Вольтер
A Philosophical Dictionary, Volume 05
FIGURED – FIGURATIVE
We say, a truth "figured" by a fable, by a parable; the church "figured" by the young spouse in Solomon's Song; ancient Rome "figured" by Babylon. A figurative style is constituted by metaphorical expressions, figuring the things spoken of – and disfiguring them when the metaphors are not correct.
Ardent imagination, passion, desire – frequently deceived – produce the figurative style. We do not admit it into history, for too many metaphors are hurtful, not only to perspicuity, but also to truth, by saying more or less than the thing itself.
In didactic works, this style should be rejected. It is much more out of place in a sermon than in a funeral oration, because the sermon is a piece of instruction in which the truth is to be announced; while the funeral oration is a declaration in which it is to be exaggerated.
The poetry of enthusiasm, as the epopee and the ode, is that to which this style is best adapted. It is less admissible in tragedy, where the dialogue should be natural as well as elevated; and still less in comedy, where the style must be more simple.
The limits to be set to the figurative style, in each kind, are determined by taste. Baltasar Gracian says, that "our thoughts depart from the vast shores of memory, embark on the sea of imagination, arrive in the harbor of intelligence, and are entered at the custom house of the understanding."
This is precisely the style of Harlequin. He says to his master, "The ball of your commands has rebounded from the racquet of my obedience." Must it not be owned that such is frequently that oriental style which people try to admire? Another fault of the figurative style is the accumulating of incoherent figures. A poet, speaking of some philosophers, has called them:
D'ambitieux pygmées
Qui sur leurs pieds vainement redressés
Et sur des monts d'argumens entassés
De jour en jour superbes Encelades,
Vont redoublant leurs folles escalades.
When philosophers are to be written against, it should be done better. How do ambitious pygmies, reared on their hind legs on mountains of arguments, continue escalades? What a false and ridiculous image! What elaborate dulness!
In an allegory by the same author, entitled the "Liturgy of Cytherea," we find these lines:
De toutes parts, autour de l'inconnue,
Ils vont tomber comme grêle menue,
Moissons des cœurs sur la terre jonchés,
Et des Dieux même à son char attachés.
De par Venus nous venons cette affaire
Si s'en retourne aux cieux dans son sérail,
En ruminant comment il pourra faire
Pour ramener la brebis au bercail.
Here we have harvests of hearts thrown on the ground like small hail; and among these hearts palpitating on the ground, are gods bound to the car of the unknown; while love, sent by Venus, ruminates in his seraglio in heaven, what he shall do to bring back to the fold this lost mutton surrounded by scattered hearts. All this forms a figure at once so false, so puerile, and so incoherent – so disgusting, so extravagant, so stupidly expressed, that we are astonished that a man, who made good verses of another kind, and was not devoid of taste, could write anything so miserably bad.
Figures, metaphors, are not necessary in an allegory; what has been invented with imagination may be told with simplicity. Plato has more allegories than figures; he often expresses them elegantly and without ostentation.
Nearly all the maxims of the ancient orientals and of the Greeks were in the figurative style. All those sentences are metaphors, or short allegories; and in them the figurative style has great effect in rousing the imagination and impressing the memory.
We know that Pythagoras said, "In the tempest adore the echo," that is, during civil broils retire to the country; and "Stir not the fire with the sword," meaning, do not irritate minds already inflamed. In every language, there are many common proverbs which are in the figurative style.
FIGURE IN THEOLOGY
It is quite certain, and is agreed by the most pious men, that figures and allegories have been carried too far. Some of the fathers of the church regard the piece of red cloth, placed by the courtesan Rahab at her window, for a signal to Joshua's spies, as a figure of the blood of Jesus Christ. This is an error of an order of mind which would find mystery in everything.
Nor can it be denied that St. Ambrose made very bad use of his taste for allegory, when he says, in his book of "Noah and the Ark," that the back door of the ark was a figure of our hinder parts.
