The Riddle of Philosophy Part 8

In this manner Fichte also goes beyond knowledge and arrives at a belief. Compared to this belief, all knowledge is as dream to reality. The ego itself has only such a dream existence as long as it contemplates itself. It makes itself a picture of itself, which does not have to be anything but a pa.s.sing picture; it is action alone that remains. Fichte describes this dream life of the world with significant words in his Vocation of Man: There is nowhere anything permanent, neither within myself nor outside, but there is only a never ceasing change. Nowhere do I know of any being, not even of my own being. I, myself, do not know at all, and I am not. Pictures are; they are the only thing that is, and they know of themselves after the fashion of pictures; hovering pictures that pa.s.s by, without anything that they pa.s.s: interconnected through pictures of pictures, pictures without anything that is depicted in them, without meaning and purpose. I, myself, am one of these pictures; in fact, I am not even that but only a confused

picture of pictures. All reality is changed into a strange dream without a life of which to dream, without a spirit to do the dreaming; it changes into a dream, which is held together by a dream of itself. Seeing - this is the dream; thinking - the source of all beings, of all reality, which I imagine, of my being, my strength of my purposes. This is the dream of that dream.

In what a different light the moral world order, the world of belief, appears to Fichte: My will is to exert its effect absolutely through itself, without any tool that would only weaken its expression, in a completely h.o.m.ogeneous sphere, as reason upon reason, as spirit upon what is also spirit; in a sphere to which, however, my will is not to give the law of life, of activity, of progression, but which contains this in itself. My will, then, is to exert itself upon self-active reason, but self-active reason is will. The law of the supersensible world accordingly would be a will. . . .

This sublime will, therefore, does not pursue its course separated from the rest of the world of reason in a detached fashion. There is a spiritual bond between the sublime will and all finite rational beings, and the sublime will itself is this spiritual bond within the world of reason. . . . I hide my face before you and I lay my hands on my lips. What you are for yourself and how you appear to yourself, I can never know as surely as I can never become you. After having lived through a thousand spirit worlds a thousand times, I shall be able to understand you as little as now in this house of clay. What I understand becomes finite merely through my understanding it, and the finite can never be changed into the infinite, not even through an infinite growth and elevation. You are separated from the finite not by a difference in degree but in kind. Through that gradation they will make you into a greater and greater man, but never into G.o.d, into the infinite that is capable of no measure.

Because knowledge is a dream and the moral world order is the only true reality for Fichte, he places the life through which man partic.i.p.ates in the moral world order higher than knowledge, the contemplation of things. "Nothing," so Fichte maintains, "has unconditional value and significance except life; everything else, for instance thinking, poetic imagination and knowledge, has value only insofar as it refers in some way to the living, insofar as it proceeds from it or means to turn back into it."

This is the fundamental ethical trait in Fichte's personality, which extinguished or reduced in significance everything in his world conception that does not directly tend toward the moral destination of man. He meant to establish the highest, the purest aims and standards for life, and for this purpose he refused to be distracted by any process of knowledge that might discover contradictions with the natural world order in these aims. Goethe made the statement, "The active person is always without conscience; no one has conscience except the onlooker." He means to say that the contemplative man estimates everything in its true, real value, understanding and recognizing everything in its own proper place. The active man, however, is, above everything else, bent on seeing his demands fulfilled; he is not concerned with the question of whether or not he thereby encroaches upon the rights of things. Fichte was, above all, concerned with action; he was, however, unwilling to be charged by contemplation with lack of conscience. He, therefore, denied the value of contemplation.

To effect life immediately - this was Fichte's continuous endeavor. He felt most satisfied when he believed that his words could become action in others. It is under the influence of this ardent desire that he composed the following works.

Demand to the Princess of Europe to Return the Freedom of Thought, Which They Have Heretofore Suppressed.

