Meditation On Finality

In the Grand Canyon of Arizona, that most exhilarating of all natural phenomena, Nature has for once so focussed her effects, that the result is a framed and final work of Art. For there, between two high lines of plateau, level as the sea, are sunk the wrought thrones of the innumerable gods, couchant, and for ever revering, in their million moods of light and colour, the Master Mystery.

Having seen this culmination, I realize why many people either recoil before it, and take the first train home, or speak of it as a “remarkable formation.” For, though mankind at large craves finality, it does not crave the sort that bends the knee to Mystery. In Nature, in Religion, in Art, in Life, the common cry is: “Tell me precisely where I am, what doing, and where going! Let me be free of this fearful untidiness of not knowing all about it!” The favoured religions are always those whose message is most finite. The fashionable professions — they that end us in assured positions. The most popular works of fiction, such as leave nothing to our imagination. And to this craving after prose, who would not be lenient, that has at all known life, with its usual predominance of our lower and less courageous selves, our constant hankering after the cosey closed door and line of least resistance? We are continually begging to be allowed to know for certain; though, if our prayer were granted, and Mystery no longer hovered, made blue the hills, and turned day into night, we should, as surely, wail at once to be delivered of that ghastliness of knowing things for certain!

Now, in Art, I would never quarrel with a certain living writer who demands of it the kind of finality implied in what he calls a “moral discovery”— using, no doubt, the words in their widest sense. I would maintain, however, that such finality is not confined to positively discovering the true conclusion of premises laid down; but that it may also distil gradually, negatively from the whole work, in a moral discovery, as it were, of Author. In other words, that, permeation by an essential point of view, by emanation of author, may so unify and vitalize a work, as to give it all the finality that need be required of Art. For the finality that is requisite to Art, be it positive or negative, is not the finality of dogma, nor the finality of fact, it is ever the finality of feeling — of a spiritual light, subtly gleaned by the spectator out of that queer luminous haze which one man’s nature must ever be to others. And herein, incidentally, it is that Art acquires also that quality of mystery, more needful to it even than finality, for the mystery that wraps a work of Art is the mystery of its maker, and the mystery of its maker is the difference between that maker’s soul and every other soul.

But let me take an illustration of what I mean by these two kinds of finality that Art may have, and show that in essence they are but two halves of the same thing. The term “a work of Art” will not be denied, I think, to that early novel of M. Anatole France, “Le Lys Rouge.” Now, that novel has positive finality, since the spiritual conclusion from its premises strikes one as true. But neither will the term “a work of Art” be denied to the same writer’s four “Bergeret” volumes, whose negative finality consists only in the temperamental atmosphere wherein they are soaked. Now, if the theme of “Le Lys Rouge” had been treated by Tolstoy, Meredith, or Turgenev, we should have had spiritual conclusions from the same factual premises so different from M. France’s as prunes from prisms, and yet, being the work of equally great artists, they would, doubtless, have struck us as equally true. Is not, then, the positive finality of “Le Lys Rouge,” though expressed in terms of a different craftsmanship, the same, in essence, as the negative finality of the “Bergeret” volumes? Are not both, in fact, merely flower of author true to himself? So long as the scent, colour, form of that flower is strong and fine enough to affect the senses of our spirit, then all the rest, surely, is academic — I would say, immaterial.

But here, in regard to Art, is where mankind at large comes on the field. “‘Flower of author,’” it says, “‘Senses of the spirit!’ Phew! Give me something I can understand! Let me know where I am getting to!” In a word, it wants a finality different from that which Art can give. It will ask the artist, with irritation, what his solution, or his lesson, or his meaning, really is, having omitted to notice that the poor creature has been giving all the meaning that he can, in every sentence. It will demand to know why it was not told definitely what became of Charles or Mary in whom it had grown so interested; and will be almost frightened to learn that the artist knows no more than itself. And if by any chance it be required to dip its mind into a philosophy that does not promise it a defined position both in this world and the next, it will assuredly recoil, and with a certain contempt say: “No, sir! This means nothing to me; and if it means anything to you — which I very much doubt — I am sorry for you!”

It must have facts, and again facts, not only in the present and the past, but in the future. And it demands facts of that, which alone cannot glibly give it facts. It goes on asking facts of Art, or, rather, such facts as Art ............