Коллектив авторов - The German Classics of the Nineteenth and Twentieth Centuries, Volume 05

With the opponents of rationalism Schelling agrees that we cannot reach the inner meaning of reality, "the living, moving element in nature," through the scientific intelligence, but that we must envisage it in intuition. "What is described in concepts," he tells us, "is at rest; hence there can be concepts only of things and of that which is finite and sense-perceived. The notion of movement is not movement itself, and without intuition we should never know what motion is. Freedom, however, can be comprehended only by freedom, activity only by activity." Schelling, who is a poet as well as a philosopher, comes to regard this intuition or inner vision as an artistic intuition. In the products of art, subject and object, the ideal and the real, mind and nature, form (or purpose) and matter, are one; here the harmony aimed at by philosophy lies before our very eyes, and may be seen, touched, and heard. The creative artist creates like nature in realizing the ideal; hence, art must serve as the absolute model for the intuition of the world—it is the true and eternal organ of philosophy. Like the artistic genius, the philosopher must have the faculty for perceiving the harmony and identity in the universe; esthetic intuition is absolute knowing. Art aims to reveal to us the profoundest meaning of the world, which is the union of form and matter, of the ideal and the real; in art alone the striving of nature for harmony and identity is realized; the beautiful is the infinite represented and made perceivable in finite form; here mind and nature interpenetrate. In creative art the artist imitates the creative act of nature and becomes conscious of it; in esthetic intuition, or the perception of beauty, the philosophical genius discovers the secret of reality; nature herself is a poem and her secret is revealed in art. This philosophy is a far cry from the logical-mathematical method of the Aufklärung ; it is a protest against this, a protest in which the leaders of the new German literature, Herder, Goethe, Schiller, as well as the Romanticists, willingly joined. Goethe's entire view of nature, art, and life rested upon the teleological or organic conception; he, too, regarded the ability to peer into the heart of things—to see the whole in its parts, the ideal in the real, the universal in the particular, as the poet's and thinker's highest gift. He called it an aperçu , "a revelation springing up in the inner man that gives him a hint of his likeness to God." It is this gift which Faust craves and Mephisto sneers at as die hohe Intuition .

There was much that was fantastic in the Naturphilosophie and much a priori interpretation of nature that tended to withdraw the mind from the actualities of existence; it often dealt with bold assertions, analogies, and figures of speech, rather than with facts and proofs. But it had its merits; for it aroused an interest in nature and nature-study, it kept alive the philosophical interest in the outer world, the desire for unity, Einheitstrieb , which has remained a marked characteristic of German science from Alexander von Humboldt down to Robert Mayer, Helmholtz, Naegeli, Haeckel, Ostwald, Hertz, and Driesch. It opposed the one-sided mechanical method of science, and emphasized conceptions (the idea of development, the notion of the dynamic character of reality, pan-psychism, and vitalism) which are still moving the minds of men today, as is evidenced by the popularity of Henri Bergson, who, with our own William James, leads the contemporary school of philosophical Romanticists.

Fichte's chief contribution to German thought was the Wissenschaftslehre , Schelling's the Naturphilosophie , and Schleiermacher's the philosophy of religion. All these thinkers took account of the prevailing tendencies of the times— Aufklärung , Kantian criticism, faith-philosophy, Romanticism, and Spinozism—and were more or less affected by them. Schleiermacher also came under the influence of Fichte, Schelling, and Greek idealism, particularly of Plato's philosophy; many were the sources from which he drew his material for the construction of a great system of Protestant theology that exercised a profound influence far beyond the boundaries of his country and won for him the title of the founder of the New Theology.

