WorkGeorge Santayana

Soliloquies in England and Later Soliloquies

Short pieces written in England during the First World War and just after, among them the sentence the world now credits to Plato.

by George Santayana373 passages held

  • English, the original language, and your language
First published
(aged 59)
Original language
English

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Overview

General Douglas MacArthur, bidding farewell to the cadets at West Point in May 1962, told them that Plato had said only the dead have seen the end of war. The line appears nowhere in Plato, though under his name it has also appeared at the Imperial War Museum in London and in Ridley Scott's 2001 film Black Hawk Down. The sentence is Santayana's, and it comes from "Tipperary", one of the short pieces collected in this book in 1922. Santayana spent the whole of the First World War in England, based in Oxford, and stayed until 1919. In "Tipperary" he watches young soldiers who believe the war is over and that they are safe, and answers the hope, voiced by President Woodrow Wilson among others, that this war had been the last. The rest of the book is quieter. The first half is a Spanish-born philosopher's record of England at close range — its landscape, its people and its manners — set down after years of living among them. The Later Soliloquies of the second half turn from England to general reflection: masks, tragedy and comedy, liberalism, British philosophy and the psyche, ending with "Hermes the Interpreter". Constable published it in London and Scribner's in New York in the same year.

Key concepts

What is the Englishman’s ‘inner atmosphere’?

The weather in his soul, which Santayana says is what actually governs him. It is more than physical well-being, being the witness of a settled disposition rooted deep in the soul, and less than an ideal or a principle. It gives a sense of direction that amounts to a code of ethics and a religion behind religion, and it broods deeper than language: forced into words, it comes out as some curt maxim.

Why does Santayana call masks ‘glorious things’?

Because expression is how life masters itself. Words, dogmas, tragedies and comedies are masks laid over the anatomical face of nature, and we are as proud of designing them as of inventing words. Without such playful pauses our motions and sensations would lack the dignity of knowing what we are doing. That is why Santayana calls the zeal of iconoclasts blind, and hostile to the religious impulse itself.

What does ‘the secret of a merry carnival is that Lent is at hand’ mean?

That follies can be enjoyed freely only once they have been renounced. Having virtually given up our vanities, Santayana writes, we can for the first time enjoy them with a free heart in their ephemeral purity. The comic view of life rests on this: humble laughter is wiser than tears, and what he pities in earnest people is not what they renounce but what they work for.

What does ‘only the dead have seen the end of war’ mean in its context?

That war belongs to existence itself, so no victory closes it. The line comes from “Tipperary”, where Santayana watches young soldiers who believe the war is over and they are safe. He adds that non-existence does not deserve the name of peace either. Peace with God, by which he means the sum of all possible good, would require us to change, pursuing the happiness proper to our nature without envying other goods.

What is spirit’s ‘true relation’ to existence, in the essay on Dickens?

Presence without confusion: spirit lives among things without dissolving into them. Santayana sets Whitman, whose transcendental philosophy swallowed the universe whole and found a universal spirit in things, against Dickens, who glided through the slums kindly and clear-sighted, a pale angel at the Carnival. The earth, he says, has no spirit of its own; it brings forth spirits, and each remains itself.

Themes of the book

What this book returns to, gathered into themes and ordered by how much of the text each one occupies.

England at Close Range, Seen by a Spaniard

What does a foreigner see in England after years inside it that the English themselves do not? A Spanish-born philosopher sets down its landscape, people and manners with affection and a stranger’s eye.

Most of the book is quiet: English landscape, English buildings, English character and the English habit of liberty, observed by a man who had spent the war years there with Oxford as his base. Santayana admires a people whose freedom is a matter of temperament rather than theory, and who seem at ease in their own nature. He also sees the limits of that ease. The portrait is personal rather than systematic, a record of what pleased and puzzled a philosopher who happened to be living there.

  • national character
  • nature
  • architecture
  • liberalism
  • freedom
  • happiness
  • aesthetics
  • empiricism
  • self-knowledge

Only the Dead Have Seen the End of War

Could any war be the last one? Watching young soldiers who believe their war is over and their lives are safe, Santayana answers that only the dead have seen the end of war.

The sentence, from the piece called “Tipperary”, has since been credited to Plato by a general at West Point, a museum wall and a Hollywood film. Its occasion was more modest and more pointed. Santayana was answering the hope, voiced by President Woodrow Wilson among others, that this war had ended war. Human nature, on his account, stays what it was, and the young soldiers who feel safe are safe only for the moment. The sentence is tender toward them and unsparing about the hope.

