Part 9 (1/2)

spirit as it is meant here thus enters into the development of world conception as the soul force that is appropriate to an age to which thought is no longer what it had been to the Greek thinkers, but in which thought had revealed itself as a product of self-consciousness, a product, however, that is arrived at through the fact that this self-consciousness is aware of itself as having its being within the spiritually creative forces of nature. Goethe is the representative of an epoch of world conception in which the need is felt to make the transition from mere thinking to spiritual seeing. Schiller strives to justify this transition against Kant's position.

The close alliance that was formed by Goethe, Schiller and their contemporaries between poetic imagination and world conception has freed this conception from the lifeless expression that it must take on when it exclusively moves in the region of the abstract intellect. This alliance has resulted in the belief that there is a personal element in world conception. It is possible for man to work out an approach to the world for himself that is in accordance with his own specific nature and enter thereby into the world of reality, not merely into a world of fantastic schemes. His ideal no longer needs to be that of Kant, which is formed after the model of mathematics and arrives at a world picture that is once and for all finished and completed. Only from a spiritual atmosphere of such a conviction that has an inspiring effect on the human individuality can a conception like that of Jean Paul (1763 1825) arise. ”The heart of a genius, to whom all other splendor and help-giving energies are subordinated, has one genuine symptom, namely, a new outlook on world and life.” How could it be the mark of the highest developed man, of genius, to create a new world and life conception if the conceived world consisted only in one form? Jean Paul is, in his own way, a defender of Goethe's view that man

experiences inside his own self the ultimate existence. He writes to Jacobi: Properly speaking, we do not merely believe in divine freedom, G.o.d and virtue, but we really see them manifested or in the process of manifestation; this very seeing is a knowing and a higher form of knowing, while the knowledge of intellect merely refers to a seeing of a lower order. One could call reason the consciousness of the only positive, for everything positive experienced by sense perception does finally dissolve into the spiritual, and understanding carries on its bustle only with the relative, which in itself is nothing, so that before G.o.d all conditions of ”more or less,” and all stages of comparison cease to be.

Jean Paul will not allow anything to deprive him of the right to experience truth inwardly and to employ all forces of the soul for this purpose. He will not be restricted to the use of logical intellect.

Transcendental philosophy (Jean Paul has in mind here the world view following Kant) is not to tear the heart, man's living root, out of his breast to replace it with a pure impulse of selfhood; I shall not consent to be liberated from the dependence of Love, to be blessed by pride only.

With these words he rejects the world-estranged moral order of Kant.

I remain firmly with my conviction that there are four last, and four first things: Beauty, Truth, Morality and Salvation, and their synthesis is not only necessary but also already a fact, but only in a subtle spiritual-organic unity (and for just this reason it is a unity), without which we could not find any understanding of these four evangelists or world continents, nor any transition between them.

The critical a.n.a.lysis of the intellect, which proceeded with an extreme logical rigor, had, in Kant and Fichte, come to the point of reducing the self-dependent significance of the real life-saturated world to a mere shadow, to a dream picture.

This view was unbearable to men gifted with spontaneous imagination, who enriched life by the creation of their imaginative power. These men felt the reality; it was there in their perception, present in their souls, and now it was attempted to prove to them its mere dreamlike quality. ”The windows of the philosophical academic halls are too high to allow a view into the alleys of real life,” was the answer of Jean Paul.

Fichte strove for the purest, highest experienced truth. He renounced all knowledge that does not spring from our own inner source. The counter movement to his world conception is formed by the Romantic Movement. Fichte acknowledges only the truth, and the inner life of man only insofar as it reveals the truth; the world conception of the romanticists acknowledges only the inner life, and it declares as valuable everything that springs from this inner life. The ego is not to be chained by anything external. Whatever it produces is justified.

One may say about the romantic movement that it carries Schiller's statement to its extreme consequence, ”Man plays only where he is human in the full sense of the word, and he is only wholly human when he is playing.” Romanticism wants to make the whole world into a realm of the artistic. The fully developed man knows no other norms than the laws he creates through his freely ruling imaginative power, in the same way as the artist creates those laws he impresses into his works. He rises above everything that determines him from without and lives entirely through the springs of his own self.