Heliopolis in the Last Year of the Old Darkness 1792; Contributions Toward the Correction of the Public Judgment Concerning the French Revolution 1793. This ardent desire also caused him to give his powerful speeches, Outline of the Present Age Presented in Lectures in Berlin in 1804 5; Direction Toward the Beatific Life or Doctrine of Religion, Lectures given in Berlin in 1806; finally, his Speeches to the German Nation, 1808.

Unconditional surrender to the moral world order, action that springs out of the deepest core of man's nature: These are the demands through which life obtains value and meaning. This view runs through all of Fichte's speeches and writings as the basic theme. In his Outline of the Present Age, he reprimands this age with flaming words for its egotism. He claims that everybody is only following the path prescribed by his lower desires, but these desires lead him away from the great totality that comprises the human community in moral harmony.

Such an age must needs lead those who live in its tendency into decline and destruction. What Fichte meant to enliven in the human soul was the sense of duty and obligation.

In this fashion, Fichte attempted to exert a formative influence on the life of his time with his ideas because he saw these ideas as vigorously enlivened by the consciousness that man derives the highest content of his soul life from a world to which he can obtain access by settling his account with his "ego" all by himself. In so doing man feels himself in his true vocation. From such a conviction, Fichte coins the words, "I, myself, and my necessary purpose are the supersensible."

To be aware of himself as consciously living in the supersensible is, according to Fichte, an experience of which man is capable. When he arrives at this experience, he then knows the "I" within himself, and it is only through this act that he becomes a philosopher. This experience, to be sure,

cannot be "proven" to somebody who is unwilling to undergo it himself. How little Fichte considers such a "proof" possible is doc.u.mented by expressions like, "The gift of a philosopher is inborn, furthered through education and then obtained by self-education, but there is no human art to make philosophers. For this reason, philosophy expects few proselytes among those men who are already formed, polished and perfected. . . ."

Fichte is intent on finding a soul const.i.tution through which the human "ego" can experience itself. The knowledge of nature seems unsuitable to him to reveal anything of the essence of the "ego." From the fifteenth to the eighteenth century, thinkers arose who were concerned with the question: What element could be found in the picture of nature by means of which the human being could become explainable in this picture? Goethe did not see the question in this way. He felt a spiritual nature behind the externally manifested one. For him, the human soul is capable of experiences through which it lives not only in the externally manifested, but within the creative forces. Goethe was in quest of the idea, as were the Greeks, but he did not look for it as perceptible idea. He meant to find it in partic.i.p.ating in the world processes through inner experience where these can no longer be perceived. Goethe searched in the soul for the life of nature. Fichte also searched in the soul itself, but he did not focus his search where nature lives in the soul but immediately where the soul feels its own life kindled without regard to any other world processes and world ent.i.ties with which this life might be connected. With Fichte, a world conception arose that exhausted all its endeavor in the attempt to find an inner soul life that compared to the thought life of the Greeks, as did their thought life to the picture conception of the age before them. In Fichte, thought becomes an experience of the ego as the picture had become thought

with the Greek thinkers. With Fichte, world conception is ready to experience self-consciousness; with Plato and Aristotle, it had arrived at the point to think soul consciousness.

Just as Kant dethroned knowledge in order to make place for belief, so Fichte declared knowledge to be mere appearance in order to open the gates for living action, for moral activity. A similar attempt was also made by Schiller. Only in his case, the part that was claimed by belief in Kant's philosophy, and by action in that of Fichte, was now occupied by beauty.

Schiller's significance in the development of world conception is usually underestimated. Goethe had to complain that he was not recognized as a natural scientist just because people had become accustomed to take him as a poet, and those who penetrate into Schiller's philosophical ideas must regret that he is appreciated so little by the scholars who deal with the history of world conception, because Schiller's field is considered to be limited to the realm of poetry.