  • war
  • mortality
  • human nature
  • political philosophy
  • liberalism
  • embodiment

Life Seen as Comedy and Carnival

If appearances are masks over a world of matter, should anyone be ashamed of wearing them? Santayana’s answer is that the comic view of life is the sane one, and the masks are part of the fun.

A materialist knows that what people see and feel floats on the surface of nature, and a Platonist knows that those surfaces can still be loved for what they show. The soliloquies hold both together. Everything in nature, Santayana suggests, is lyrical in its ideal essence, tragic in its fate and comic in its existence, and the comic sense is the one that makes life bearable. The carnival is honest because it admits to being a carnival; the error is to take the masks for faces.

  • comedy
  • imagination
  • human nature
  • happiness
  • mortality
  • materialism
  • naturalism
  • spirituality
  • platonism
  • consciousness

Within this work

passages held
373
distinct concepts
664
by passages held, corpus-wide
#203

What this book thinks together

The wheel takes this book’s leading concepts and shows how often they come up together. The wider the band between two, the more of its passages speak of both. Among them, most often together: “aesthetics” and “nature”.
Concept co-occurrence, strongest first 8 concepts, joined by 24 pairings. 93 pairings reach beyond these concepts and are not drawn.
ConceptPaired conceptShared passages
aestheticsnature7
freedomnature4
aestheticsimagination3
freedomhuman nature3
human natureimagination3
naturalismreligion3
aestheticshuman nature2
freedomidealism2
human naturenaturalism2
human naturenature2
human naturereligion2
idealismreligion2
aestheticsfreedom1
aestheticsidealism1
aestheticsnaturalism1
aestheticsreligion1
freedomimagination1
freedomreligion1
human natureidealism1
idealismnature1
imaginationnaturalism1
imaginationnature1
naturalismnature1
naturereligion1

Works held

The author's work in order, this book marked in place. Your-language title first, the original beneath it where the two differ; side chips show which full texts are held.

  1. 1896 The Sense of Beauty: Being the Outlines of Aesthetic Theory

    The earliest of Santayana's prose books, following a volume of sonnets, and the one he later dismissed most bluntly; the psychological method it relies on is one his later philosophy moved away from.

    EN
  2. 1900 Interpretations of Poetry and Religion

    Essays that carry the approach of The Sense of Beauty over from art to religion, and first set out the reading of religion as imaginative truth that The Life of Reason would develop at length.

    EN
  3. 1905 The Life of Reason: The Phases of Human Progress

    His chief work from the Harvard years and the fullest statement of his moral philosophy; the Realms of Being, published two decades later, supply the account of knowledge and existence that lies beneath it.

    EN
  4. 1910 Three Philosophical Poets: Lucretius, Dante, and Goethe

    Lecture-hall criticism from his last Harvard years, testing on three poets the claim of Interpretations of Poetry and Religion that poetry at its height is philosophy made vivid.

    EN
  5. 1913 Winds of Doctrine: Studies in Contemporary Opinion

    A companion to Character and Opinion in the United States, which returns to the American subject of its closing essay; the rest of the book weighs the philosophies then in fashion, from Bergson to Russell.

    EN
  6. 1915 Egotism in German Philosophy

    Written in Oxford during the First World War, it turns Santayana's long quarrel with idealism into a charge against a national tradition; the realism behind it gets its full statement in Scepticism and Animal Faith.

    EN
  7. 1920 Character and Opinion in the United States

    The American sequel to "The Genteel Tradition in American Philosophy" in Winds of Doctrine, and the fullest record Santayana left of his Harvard teachers before his memoirs.

    EN
  8. 1922 Soliloquies in England and Later Soliloquies you are here EN
  9. 1923 Scepticism and Animal Faith: Introduction to a System of Philosophy

    Announced by its subtitle as the doorway to the late system, it sets out the two terms that the four Realms of Being then build on: essence and animal faith.

    EN
  10. 1923 The Unknowable

    One short lecture, given in the year Scepticism and Animal Faith appeared, that carries the book's theory of knowledge into an argument with Herbert Spencer.

    EN
  11. 1925 Dialogues in Limbo

    His philosophy in dialogue form, published in the years between the introduction to his late system and its first volume.

    EN
  12. 1927 Platonism and the Spiritual Life

    Published seven months before the system's first volume, a first sketch of the spiritual life that The Realm of Spirit would treat at length in 1940.

    EN
  13. 1927 The Realm of Essence

    Here the late system proper begins: the first of the four Realms of Being, giving full treatment to the vocabulary introduced in Scepticism and Animal Faith.

    EN
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