The Romantic Manifesto_ A Philosophy of Literature - Ayn Rand [7]
The existential consequences, of course, will differ. Amidst the incalculable number and complexity of choices that confront a man in his day-by-day existence, with the frequently bewildering torrent of events, with the alternation of successes and failures, of joys that seem too rare and suffering that lasts too long—he is often in danger of losing his perspective and the reality of his own convictions. Remember that abstractions as such do not exist: they are merely man’s epistemological method of perceiving that which exists—and that which exists is concrete. To acquire the full, persuasive, irresistible power of reality, man’s metaphysical abstractions have to confront him in the form of concretes—i.e., in the form of art.
Consider the difference it would make if—in his need of philosophical guidance or confirmation or inspiration—man turns to the art of Ancient Greece or to the art of the Middle Ages. Reaching his mind and emotions simultaneously, with the combined impact of abstract thought and of immediate reality, one type of art tells him that disasters are transient, that grandeur, beauty, strength, self-confidence are his proper, natural state. The other tells him that happiness is transient and evil, that he is a distorted, impotent, miserable little sinner, pursued by leering gargoyles, crawling in terror on the brink of an eternal hell.
The consequences of both experiences are obvious—and history is their practical demonstration. It is not art alone that was responsible for the greatness or the horror of those two eras, but art as the voice of philosophy—of the particular philosophy that dominated those cultures.
As to the role of emotions in art and the subconscious mechanism that serves as the integrating factor both in artistic creation and in man’s response to art, they involve a psychological phenomenon which we call a sense of life. A sense of life is a pre-conceptual equivalent of metaphysics, an emotional, subconsciously integrated appraisal of man and of existence. But this is a different, though corollary, subject (which I discuss in Chapters 2 and 3). The present subject is only the psycho-epistemological role of art.
A question raised at the start of this discussion should now be clear. The reason why art has such a profoundly personal significance for men is that art confirms or denies the efficacy of a man’s consciousness, according to whether an art work supports or negates his own fundamental view of reality.
Such is the meaning and the power of a medium which, today, is predominantly in the hands of practitioners who boastfully offer, as their credentials, the fact that they do not know what they are doing.
Let us take them at their word: they don’t. We do.
(April 1965)
2.
Philosophy and Sense of Life
SINCE religion is a primitive form of philosophy—an attempt to offer a comprehensive view of reality—many of its myths are distorted, dramatized allegories based on some element of truth, some actual, if profoundly elusive, aspect of man’s existence. One of such allegories, which men find particularly terrifying, is the myth of a supernatural recorder from whom nothing can be hidden, who lists all of a man’s deeds—the good and the evil, the noble and the vile—and who confronts a man with that record on judgment day.
That myth is true, not existentially, but psychologically. The merciless recorder is the integrating mechanism of a man’s subconscious; the record is his sense of life.
A sense of life is a pre-conceptual equivalent of metaphysics, an emotional, subconsciously integrated