforeseen, and unforeseeable. It is part of his inspiration to believe that he creates a new heaven and a new earth with each revolution in his moods or in his purposes. He ignores, or seeks to ignore, all the conditions of life, until perhaps by living he personally discovers them. Like Faust, he flouts science, and is minded to make trial of magic, which renders a man’s will master of the universe in which he seems to live. He disowns all authority, save that mysteriously exercised over him by his deep faith in himself. He is always honest and brave; but he is always different, and absolves himself from his past as soon as he has outgrown or forgotten it. He is inclined to be wayward and foolhardy, justifying himself on the ground that all experience is interesting, that the springs of it are inexhaustible and always pure, and that the future of his soul is infinite. In the romantic hero the civilized man and the barbarian must be combined; he should be the heir to all civilization, and, nevertheless, he should take life arrogantly and egotistically, as if it were an absolute personal experiment.
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