All men of sense have asked how it can be proved that these Hebrew words, "maher, salas-has-has," (take quick the spoils) are a figure of Jesus Christ? How is Judah, tying his ass to a vine, and washing his cloak in the wine, also a figure of Him. How can Ruth, slipping into bed to Boaz, figure the church, how are Sarah and Rachel the church, and Hagar and Leah the synagogue? How, do the kisses of the Shunamite typify the marriage of the church? A volume might be made of these enigmas, which, to the best theologians of later times, have appeared to be rather far-fetched than edifying.
The danger of this abuse is fully admitted by Abbé Fleury, the author of the "Ecclesiastical History." It is a vestige of rabbinism; a fault into which the learned St. Jerome never fell. It is like oneiromancy, or the explanation of dreams. If a girl sees muddy water, when dreaming, she will be ill-married; if she sees clear water, she will have a good husband; a spider denotes money, etc. In short, will enlightened posterity believe it? The understanding of dreams has, for more than four thousand years, been made a serious study.
Symbolical Figures.
All nations have made use of them, as we have said in the article "emblem." But who began? Was it the Egyptians? It is not likely. We think we have already more than once proved that Egypt is a country quite new, and that many ages were requisite to save the country from inundations, and render it habitable. It is impossible that the Egyptians should have invented the signs of the zodiac, since the figures denoting our seed-time and harvest cannot coincide with theirs. When we cut our corn, their land is covered with water; and when we sow, their reaping time is approaching. Thus the bull of our zodiac and the girl bearing ears of corn cannot have come from Egypt.
Here is also an evident proof of the falsity of the new paradox, that the Chinese are an Egyptian colony. The characters are not the same. The Chinese mark the course of the sun by twenty-eight constellations and the Egyptians, after the Chaldæans, reckoned only twelve, like ourselves.
The figures that denote the planets are in China and in India all different from those of Egypt and of Europe; so are the signs of the metals; so is the method of guiding the hand in writing. Nothing could have been more chimerical than to send the Egyptians to people China.
All these fabulous foundations, laid in fabulous times, have caused an irreparable loss of time to a prodigious multitude of the learned, who have all been bewildered in their laborious researches, which might have been serviceable to mankind if directed to arts of real utility.
Pluche, in his History, or rather his fable, of the Heavens, assures us that Ham, son of Noah, went and reigned in Egypt, where there was nobody to reign over; that his son Menes was the greatest of legislators, and that Thoth was his prime minister.
According to him and his authorities, this Thoth, or somebody else, instituted feasts in honor of the deluge; and the joyful cry of "Io Bacche," so famous among the Greeks, was, among the Egyptians, a lamentation. "Bacche" came from the Hebrew "beke" signifying sobs, and that at a time when the Hebrew people did not exist. According to this explanation, "joy" means "sorrow," and "to sing" signifies "to weep."
The Iroquois have more sense. They do not take the trouble to inquire what passed on the shores of Lake Ontario some thousand years ago: instead of making systems, they go hunting.
The same authors affirm that the sphinxes, with which Egypt was adorned, signified superabundance, because some interpreters have asserted that the Hebrew word "spang" meant an "excess"; as if the Egyptians had taken lessons from the Hebrew tongue, which is, in great part, derived from the Phœnician: besides, what relation has a sphinx to an abundance of water? Future schoolmen will maintain, with greater appearance of reason, that the masks which decorate the keystones of our windows are emblems of our masquerades; and that these fantastic ornaments announced that balls were given in every house to which they were affixed.
Figure, Figurative, Allegorical, Mystical, Topological, Typical, etc.
This is often the art of finding in books everything but what they really contain. For instance, Romulus killing his brother Remus shall signify the death of the duke of Berry, brother of Louis XI.; Regulus, imprisoned at Carthage, shall typify St. Louis captive at Mansurah.
It is very justly remarked in the "Encyclopædia," that many fathers of the church have, perhaps, carried this taste for allegorical figures a little too far; but they are to be reverenced, even in their wanderings. If the holy fathers used and then abused this method, their little excesses of imagination may be pardoned, in consideration of their holy zeal.
The antiquity of the usage may also be pleaded in justification, since it was practised by the earliest philosophers. But it is true that the symbolical figures employed by the fathers are in a different taste.
