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Interpretations of Poetry and Religion

1900

George Santayana

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Interpretations of Poetry and Religion

George Santayana

1900

Philosophy & Ethics, Religion/Spirituality

In this audacious first work of critical prose, Santayana mounts a provocation that scandalized turn-of-the-century Harvard: poetry and religion, he argues, are not merely related but fundamentally identical, differentiated only by their practical application in the world. Poetry becomes religion when it intervenes in life; religion is merely poetry when it supervenes upon life without demanding action. The result is a radical reframing of what belief means in a modern age, one that refuses to let religious claims escape the same imaginative scrutiny we grant to verse. Santayana writes with the precision of a philosopher and the ear of a poet, making this dense meditation on the human mind's relationship to reality feel almost like literature itself. William James dismissed it as "a perfection of rottenness" - high praise for a book that refuses comfortable pieties. Its influence on T.S. Eliot and Wallace Stevens proves Santayana's insight: the best criticism of religion may come not from the secularist's complaint but from the poet's deeper understanding of what imagination demands.

Project Gutenberg

A philosophical work written in the late 19th century. The text examines the intrinsic connections between poetry and re...

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Interpretations of Poetry and Religion is the third volume in a new critical edition of the complete works of George San...

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Interpretations of Poetry and Religion
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Project Gutenberg · 274 pages
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“The mass of mankind is divided into two classes, the Sancho Panzas who have a sense for reality, but no ideals, and the Don Quixotes with a sense for ideals, but mad.””

— George Santayana

“Life is an art not to be learned by observation.””

— George Santayana

“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.””

— George Santayana

“For the barbarian is the man who regards his passions as their own excuse for being; who does not domesticate them either by understanding their cause or by conceiving their ideal goal. He is the man who does not know his derivations nor perceive his tendencies, but who merely feels and acts, valuing in his life its force and its filling, but being careless of its purpose and its form. His delight is in abundance and vehemence; his art, like his life, shows an exclusive respect for quantity and splendour of materials. His scorn for what is poorer and weaker than himself is only surpassed by his ignorance of what is higher.””

— George Santayana

“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.””

— George Santayana

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