As a thoroughly self-dependent thinker, Schiller takes his att.i.tude toward Kant, who had been so stimulating and thought-provoking to him. The loftiness of the moral belief to which Kant meant to lift man was highly appreciated by the poet who, in his Robbers, and Cabal and Love, had held a mirror to the corruption of his time. But he asked himself the question: Should it indeed be a necessary truth that man can be lifted to the height of "the categorical imperative" only through the struggle against his desires and urges? Kant wanted to ascribe to the sensual nature of man only the inclination toward the low, the self-seeking, the gratification of the senses, and only he who lifted himself above the sensual nature, who mortified the flesh and who alone allowed the pure spiritual voice of duty to speak within him: Only he could

be virtuous. Thus, Kant debased the natural man in order to be able to elevate the moral man so much the higher. To Schiller this judgment seemed to contain something that was unworthy of man. Should it not be possible to enn.o.ble the impulses of man to become in themselves inclined toward the life of duty and morality? They would then not have to be suppressed to become morally effective. Schiller, therefore, opposes Kant's rigorous demand of duty in the epigram: Scruples of Conscience.

Gladly I serve my friends, but, alas, I do so with pleasure And so I oftentimes grieve that I lack virtue indeed.

Decision.

There is no better advice; you must try to despise them And with disgust you must do strictly as duty commands.

Schiller attempted to dissolve these "scruples of conscience"

in his own fashion. There are actually two impulses ruling in man: The impulses of the sensual desire and the impulse of reason. If man surrenders to the sensual impulse, he is a plaything of his desires and pa.s.sions, in short, of his egoism.

If he gives himself completely up to the impulses of reason, he is a slave of its rigorous commands, its inexorable logic, its categorical imperative. A man who wants to live exclusively for the sensual impulse must silence reason; a man who wants to serve reason only must mortify sensuality. If the former, nevertheless, listens to the voice of reason, he will yield to it only reluctantly against his own will; if the latter observes the call of his desires, he feels them as a burden on his path of virtue. The physical nature of man and his spiritual character then seem to live in a fateful discord. Is there no state in man in which both the impulses, the sensual and the spiritual, live

in harmony? Schiller's answer to this question is positive.

There is, indeed, such a state in man. It is the state in which the beautiful is created and enjoyed. He who creates a work of art follows a free impulse of nature. He follows an inclination in doing so, but it is not physical pa.s.sion that drives him. It is imagination; it is the spirit. This also holds for a man who surrenders to the enjoyment of a work of art. The work of art, while it affects his sensuality, satisfies his spirit at the same time. Man can yield to his desires without observing the higher laws of the spirit; he can comply with his duties without paying attention to sensuality. A beautiful work of art affects his delight without awakening his desires, and it transports him into a world in which he abides by virtue of his own disposition. Man is comparable to a child in this state, following his inclinations in his actions without asking if they run counter to the laws of reason. "The sensual man is led through beauty . . . into thinking; through beauty, the spiritual man is led back to matter, returned to the world of the senses"

(Letters on the Esthetic Education of Man; Letter 18).

The lofty freedom and equanimity of the spirit, combined with strength and vigor is the mood in which we should part from a genuine work of art; there is no surer test of its true esthetic quality. If, after an enjoyment of this kind, we find ourselves inclined to some particular sentiment or course of action, but awkward and ill at ease for another, then this can serve as infallible proof that we have not experienced a pure esthetic effect; this may be caused by the object or our mode of approach, or (as is almost always the case) by both causes simultaneously. (Letter 22.) As man is, through beauty, neither the slave of sensuality nor of reason, but because through its mediation both factors contribute their effect in a balanced cooperation in man's soul, Schiller compares the instinct for beauty with the child's impulse who, in his play, does not submit his spirit to the laws

of reason, but employs it freely according to his inclination. It is for this reason that Schiller calls the impulse for beauty, play-impulse: In relation to the agreeable, to the good, to the perfect, man is only serious, but he plays with beauty. In this respect, to be sure, we must not think of the games that go on in real life and that ordinarily are concerned with material objects, but in real life we should also search in vain for the beauty that is meant here. The beauty existing in reality is on the same level as the play-impulse in the real world, but through the ideal of beauty, which is upheld by reason, an ideal is also demanded of the play-impulse that man is to consider wherever he plays.