For example: When St. Augustine wishes to make it appear that the forty-two generations of the genealogy of Jesus are announced by St. Matthew, who gives only forty-one, he says that Jechonias must be counted twice, because Jechonias is a corner-stone belonging to two walls; that these two walls figure the old and the new law; and that Jechonias, being thus the corner-stone, figures Jesus Christ, who is the real corner-stone.
The same saint, in the same sermon, says that the number forty must prevail; and at once abandons Jechonias and his corner-stone, counted as two. The number forty, he says, signifies life; ten, which is perfect beatitude, being multiplied by four, which, being the number of the seasons, figures time.
Again, in the same sermon, he explains why St. Luke gives Jesus Christ seventy-seven ancestors: fifty-six up to the patriarch Abraham, and twenty-one from Abraham up to God himself. It is true that, according to the Hebrew text, there would be but seventy-six; for the Hebrew does not reckon a Cainan, who is interpolated in the Greek translation called "The Septuagint."
Thus said Augustine: "The number seventy-seven figures the abolition of all sins by baptism… the number ten signifies justice and beatitude, resulting from, the creature, which makes seven with the Trinity, which is three: therefore it is that God's commandments are ten in number. The number eleven denotes sin, because it transgresses ten… This number seventy-seven is the product of eleven, figuring sin, multiplied by seven, and not by ten, for seven is the symbol of the creature. Three represents the soul, which is in some sort an image of the Divinity; and four represents the body, on account of its four qualities." In these explanations, we find some trace of the cabalistic mysteries and the quaternary of Pythagoras. This taste was very long in vogue.
St. Augustine goes much further, concerning the dimensions of matter. Breadth is the dilatation of the heart, which performs good works; length is perseverance; depth is the hope of reward. He carries the allegory very far, applying it to the cross, and drawing great consequences therefrom. The use of these figures had passed from the Jews to the Christians long before St. Augustine's time. It is not for us to know within what bounds it was right to stop.
The examples of this fault are innumerable. No one who has studied to advantage will hazard the introduction of such figures, either in the pulpit or in the school. We find no such instances among the Romans or the Greeks, not even in their poets.
In Ovid's "Metamorphoses" themselves, we find only ingenious deductions drawn from fables which are given as fables. Deucalion and Pyrrha threw stones behind them between their legs, and men were produced therefrom. Ovid says:
Inde genus durum sumus, experiensque laborum,
Et documenta damus qua simus origine nati.
Thence we are a hardened and laborious race,
Proving full well our stony origin.
Apollo loves Daphne, but Daphne does not love Apollo. This is because love has two kinds of arrows; the one golden and piercing, the other leaden and blunt. Apollo has received in his heart a golden arrow, Daphne a leaden one.
Ecce sagittifera prompsit duo tela pharetra
Diversorum operum; fugat hoc, facit illud amorem
Quod facit auratum est, et cuspide fulget acuta;
Quod fugat obtusum est, et habet sub arundine plumbum…
Two different shafts he from his quiver draws;
One to repel desire, and one to cause.
One shaft is pointed with refulgent gold,
To bribe the love, and make the lover bold;
One blunt and tipped with lead, whose base allay
Provokes disdain, and drives desire away.
– DRYDEN.
These figures are all ingenious, and deceive no one.
That Venus, the goddess of beauty, should not go unattended by the Graces, is a charming truth. These fables, which were in the mouths of all – these allegories, so natural and attractive – had so much sway over the minds of men, that perhaps the first Christians imitated while they opposed them.
They took up the weapons of mythology to destroy it, but they could not wield them with the same address. They did not reflect that the sacred austerity of our holy religion placed these resources out of their power, and that a Christian hand would have dealt but awkwardly with the lyre of Apollo.
However, the taste for these typical and prophetic figures was so firmly rooted that every prince, every statesman, every pope, every founder of an order, had allegories or allusions taken from the Holy Scriptures applied to him. Satire and flattery rivalled each other in drawing from this source.
When Pope Innocent III. made a bloody crusade against the court of Toulouse, he was told, "Innocens eris a maledictione." When the order of the Minimes was established, it appeared that their founder had been foretold in Genesis: "Minimus cum patre nostro."
