tell us, and resorts to the intriguing metaphor of a book with an infinite number of pages:

O grace abounding and allowing me to dare
to fix my gaze on the Eternal Light,
so deep my vision was consumed in It!

I saw how it contains within its depths
all things bound in a single book by love,
of which creation is the scattered leaves:

how substance, accident, and their relation
were fused in such a way that what I now
describe is but a glimmer of that Light.

I know I saw the universal form,
the fusion of all things, for I can feel,
while speaking now, my heart leap up in joy.

One instant brings me more forgetfulness
than five and twenty centuries brought the quest,
that stunned Neptune when he saw Argo’s keel.

And the sense of impotence is no different when expressed by Leopardi seeking to describe infinity (“my mind sinks in this immensity: / and foundering is sweet in such a sea”).1
This is why it is artists who have come here, to this festival, to talk about the Absolute. Pseudo-Dionysius the Areopagite wrote that, since the Divine One is so distant from us that he can be neither understood nor reached, he must be spoken of through metaphors and allusions, but above all, as an indication of the paucity of our language, through negative symbols, contrasting expressions: “And they extol It also with names of the most remote things, sweet-smelling ointment, cornerstone, and they also clothe It in the form of a wild beast, attaching to It the characteristics of a lion and a panther, and saying that It will be like a leopard and an angry bear” (Celestial Hierarchy, chapter 2).

Certain naive philosophers have suggested that poets alone can describe Being or the Absolute; but in fact they express only the indefinite. The poet Mallarmé spent his life trying to express an “orphic explanation of the earth”: “I say: a flower! and out of the oblivion where my voice relegates all context, insofar as something other than known calyxes is musically raised, an idea itself and gentle, the absence of all fragrance (Crise de vers, 1895).

This passage, in truth, is untranslatable. It tells us only that a word is chosen, alone in the white space that surrounds it, and it inevitably unleashes the totality of the non-said, but in the form of an absence. In fact, “to name an object, this means suppressing three-fourths of the enjoyment of the poem, which involves working it out little by little: to suggest, that is the dream” (Sur l’évolution littéraire: Réponse à l’enquête de Jules Huret, 1891).

Mallarmé pursued this dream throughout his life, but it eluded him. Dante had taken such elusion for granted from the very beginning, well aware that it is diabolic pride to claim that infinity can be expressed in finite terms, and he had avoided this inadequacy of poetry by making poetry out of such an inadequacy: his is not poetry that seeks to say the unsayable, but rather poetry about the impossibility of saying it.

It should be remembered that Dante was a believer (as were Pseudo-Dionysius and Nicholas of Cusa). Can you believe in an Absolute and claim it is unimaginable and indefinable? Certainly, provided the impossible thought of the Absolute is replaced by a feeling of the Absolute and therefore by faith, as “the substance of those hoped-for things and argument for things we have not seen” (Dante, Paradise, canto 24, lines 64–65). Elie Wiesel, during this festival, recalled the words of Kafka: that it is possible to talk with God, but not about God. If the Absolute is philosophically a night in which all cows are black, then for the mystic who, like John of the Cross, perceives it as a “dark night” (“O night that guided me / O night more lovely than the dawn”), it is a source of ineffable feeling. John of the Cross expresses his mystical experience through poetry: in the face of the indescribability of the Absolute, we may feel reassured by the fact that this unsatisfied tension can be materially resolved in a finished form. This enabled Keats, in his “Ode on a Grecian Urn,” to see Beauty as a substitute for the experience of the Absolute: “‘Beauty is truth, truth beauty,’—that is all / Ye know on earth, and all ye need to know.”

And that is fine for those who have decided to follow an aesthetic religion. But John of the Cross would have told us that it was only his mystical experience of the Absolute that assured him of the only possible truth. This has led many men of faith to the conviction that those philosophers who reject the possibility of knowing the Absolute are automatically rejecting every criterion of truth, or by rejecting such a thing as an absolute criterion of truth, they are rejecting the possibility of experiencing the Absolute. But it is one thing to say that a philosophy rejects the possibility of knowing the Absolute, and another thing to say that it rejects every criterion of truth—even that relating to the contingent world. Are truth and experience of the Absolute then so inseparable?

Confidence that something is true is fundamentally important for the survival of human beings. If we were unable to consider that what others tell us is either true or false, society would not be possible. We wouldn’t even be able to exclude the possibility that a box with ASPIRIN written on it didn’t in fact contain strychnine.

A specular theory of truth is that it is adaequatio rei et intellectus, as if our mind were a mirror that, provided it works properly and is not distorted or misted, must truly reflect things as they are. It is a theory supported, for example, by Thomas Aquinas, but also by Lenin in Materialism and Empirio-criticism (1909), and since Aquinas could not have been a Leninist, it ought to follow that Lenin was a neo-Thomist—without, of course, realizing it. In reality, other than in states of ecstasy, we are obliged to say what our mind reflects.

Nevertheless, we define as true (or false) not the things themselves but the assertions we make about how things are. Alfred Tarski’s famous definition says that the statement “Snow is white” is true if, and only if, snow is white. Let us leave aside for the moment the whiteness of snow, which is more and more open to dispute, and consider another example: the statement “It is raining” (set between quotation marks) is true only if outside it is raining (without quotation marks).

The first part of the definition (between quotation marks) is a verbal statement and represents nothing other than itself, but the second part should express how things in fact are. Nevertheless, something that ought to be a state of things is expressed once again in words. To avoid this linguistic mediation we ought to say that “It is raining” (between quotation marks) is true if there is that thing there (and, without saying anything, we point to the rain that is falling). But although this way of indicating the evidence of the senses can be used with rain, it would be more difficult to do the same with the statement “Earth revolves around the sun” (since, if anything, the senses would tell us quite the opposite).

To establish whether the statement corresponds to a particular set of circumstances, it is necessary to have interpreted the word rain and to have formed a definition of it. It needs to have been established that (a) to talk of rain it is not enough to feel drops of water falling from above (as there could be someone watering flowers on a balcony above), (b) the drops must be of a certain consistency (otherwise we would talk of mist or frost), (c) the sensation must be continuous (otherwise we would say it was trying to rain but had come to nothing), and so forth. Having decided this, we have to pass on to an empirical test, which in the case of rain can be done by anyone (all we have to do is hold out our hand and trust our senses).
But in the case of the statement “Earth revolves around the sun,” the ways for testing it are more complex. What meaning does the word true have for each of the following statements?

1. I have a stomachache.
2. Last night I dreamed that Mother Teresa appeared to me.
3. Tomorrow it will certainly rain.
4. The world will end in 2536.
5. There is life after death.

Statements 1 and 2 express a subjective fact, but the stomachache is a clear and irrepressible sensation, whereas when I recall a dream I had last night, I may not be sure the memory is accurate. What is more, the two statements cannot be directly verified by other people. A doctor would, of course, have certain ways of checking whether I actually have gastritis or whether I’m a hypochondriac, but a psychoanalyst would have more difficulty if someone tells him she has seen Mother Teresa in a dream, since she could easily be lying.

Statements 3, 4, and 5 are not directly verifiable. But whether it will rain tomorrow can be verified tomorrow, whereas whether the world will end in 2536 is rather more of a problem (and here we distinguish between the reliability of a weather forecaster and that of a prophet). The difference between statements 4 and 5 is that 4 will become true or false in 2536, whereas 5 will continue to remain empirically undecidable per saecula saeculorum.
Now let’s consider these statements:

6. The sum of the angles of a triangle is 180 degrees.
7. Water boils at 100 degrees Celsius.
8. The apple is an angiosperm.
9. Napoleon died