But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable.If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language.Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts.It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way.You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn.This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.
We are all of us exposed to grief: the people we love die, as we shall ourselves in due course; expectations are disappointed and ambitions are thwarted by circumstance. Finally, there are some who insist upon feeling guilty over the ill they have done or simply on account of the ugliness which they perceive in their own souls. A solution of a kind has been found to this problem in the form of sedatives and anti-depressant drugs, so that many human experiences which used to be accepted as an integral part of human life are now defined and dealt with as medical problems. The widow who grieves for a beloved husband becomes a 'case', as does the man saddened by the recollection of the napalm or high explosives he has dropped on civilian populations. One had thought that guilt was a way, however indirect, in which we might perceive the nature of reality and the laws which govern our human experience; but it is now an illness that can be cured.Death however, remains incurable. Though we might be embarrassed by Victorian death-bed scenes or the practices of mourning among people less sophisticated than ourselves, the fact of death tells us so much about the realities of our condition that to ignore it or try to forget it is to be unaware of the most important thing we need to know about our situation as living creatures. Equally, to witness and participate in the dying of our fellow men and women is to learn what we are and, if we have any wisdom at all, to draw conclusions which must in their way affect our every thought and our every act.
All love stories are frustration stories. As are all stories about parents and children, which are also love stories, in Freud's view, the formative love stories. To fall in love is to be reminded of a frustration that you didn't know you had (of one's formative frustrations, and of one's attempted self-cures for them); you wanted someone, you felt deprived of something, and then it seems to be there. And what is renewed in that experience is an intensity of frustration, and an intensity of satisfaction. It is as if, oddly, you were waiting for someone but you didn't know who they were until they arrived. Whether or not you were aware that there was something missing in your life, you will be when you meet the person you want. What psychoanalysis will add to this love story is that the person you fall in love with really is the man or woman of your dreams; that you have dreamed them up before you met them; not out of nothing - nothing comes of nothing - but out of prior experience, both real and wished for. You recognize them with such certainty because you already, in a certain sense, know them, and because you have quite literally been expecting them, you feel as though you have known them for ever, and yet, at the same time, they are quite foreign to you. They are familiar foreign bodies. But one things is very noticeable in this basic story; that however much you have been wanting and hoping and dreaming of meeting the person of your dreams, it is only when you meet them that you will start missing them. It seems the presence of an object is required to make its absence felt.