The preacher who preached before John of Austria after the celebrated battle of Lepanto, took for his text, "Fuit homo missus a Deo, cui nomen erat Johannes;" A man sent from God, whose name was John; and this allusion was very fine, if all the rest were ridiculous. It is said to have been repeated for John Sobieski, after the deliverance of Vienna; but this latter preacher was nothing more than a plagiarist.
In short, so constant has been this custom that no preacher of the present day has ever failed to take an allegory for his text. One of the most happy instances is the text of the funeral oration over the duke of Candale, delivered before his sister, who was considered a pattern of virtue: "Die, quia soror, mea es, ut mihi bene eveniat propter, te." – "Say, I pray thee, that thou art my sister, that it may be well with me for thy sake."
It is not to be wondered at that the Cordeliers carried these figures rather too far in favor of St. Francis of Assisi, in the famous but little-known book, entitled, "Conformities of St. Francis of Assisi with Jesus Christ." We find in it sixty-four predictions of the coming of St. Francis, some in the Old Testament, others in the New; and each prediction contains three figures, which signify the founding of the Cordeliers. So that these fathers find themselves foretold in the Bible a hundred and ninety-two times.
From Adam down to St. Paul, everything prefigured the blessed Francis of Assisi. The Scriptures were given to announce to the universe the sermons of Francis to the quadrupeds, the fishes, and the birds, the sport he had with a woman of snow, his frolics with the devil, his adventures with brother Elias and brother Pacificus.
These pious reveries, which amounted even to blasphemy, have been condemned. But the Order of St. Francis has not suffered by them, having renounced these extravagancies so common to the barbarous ages.
FINAL CAUSES
SECTION I
Virgil says ("Æneid," book vi. 727):
Mens agitat molem et magno se corpore miscet.
This active mind infused, through all the space
Unites and mingles with the mighty mass.
– DRYDEN.
Virgil said well: and Benedict Spinoza, who has not the brilliancy of Virgil, nor his merit, is compelled to acknowledge an intelligence presiding over all. Had he denied this, I should have said to him: Benedict, you are a fool; you possess intelligence, and you deny it, and to whom do you deny it?
In the year 1770, there appeared a man, in some respects far superior to Spinoza, as eloquent as the Jewish Hollander is dry, less methodical, but infinitely more perspicuous; perhaps equal to him in mathematical science; but without the ridiculous affectation of applying mathematical reasonings to metaphysical and moral subjects. The man I mean is the author of the "System of Nature." He assumed the name of Mirabaud, the secretary of the French Academy. Alas! the worthy secretary was incapable of writing a single page of the book of our formidable opponent. I would recommend all you who are disposed to avail yourselves of your reason and acquire instruction, to read the following eloquent though dangerous passage from the "System of Nature." (Part II. v. 153.)
It is contended that animals furnish us with a convincing evidence that there is some powerful cause of their existence; the admirable adaptation of their different parts, mutually receiving and conferring aid towards accomplishing their functions, and maintaining in health and vigor the entire being, announce to us an artificer uniting power to wisdom. Of the power of nature, it is impossible for us to doubt; she produces all the animals that we see by the help of combinations of that matter, which is in incessant action; the adaptation of the parts of these animals is the result of the necessary laws of their nature, and of their combination. When the adaptation ceases, the animal is necessarily destroyed. What then becomes of the wisdom, the intelligence, or the goodness of that alleged cause, to which was ascribed all the honor of this boasted adaptation? Those animals of so wonderful a structure as to be pronounced the works of an immutable God, do not they undergo incessant changes; and do not they end in decay and destruction? Where is the wisdom, the goodness, the fore-sight, the immutability of an artificer, whose sole object appears to be to derange and destroy the springs of those machines which are proclaimed to be masterpieces of his power and skill? If this God cannot act otherwise than thus, he is neither free nor omnipotent. If his will changes, he is not immutable. If he permits machines, which he has endowed with sensibility, to experience pain, he is deficient in goodness. If he has been unable to render his productions solid and durable, he is deficient in skill. Perceiving as we do the decay and ruin not only of all animals, but of all the other works of deity, we cannot but inevitably conclude, either that everything performed in the course of nature is absolutely necessary – the unavoidable result of its imperative and insuperable laws, or that the artificer who impels her various operations is destitute of plan, of power, of constancy, of skill, and of goodness.