The whole world is for him nothing but a material for his esthetic play. The seriousness of man in his everyday life is not

rooted in truth. The soul that arrives at true knowledge cannot take seriously the things by themselves; for such a soul they are not in themselves valuable. They are endowed with value only by the soul. The mood of a spirit that is aware of his sovereignty over things is called by the romanticists, the ironical mood of spirit.

Karl Wilhelm Ferdinand Solger (1780 1819) gave the following explanation of the term ”romantic irony”: The spirit of the artist must comprise all directions in one sweeping glance and this glance, hovering above everything, looking down on everything and annihilating it, we call ”irony.”

Friedrich Schlegel (1772 1829), one of the leading spokesmen for the romantic turn of spirit, states concerning this mood of irony that it takes everything in at a glance and rises infinitely above everything that is limited, also above some form of art, virtue or genius. Whoever lives in this mood feels bound by nothing; nothing determines the direction of his activity for him. He can ”at his own pleasure tune himself to be either philosophical or philological, critical or poetical, historical or rhetorical, antique or modern.” The ironical spirit rises above an eternal moral world order, for this spirit is not told what to do by anything except himself. The ironist is to do what he pleases, for his morality can only be an esthetic morality. The romanticists are the heirs of Fichte's thought of the uniqueness of the ego. They were, however, unwilling to fill this ego with a moral belief, as Fichte did, but stood above all on the right of fantasy and of the unrestrained power of the soul. With them, thinking was entirely absorbed by poetic imagination. Novalis says, ”It is quite bad that poetry has a special name and that the poet represents a special profession.

It is not anything special by itself. It is the mode of activity proper to the human spirit. Are not the imaginations of man's heart at work every minute?” The ego, exclusively concerned with itself, can arrive at the highest truth: ”It seems to man

that he is engaged in a conversation, and some unknown spiritual being causes him to develop the most evident thoughts in a miraculous fas.h.i.+on.

Fundamentally, what the romanticists aimed at did not differ from what Goethe and Schiller had also made their credo: A conception of man through which he appeared as perfect and as free as possible. Novalis experiences his poems and contemplation's in a soul mood that had a relations.h.i.+p toward the world picture similar to that of Fichte. Fichte's spirit, however, works the sharp contours of pure concepts, while that of Novalis springs from a richness of soul, feeling where others think, living in the element of love where others aim to embrace what is and what goes on in the world with ideas. It is the tendency of this age, as can be seen in its representative thinkers, to search for the higher spirit nature in which the self-conscious soul is rooted because it cannot have its roots in the world of sense reality. Novalis feels and experiences himself as having his being within the higher spirit nature.

What he expresses he feels through his innate genius as the revelations of this very spirit nature. He writes: One man succeeded; he lifted the veil of the G.o.ddess at Saris.

What did he see then? He saw - wonder of wonders - himself.

Novalis expresses his own intimate feeling of the spiritual mystery behind the world of the senses and of the human self consciousness as the organ through which this mystery reveals itself, in these words: The spirit world is indeed already unlocked for us; it is always revealed. If we suddenly became as elastic as we should be, we should see ourselves in the midst of it.

Chapter VII.

The Cla.s.sics of World and Life Conception

A sentence in Friedrich Wilhelm Joseph Sch.e.l.ling's Philosophy of Nature strikes us like a flash of lightning illuminating the past and future path of the evolution of philosophy. It reads, ”To philosophize about nature means to create nature.” What had been a deep conviction of Goethe and Schiller, namely, that creative imagination must have a share in the creation of a world conception, is monumentally expressed in this sentence. What nature yields voluntarily when we focus our attention on it in observation and perception does not contain its deepest meaning. Man cannot conceive this meaning from without. He must produce it.

