Perhaps in the century that has elapsed since the French Revolution the pendulum has had time to swing as far as it will in the direction of negative reform, and may now begin to move towards that sort of reform which is integrating and creative. The veering of the advanced political parties from liberalism to socialism would seem to be a clear indication of this new tendency. It is manifest also in the love of nature, in athletics, in the new woman, and in a friendly medical attitude towards all the passions.
In the fine arts, however, and in religion and philosophy, we are still in full career towards disintegration. It might have been thought that a germ of rational order would by this time have penetrated into fine art and speculation from the prosperous constructive arts that touch the one, and the prosperous natural and mathematical sciences that touch the other. But as yet there is little sign of it. Since the beginning of the nineteenth century painting and sculpture have passed through several phases, representatives of each naturally surviving after the next had appeared. Romanticism, half lurid, half effeminate, yielded to a brutal pursuit of material truth, and a pious preference for modern and humble sentiment. This realism had a romantic vein in it, and studied vice and crime, tedium and despair, with a very genuine horrified sympathy. Some went in for a display of archaeological lore or for exotic motifs; others gave all their attention to rediscovering and emphasising abstract problems of execution, the highway of technical tradition having long been abandoned. Beginners are still supposed to study their art, but they have no masters from whom to learn it. Thus, when there seemed to be some danger that art should be drowned in science and history, the artists deftly eluded it by becoming amateurs. One gave himself to religious archaism, another to Japanese composition, a third to barbaric symphonies of colour; sculptors tried to express dramatic climaxes, or inarticulate lyrical passion, such as music might better convey; and the latest whims are apparently to abandon painful observation altogether, to be merely decorative or frankly mystical, and to be satisfied with the childishness of hieroglyphics or the crudity of caricature. The arts are like truant children who think their life will be glorious if they only run away and play for ever; no need is felt of a dominant ideal passion and theme, nor of any moral interest in the interpretation of nature. Artists have no less talent than ever; their taste, their vision, their sentiment are often interesting; they are mighty in their independence and feeble only in their works.
In philosophy there are always the professors, as in art there are always the portrait painters and the makers of official sculpture; and both sorts of academicians are often very expert and well-educated. Yet in philosophy, besides the survival of all the official and endowed systems, there has been of late a very interesting fresh movement, largely among the professors themselves, which in its various hues may be called irrationalism, vitalism, pragmatism, or pure empiricism. But this movement, far from being a reawakening of any organising instinct, is simply an extreme expression of romantic anarchy. It is in essence but a franker confession of the principle upon which modern philosophy has been building—or unbuilding—for these three hundred years, I mean the principle of subjectivity. Berkeley and Hume, the first prophets of the school, taught that experience is not a partial discovery of other things but is itself the only possible object of experience. Therefore, said Kant and the second generation of prophets, any world we may seem to live in, even those worlds of theology or of history which Berkeley or Hume had inadvertently left standing, must be an idea which our present experience suggests to us and which we frame as the principles of our mind allow and dictate that we should. But then, say the latest prophets—Avenarius, William James, M. Bergson—these mental principles are no antecedent necessities or duties imposed on our imagination; they are simply parts of flying experience itself, and the ideas—say of God or of matter—which they lead us to frame have nothing compulsory or fixed about them. Their sole authority lies in the fact that they may be more or less congenial or convenient, by enriching the flying moment æsthetically, or helping it to slip prosperously into the next moment. Immediate feeling, pure experience, is the only reality, the only fact: if notions which do not reproduce it fully as it flows are still called true (and they evidently ought not to be) it is only in a pragmatic sense of the word, in that while they present a false and heterogeneous image of reality they are not practically misleading; as, for instance, the letters on this page are no true image of the sounds they call up, nor the sounds of the thoughts, yet both may be correct enough if they lead the reader in the end to the things they symbolise. It is M. Bergson, the most circumspect and best equipped thinker of this often scatter-brained school, who has put this view in a frank and tenable form, avoiding the bungling it has sometimes led to about the "meaning of truth." Truth, according to M. Bergson, is given only in intuitions which prolong experience just as it occurs, in its full immediacy; on the other hand, all representation, thought, theory, calculation, or discourse is so much mutilation of the truth, excusable only because imposed upon us by practical exigences. The world, being a feeling, must be felt to be known, and then the world and the knowledge of it are identical; but if it is talked about or thought about it is denaturalised, although convention and utility may compel the poor human being to talk and to think, exiled as he is from reality in his Babylon of abstractions. Life, like the porcupine when not ruffled by practical alarms, can let its fretful quills subside. The mystic can live happy in the droning consciousness of his own heart-beats and those of the universe.
With this we seem to have reached the extreme of self-concentration and self-expansion, the perfect identity and involution of everything in oneself. And such indeed is the inevitable goal of the malicious theory of knowledge, to which this school is committed, remote as that goal may be from the boyish naturalism and innocent intent of many of its pupils. If all knowledge is of experience and experience cannot be knowledge of anything else, knowledge proper is evidently impossible. There can be only feeling; and the least self-transcendence, even in memory, must be an illusion. You may have the most complex images you will; but nothing pictured there can exist outside, not even past or alien experience, if you picture it.[1] Solipsism has always been the evident implication of idealism; but the idealists, when confronted with this consequence, which is dialectically inconvenient, have never been troubled at heart by it, for at heart they accept it. To the uninitiated they have merely murmured, with a pitying smile and a wave of the hand: What! are you still troubled by that? Or if compelled to be so scholastic as to labour the point they have explained, as usual, that oneself cannot be the absolute because the idea of oneself, to arise, must be contrasted with other ideas. Therefore, you cannot well have the idea of a world in which nothing appears but the idea of yourself.
This explanation, in pretending to refute solipsism, of course assumes and confirms it; for all these cans and musts touch only your idea of yourself, not your actual being, and there is no thinkable world that is not within you, as you exist really. Thus idealists are wedded to solipsism irrevocably; and it is a happy marriage, only the name of the lady has to be changed.
Nevertheless, lest peace should come (and peace nowadays is neither possible nor desired), a counter-current at once overtakes the philosophy of the immediate and carries it violently to the opposite pole of speculation—from mystic intuition to a commercial cult of action and a materialisation of the mind such as no materialist had ever dreamt of. The tenderness which the pragmatists feel for life in general, and especially for an accelerated modern life, has doubtless contributed to this revulsion, but the speculative consideration of the immediate might have led to it independently. For in the immediate there is marked expectancy, craving, prayer; nothing absorbs consciousness so much as what is not quite given. Therefore it is a good reading of the immediate, as well as a congenial thing to say to the contemporary world, that reality is change, growth, action, creation. Similarly the sudden materialisation of mind, the unlooked-for assertion that consciousness does not exist, has its justification in the same quarter. In the immediate what appears is the thing, not the mind to which the thing appears. Even in the passions, when closely scanned introspectively, you will find a new sensitiveness or ebullition of the body, or a rush of images and words; you will hardly find a separate object called anger or love. The passions, therefore, when their moral essence is forgotten, may be said to be literally nothing but a movement of their organs and their objects, just as ideas may be said to be nothing but fragments or cross-threads of the material world. Thus the mind and the object are