"Man, who considers himself the master-work of the Divinity, supplies us more readily and completely than any other production, with evidence of the incapacity or malignity of his pretended author. In this being, possessed of feeling, intuition, and reason, which considers itself as the perpetual object of divine partiality, and forms its God on the model of itself, we see a machine more changeable, more frail, more liable to derangement from its extraordinary complication, than that of the coarsest and grossest beings. Beasts, which are destitute of our mental powers and acquirements; plants, which merely vegetate; stones, which are unendowed with sensation, are, in many respects, beings far more favored than man. They are, at least, exempt from distress of mind, from the tortures of thought, and corrosions of care, to which the latter is a victim. Who would not prefer being a mere unintelligent animal, or a senseless stone, when his thoughts revert to the irreparable loss of an object dearly beloved? Would it not be infinitely more desirable to be an inanimate mass, than the gloomy votary and victim of superstition, trembling under the present yoke of his diabolical deity, and anticipating infinite torments in a future existence? Beings destitute of sensation, life, memory, and thought experience no affliction from the idea of what is past, present, or to come; they do not believe there is any danger of incurring eternal torture for inaccurate reasoning; which is believed, however, by many of those favored beings who maintain that the great architect of the world has created the universe for themselves.
"Let us not be told that we have no idea of a work without having that of the artificer distinguished from the work. Nature is not a work. She has always existed of herself. Every process takes place in her bosom. She is an immense manufactory, provided with materials, and she forms the instruments by which she acts; all her works are effects of her own energy, and of agents or causes which she frames, contains, and impels. Eternal, uncreated elements – elements indestructible, ever in motion, and combining in exquisite and endless diversity, originate all the beings and all the phenomena that we behold; all the effects, good or evil, that we feel; the order or disorder which we distinguish, merely by different modes in which they affect ourselves; and, in a word, all those wonders which excite our meditation and confound our reasoning. These elements, in order to effect objects thus comprehensive and important, require nothing beyond their own properties, individual or combined, and the motion essential to their very existence; and thus preclude the necessity of recurring to an unknown artificer, in order to arrange, mould, combine, preserve, and dissolve them.
"But, even admitting for a moment, that it is impossible to conceive of the universe without an artificer who formed it, and who preserves and watches over his work, where shall we place that artificer? Shall he be within or without the universe? Is he matter or motion? Or is he mere space, nothingness, vacuity? In each of these cases, he will either be nothing, or he will be comprehended in nature, and subjected to her laws. If he is in nature, I think I see in her only matter in motion, and cannot but thence conclude that the agent impelling her is corporeal and material, and that he is consequently liable to dissolution. If this agent is out of nature, then I have no idea of what place he can occupy, nor of an immaterial being, nor of the manner in which a spirit, without extension, can operate upon the matter from which it is separated. Those unknown tracts of space which imagination has placed beyond the visible world may be considered as having no existence for a being who can scarcely see to the distance of his own feet; the ideal power which inhabits them can never be represented to my mind, unless when my imagination combines at random the fantastic colors which it is always forced to employ in the world on which I am. In this case, I shall merely reproduce in idea what my senses have previously actually perceived; and that God, which I, as it were, compel myself to distinguish from nature, and to place beyond her circuit, will ever, in opposition to all my efforts, necessarily withdraw within it.
"It will be observed and insisted upon by some that if a statue or a watch were shown to a savage who had never seen them, he would inevitably acknowledge that they were the productions of some intelligent agent, more powerful and ingenious than himself; and hence it will be inferred that we are equally bound to acknowledge that the machine of the universe, that man, that the phenomena of nature, are the productions of an agent, whose intelligence and power are far superior to our own.
