That tall flower that wets,
Like a child, half in tenderness and mirth,
Its mother's face with heaven-collected tears.
He ends by saying:
And then, elate and gay,
I hastened to the spot whence I had come,
That I might there present it!—Oh! to whom?
This question, even though not answered, carries a significance. A creation of beauty suggests a fulfilment, which is the fulfilment of love. We have heard some poets scoff at it in bitterness and despair; but it is like a sick child beating its own mother—it is a sickness of faith, which hurts truth, but proves it by its very pain and anger. And the faith itself is this, that beauty is the self-offering of the One to the other One.
In the first part of his "Hymn to Intellectual Beauty" Shelley dwells on the inconstancy and evanescence of the manifestation of beauty, which imparts to it an appearance of frailty and unreality:
Like hues and harmonies of evening,
Like clouds in starlight widely spread,
Like memory of music fled.
This, he says, rouses in our mind the question:
Why aught should fail and fade that once is shown,
Why fear and dream and death and birth
Cast on the daylight of this earth
Such gloom,—why man has such a scope
For love and hate, despondency and hope?
The poet's own answer to this question is:
Man were immortal, and omnipotent,
Didst thou, unknown and awful as thou art,
Keep with thy glorious train firm state within his heart.
This very elusiveness of beauty suggests the vision of immortality and of omnipotence, and stimulates the effort in man to realise it in some idea of permanence. The highest reality has actively to be achieved. The gain of truth is not in the end; it reveals itself through the endless length of achievement. But what is there to guide us in our voyage of realisation? Men have ever been struggling for direction:
Therefore the names of Demon, Ghost, and Heaven
Remain the records of their vain endeavour,
Frail spells,—whose uttered charm might not avail to sever,
From all we hear and all we see,
Doubt, chance and mutability.
The prevalent rites and practices of piety, according to this poet, are like magic spells—they only prove men's desperate endeavour and not their success. He knows that the end we seek has its own direct call to us, its own light to guide us to itself. And truth's call is the call of beauty. Of this he says:
Thy light alone,—like mist o'er mountain driven,
Or music by the night wind sent,
Thro' strings of some still instrument,
Or moonlight on a midnight stream
Gives grace and truth to life's unquiet dream.
About this revelation of truth which calls us on, and yet which is everywhere, a village singer of Bengal sings:
My master's flute sounds in everything, drawing me out of my house to everywhere.
While I listen to it I know that every step I take is in my master's house.
For he is the sea, he is the river that leads to the sea, and he is the landing place.
Religion, in Shelley, grew with his life; it was not given to him in fixed and ready-made doctrines; he rebelled against them. He had the creative mind which could only approach Truth through its joy in creative effort. For true creation is realisation of truth through the translation of it into our own symbols.
V
For man, the best opportunity for such a realisation has been in men's Society. It is a collective creation of his, through which his social being tries to find itself in its truth and beauty. Had that Society merely manifested its usefulness, it would be inarticulate like a dark star. But, unless it degenerates, it ever suggests in its concerted movements a living truth as its soul, which has personality. In this large life of social communion man feels the mystery of Unity, as he does in music. From the sense of that Unity, men came to the sense of their God. And therefore every religion began with its tribal God.
The one question before all others that has to be answered by our civilisations is not what they have and in what quantity, but what they express and how. In a society, the production and circulation of materials, the amassing and spending of money, may go on, as in the interminable prolonging of a straight line, if its people forget to follow some spiritual design of life which curbs them and transforms them into an organic whole. For growth is not that enlargement which is merely adding to the dimensions of incompleteness. Growth is the movement of a whole towards a yet fuller wholeness. Living things start with this wholeness from the beginning of their career. A child has its own perfection as a child; it would be ugly if it appeared as an unfinished man. Life is a continual process of synthesis, and not of additions. Our activities of production and enjoyment of wealth attain that spirit of wholeness when they are blended with a creative ideal. Otherwise they have the insane aspect of the eternally unfinished; they become like locomotive engines which have railway lines but no stations; which rush on towards a collision of uncontrolled forces or to a sudden breakdown of the overstrained machinery.
Through creation man expresses his truth; through that expression he gains back his truth in its fulness. Human society is for the best expression of man, and that expression, according to its perfection, leads him to the full realisation of the divine in humanity. When that expression is obscure, then his faith in the Infinite that is within him becomes weak; then his aspiration cannot go beyond the idea of success. His faith in the Infinite is creative; his desire for success is constructive; one is his home, and the other is his office. With the overwhelming growth of necessity, civilisation becomes a gigantic office to which the home is a mere appendix. The predominance of the pursuit of success gives to society the character of what we call Shudra in India. In fighting a battle, the Kshatriya, the noble knight, followed his honour for his ideal, which was greater than victory itself; but the mercenary Shudra has success for his object. The name Shudra symbolises a man who has no margin round him beyond his bare utility. The word denotes a classification which includes all naked machines that have lost their completeness of humanity, be their work manual or intellectual. They are like walking stomachs or brains, and we feel, in pity, urged to call on God and cry, "Cover them up for mercy's sake with some veil of beauty and life!"
When Shelley in his view of the world realised the Spirit of Beauty, which is the vision of the Infinite, he thus uttered his faith:
Never joy illumed my brow
Unlinked with hope that thou wouldst free
This world from its dark slavery;
That thou,—O awful Loveliness,—
Wouldst give whate'er these words cannot express.
This was his faith in the Infinite. It led his aspiration towards the region of freedom and perfection which was beyond the immediate and above the successful. This faith in God, this faith in the reality of the ideal of perfection, has built up all that is great in the human world. To keep indefinitely walking on, along a zigzag course of change, is negative and barren. A mere procession of notes does not make music; it is only when we have in the heart of the march of sounds some musical idea that it creates song. Our faith in the infinite reality of Perfection is that musical idea, and there is that one great creative force in our civilisation. When