Sch.e.l.ling was especially gifted for this kind of creation. With him, all spiritual energies tended toward the imagination. His mind was inventive without compare. His imagination did not produce pictures as the artistic imagination does, but rather concepts and ideas. Through this disposition of mind he was well-suited to continue along Fichte's path of thought. Fichte did not have this productive imagination. In his search for truth he had penetrated as far as to the center of man's soul, the ”ego.” If this center is to become the nucleus for the world conception, then a thinker who holds this view must also be capable of arriving at thoughts whose content are saturated with world and life as he proceeds from the ”ego” as a vantage point. This can only be done by means of the power of imagination, and this power was not at Fichte's disposal. For this reason, he was really limited in his philosophical position all his life to directing attention to the ”ego” and to pointing out that it has to gain a content in thoughts. He, himself, had been unable to supply it with such a content, which can be

learned clearly from the lectures he gave in 1813 at the University of Berlin on the Doctrine of Science (Posthumous Works, Vol. 1). For those who want to arrive at a world conception, he there demands ”a completely new inner sense organ, which for the ordinary man does not exist at all.” But Fichte does not go beyond this postulate. He fails to develop what such an organ is to perceive. Sch.e.l.ling saw the result of this higher sense in the thoughts that his imagination produced in his soul, and he calls this ”intellectual imagination” (intellectuelle Anschauung). For him, then, who saw a product created by the spirit in the spirit's statement about nature, the following question became urgent. How can what springs from the spirit be the pattern of the law that rules in the real world, holding sway in real nature? With sharp words Sch.e.l.ling turns against those who believe that we ”merely project our ideas into nature,” because ”they have no inkling of what nature is and must be for us. . . . For we are not satisfied to have nature accidentally (through the intermediary function of a third element, for instance) correspond to the laws of our spirit. We insist that nature itself necessarily and fundamentally should not only express, but realize, the laws of our spirit and that it should only then be, and be called, nature if it did just this. . . . Nature is to be the visible spirit: spirit the invisible nature. At this point then, at the point of the absolute ident.i.ty of the spirit in us and of nature outside us, the problem must be solved as to how a nature outside ourselves should be possible.”

Nature and spirit, then, are not two different ent.i.ties at all but one and the same being in two different forms. The real meaning of Sch.e.l.ling concerning this unity of nature and spirit has rarely been correctly grasped. It is necessary to immerse oneself completely into his mode of conception if one wants to avoid seeing in it nothing but a triviality or an absurdity. To clarify this mode of conception one can point to

a sentence in Sch.e.l.ling's book, On the World Soul, in which he expresses himself on the nature of gravity. Many people find a difficulty in understanding this concept because it implies a so-called ”action in distance.” The sun attracts the earth in spite of the fact that there is nothing between the sun and earth to act as intermediary. One is to think that the sun extends its sphere of activity through s.p.a.ce to places where it is not present. Those who live in coa.r.s.e, sensual perceptions see a difficulty in such a thought. How can a body act in a place where it is not? Sch.e.l.ling reverses this thought process.

He says, ”It is true that a body acts only where it is, but it is just as true that it is only where it acts.” If we see that the sun affects the earth through the force of attraction, then it follows from this fact that it extends its being as far as our earth and that we have no right to limit its existence exclusively to the place in which it acts through its being visible. The sun transcends the limits where it is visible with its being. Only a part of it can be seen; the other part reveals itself through the attraction. We must also think of the relation of spirit and nature in approximately this manner. The spirit is not merely where it is perceived; it is also where it perceives. Its being extends as far as to the most distant places where objects can still be observed. It embraces and permeates all nature that it knows. When the spirit thinks the law of an external process, this process does not remain outside the spirit. The latter does not merely receive a mirror picture, but extends its essence into a process. The spirit permeates the process and, in finding the law of the process, it is not the spirit in its isolated brain corner that proclaims this law; it is the law of the process that expresses itself. The spirit has moved to the place where the law is active. Without the spirit's attention the law would also have been active but it would not have been expressed. When the spirit submerges into the process, as it were, the law is then, in addition to being active in nature, expressed in conceptual form. It is only when the spirit

withdraws its attention from nature and contemplates its own being that the impression arises that the spirit exists in separation from nature, in the same way that the sun's existence appears to the eye as being limited within a certain s.p.a.ce when one disregards the fact that it also has its being where it works through attraction. Therefore, if I, within my spirit, cause ideas to arise in which laws of nature are expressed, the two statements, ”I produce nature,” and ”nature produces itself within me,” are equally true.