"I answer, in the first place, that we cannot possibly doubt either the great power or the great skill of nature; we admire her skill as often as we are surprised by the extended, varied and complicated effects which we find in those of her works that we take the pains to investigate; she is not, however, either more or less skilful in any one of her works than in the rest. We no more comprehend how she could produce a stone or a piece of metal than how she could produce a head organized like that of Newton. We call that man skilful who can perform things which we are unable to perform ourselves. Nature can perform everything; and when anything exists, it is a proof that she was able to make it. Thus, it is only in relation to ourselves that we ever judge nature to be skilful; we compare it in those cases with ourselves; and, as we possess a quality which we call intelligence, by the aid of which we produce works, in which we display our skill, we thence conclude that the works of nature, which must excite our astonishment and admiration, are not in fact hers, but the productions of an artificer, intelligent like ourselves, and whose intelligence we proportion, in our minds, to the degree of astonishment excited in us by his works; that is, in fact, to our own weakness and ignorance."
See the reply to these arguments under the articles on "Atheism" and "God," and in the following section, written long before the "System of Nature."
SECTION II
If a clock is not made in order to tell the time of the day, I will then admit that final causes are nothing but chimeras, and be content to go by the name of a final-cause-finder – in plain language, fool – to the end of my life.
All the parts, however, of that great machine, the world, seem made for one another. Some philosophers affect to deride final causes, which were rejected, they tell us, by Epicurus and Lucretius. But it seems to me that Epicurus and Lucretius rather merit the derision. They tell you that the eye is not made to see; but that, since it was found out that eyes were capable of being used for that purpose, to that purpose they have been applied. According to them, the mouth is not formed to speak and eat, nor the stomach to digest, nor the heart to receive the blood from the veins and impel it through the arteries, nor the feet to walk, nor the ears to hear. Yet, at the same time, these very shrewd and consistent persons admitted that tailors made garments to clothe them, and masons built houses to lodge them; and thus ventured to deny nature – the great existence, the universal intelligence – what they conceded to the most insignificant artificers employed by themselves.
The doctrine of final causes ought certainly to be preserved from being abused. We have already remarked that M. le Prieur, in the "Spectator of Nature," contends in vain that the tides were attached to the ocean to enable ships to enter more easily into their ports, and to preserve the water from corruption; he might just as probably and successfully have urged that legs were made to wear boots, and noses to bear spectacles.
In order to satisfy ourselves of the truth of a final cause, in any particular instance, it is necessary that the effect produced should be uniform and invariably in time and place. Ships have not existed in all times and upon all seas; accordingly, it cannot be said that the ocean was made for ships. It is impossible not to perceive how ridiculous it would be to maintain that nature had toiled on from the very beginning of time to adjust herself to the inventions of our fortuitous and arbitrary arts, all of which are of so late a date in their discovery; but it is perfectly clear that if noses were not made for spectacles, they were made for smelling, and there have been noses ever since there were men. In the same manner, hands, instead of being bestowed for the sake of gloves, are visibly destined for all those uses to which the metacarpus, the phalanges of the fingers, and the movements of the circular muscle of the wrist, render them applicable by us. Cicero, who doubted everything else, had no doubt about final causes.
It appears particularly difficult to suppose that those parts of the human frame by which the perpetuation of the species is conducted should not, in fact, have been intended and destined for that purpose, from their mechanism so truly admirable, and the sensation which nature has connected with it more admirable still. Epicurus would be at least obliged to admit that pleasure is divine, and that that pleasure is a final cause, in consequence of which beings, endowed with sensibility, but who could never have communicated it to themselves, have been incessantly introduced into the world as others have passed away from it.
This philosopher, Epicurus, was a great man for the age in which he lived. He saw that Descartes denied what Gassendi affirmed and what Newton demonstrated – that motion cannot exist without a vacuum. He conceived the necessity of atoms to serve as constituent parts of invariable species. These are philosophical ideas. Nothing, however, was more respectable than the morality of genuine Epicureans; it consisted in sequestration from public affairs, which are incompatible with wisdom, and in friendship, without which life is but a burden. But as to the rest of the philosophy of Epicurus, it appears not to be more admissible than the grooved or tubular matter of Descartes. It is, as it appears to me, wilfully to shut the eyes and the understanding, and to maintain that there is no design in nature; and if there is design, there is an intelligent cause – there exists a God.