Friedrich Daniel Ernst Schleiermacher, the son of a clergyman of the reformed church, was born at Breslau, November 21, 1768, and was educated at the Moravian schools at Niesky and Barby. Made sceptical by the newer criticism, he left the Moravian brotherhood and entered the University of Halle (1787), where he devoted himself with equal zeal to the study of theology and philosophy. After his ordination in 1794 he occupied various pulpits until 1803, when he was made a professor and university preacher at Halle. In 1806 he removed from Halle to Berlin, becoming the preacher of Trinity Church in 1809 and professor of theology at the newly founded University in 1810, positions which he filled with marked ability until his death, February 12, 1834. It was in Berlin that he came into friendly touch with the leaders of the Romantic school, Tieck, Friedrich Schlegel, and Novalis, but he did not allow himself to be carried away by their extravagances. He distinguished himself as a preacher, theologian, philosopher, and philologist, and, by his study of the sources of philosophy, added much to the knowledge of its history. Among the books published during his life-time are: Addresses on Religion , 1799; Monologues , 1800; Principles of a Criticism of Previous Systems of Ethics , 1803; translations of Plato's Dialogues , with introductions and notes, 1804-28; The Christian Faith , 1821-22. Complete Works, 1834-64.

Schleiermacher's conception of religion is opposed to the rationalistic theology of the eighteenth century, as well as to the Kantian moral theology which has remained popular in Germany to this day. For him religion is not science or philosophy; it does not consist in theoretical dogmas or rationalistic proofs; neither theories about religion nor virtuous conduct nor acts of worship are religion itself; nor is religion based upon a rational moral faith, as Kant had taught. He bravely took the part of Fichte in the atheism-controversy, when the great leaders of German culture, Kant, Herder, and even Goethe, abandoned him to his fate. He rejected the shallow proofs of the Aufklärung , as well as the orthodox utilitarian view of God as the dispenser of rewards and punishments, and showed that the real foes of religion were the rational and practical persons who endeavored to suppress the yearning for the transcendent in man and to drive out all mystery in seeking to make everything clear to him. We cannot have conceptual knowledge of God, for conceptual thought is concerned with differences and opposites, whereas God is without such differences and oppositions: he is the absolute union or identity of thought and being. Religion is grounded in feeling, or divining intuition; in feeling, we come into direct relation with God; here the identity of thought and being is immediately experienced in self-consciousness, and this union is the divine element in us. Religion is the feeling of absolute dependence upon an absolute world-ground; it is the immediate consciousness that everything finite is infinite and exists through the infinite.

The conception of God as the unity of thought and being, and the idea of man's absolute dependence upon the world-ground, call to mind the pantheism of Spinoza. Schleiermacher seeks to tone this down by giving the world of things a relative independence; God and the world are inseparable, and yet must be distinguished. God is unity without plurality, the world plurality without unity; the world is spatial-temporal, while God is spaceless and timeless. He is, however, not conceived as a personality, but as the universal creative force, as the source of all life. The determinism implied in this world-view is softened by giving the individual a measure of freedom and independence. The particular individuals are subject to the law of the whole; but each self has its unique endowment or gifts, its individuality, and its freedom consists in the unfolding of its peculiar capacities. With Goethe, Schiller, and Romanticism, our philosopher rejects the rigoristic Kantian-Fichtean view of duty which, in his opinion, would suppress individuality and reduce all persons to a homogeneous mass; like them he regards the development of unique personalities as the highest moral task. "Every man should express humanity in his own peculiar way in a unique mixture of elements, in order that it may reveal itself in every possible form, and that everything may become real in the infinite fulness which can spring from its lap." "The same duties can be performed in many different ways. Different men may practise justice according to the same principles, each man keeping in view the general welfare and personal merit, but with different degrees of feeling, all the way from extreme coldness to the warmest sympathy." The command, therefore, is not merely: Be a person; but: Be a unique person, live your own individual life. There is no irreconcilable conflict between the natural law and the moral law, between impulse and reason. For the same reasons he defends the diversity of religions and the claims of personal religion; in each unique individual, religion should be left free to express itself in its own unique and intimate way. His ideal is the development of unique, novel, original personalities; and these are expressions of the divine, which rationalism cannot bring under either its theoretical or practical rubrics.