Now there are two possible ways to describe the one being that is spirit and nature at the same time. First, I can point out the natural laws that are at work in reality; second, I can show how the spirit proceeds to arrive at these laws. In both cases I am directed by the same object. In the first instance, the law shows me its activity in nature; in the second, the spirit shows me the procedure used to represent the same law in the imagination. In the one case, I am engaged in natural science; in the other, in spiritual science. How these two belong together is described by Sch.e.l.ling in an attractive fas.h.i.+on: The necessary trend of all natural science is to proceed from nature toward intelligence. This, and nothing else, is at the bottom of the tendency to bring theory into natural phenomena. The highest perfection of natural science would be the perfect transfiguration of all laws of nature into laws of imagination and thinking. The phenomena (the material element) must completely vanish and only the laws (the formal element) must remain. This is the reason for the fact that the more the law-structure in nature, itself, emerges, as if it were breaking the crust, the more the covering element vanishes. The phenomena themselves become more spiritual and finally disappear. The phenomena of optics are nothing but a geometry, the lines of which are drawn by the light, and this light, itself, is already of an ambiguous materiality. In the phenomena of magnetism, all material traces have already

vanished. Of the phenomena of gravity, which, even according to natural scientists, can only be understood as a direct spiritual effect of action into distance, nothing is left but their law, the application of which is the mechanism of the celestial motions on a large scale. The completed theory of nature would be the one through which the whole of nature would dissolve into intelligence. The inanimate and consciousless products of nature are only unsuccessful attempts of nature to reflect itself, and the so-called dead nature is, in general, an immature intelligence, so that the intelligent character s.h.i.+nes through unconsciously in its phenomena. The highest aim of nature - to become completely objective to itself - can be reached by it only through the highest and last reflection, which is man, or, more generally speaking, what we call reason, through which nature returns in its own track and whereby it becomes evident that nature originally is identical with what is known in us as the intelligent and conscious element.

Sch.e.l.ling spun the facts of nature into an artful network of thought in such a fas.h.i.+on that all of its phenomena stood as in an ideal, harmonious organism before his creative imagination. He was inspired by the feeling that the ideas that appear in his imagination are also the creative forces of nature's process. Spiritual forces, then, are the basis of nature, and what appears dead and lifeless to our eyes has its origin in the spiritual. In turning our spirit to this, we discover the ideas, the spiritual, in nature. Thus, for man, according to Sch.e.l.ling, the things of nature are manifestations of the spirit.

The spirit conceals itself behind these manifestations as behind a cover, so to speak. It shows itself in our own inner life in its right form. In this way, man knows what is spirit, and he is therefore able to find the spirit that is hidden in nature. The manner in which Sch.e.l.ling has nature return as spirit in himself reminds one of what Goethe believes is to be

found in the perfect artist. The artist, in Goethe's opinion, proceeds in the production of a work of art as nature does in its creations. Therefore, we should observe in the artist's creation the same process through which everything has come into being that is spread out before man in nature. What nature conceals from the outer eye is presented in perceptible form to man in the process of artistic creation. Nature shows man only the finished works; man must decipher from these works how it proceeded to produce them. He is confronted with the creatures, not with the creator. In the case of the artist, creation and creator are observed at the same time.

Sch.e.l.ling wants to penetrate through the products of nature to nature's creative process. He places himself in the position of creative nature and brings it into being within his soul as an artist produces his work of art. What are, then, according to Sch.e.l.ling, the thoughts that are contained in his world conception? They are the ideas of the creative spirit of nature.

What preceded the things and what created them is what emerges in an individual human spirit as thought. This thought is to its original real existence as a memory picture of an experience is to the experience itself. Thereby, human science becomes for Sch.e.l.ling a reminiscence of the spiritual prototypes that were creatively active before the things existed. A divine spirit created the world and at the end of the process it also creates men in order to form in their souls as many tools through which the spirit can, in recollection, become aware of its creative activity. Sch.e.l.ling does not feel himself as an individual being at all as he surrenders himself to the contemplation of the world phenomena. He appears to himself as a part, a member of the creative world forces. Not he thinks, but the spirit of the world forces thinks in him. This spirit contemplates his own creative activity in him.