(Letter 15.) In the realization of this ideal play-impulse, man finds the reality of freedom. Now, he no longer obeys reason, nor does he follow sensual inclinations any longer. He now acts from inclination as if the spring of his action were reason. "Man shall only play with beauty and it is only with beauty that he shall play. . To state it without further reserve, man plays only when he is human in the full sense of the word and he is only wholly human when he is playing." Schiller could also have said: In play man is free; in following the command of duty, and in yielding to sensuality, he is unfree. If man wants to be human in the full meaning of the word, and also with regard to his moral actions, that is to say, if he really wants to be free, then he must live in the same relation to his virtues as he does to beauty. He must enn.o.ble his inclinations into virtues and must be so permeated by his virtues that he feels no other inclination than that of following them. A man who has established this harmony between inclination and duty can, in every moment, count on the morality of his actions as a matter of course.

From this viewpoint, one can also look at man's social life. A man who follows his sensual desires is self-seeking. He would always be bent on his own well-being if the state did not regulate the social intercourse through laws of reason. The free man accomplishes through his own impulse what the state must demand of the self-seeking. In a community of free men no compulsory laws are necessary.

In the midst of the fearful world of forces, and in the awe- demanding sanctuary of laws, the esthetic formative impulse is imperceptibly building a third delightful realm of play and appearances in which man is released from the fetters of all circ.u.mstances and freed from everything that is called compulsion, both in the physical and in the moral world.

(Letter 27.) This realm extends upward as far as the region where reason rules with unconditional necessity and where all matter ceases; it stretches below as far as the world in which the force of nature holds sway with blind compulsion.

Thus, Schiller considers a moral realm as an ideal in which the temper of virtue rules with the same ease and freedom as the esthetic taste governs in the realm of beauty. He makes life in the realm of beauty the model of a perfect moral social order in which man is liberated in every direction. Schiller closes the beautiful essay in which he proclaims this ideal with the question of whether such an order had anywhere been realized. He answers with the words: As a need, it exists in every delicately attuned soul; as an actuality it can probably only be found, like the pure church and the pure republic, in a few select circles where, not the thoughtless imitation of heterogeneous customs, but the inherent beautiful nature guides the demeanor, where man goes with undismayed simplicity and undisturbed innocence

through the most complicated situations without the need of offending the freedom of others nor of defending his own, without need of offending his dignity in order to show charm and grace.

In this virtue refined into beauty, Schiller found a mediation between the world conceptions of Kant and Goethe. No matter how great the attraction that Schiller had found in Kant when the latter had defended the ideal of a pure humanity against the prevailing moral order, when Schiller became more intimately acquainted with Goethe, he became an admirer of Goethe's view of world and life. Schiller's mind, always relentlessly striving for the purest clarity of thought, was not satisfied before he had succeeded in penetrating also conceptually into this wisdom of Goethe. The high satisfaction Goethe derived from his view of beauty and art, and also for his conduct of life, attracted Schiller more and more to the mode of Goethe's conception. In the letter in which Schiller thanks Goethe for sending him his Wilhelm Meister, he says: I cannot express to you how painfully I am impressed when I turn from a product of this kind to the bustle of philosophy. In the one world everything is so serene, so alive, so harmoniously dissolved, so truly human; in the other, everything is so rigorous, so rigid and abstract, so unnatural, because nature is always nothing but synthesis and philosophy is ant.i.thesis. I may claim, to be sure, to have in all my speculations remained as faithful to nature as is compatible with the concept of a.n.a.lysis; I may, indeed, have remained more faithful to her than our Kantians considered permissible and possible. I feel, nevertheless, the infinite distance between life and reflection, and in such a melancholy moment I cannot help considering as a defect in my nature what, in a more cheerful hour, I must regard as merely a trait inherent in the nature of things. In the meantime, I am certain of this at least: The poet is the only true man and, compared

to him, the best philosopher is merely a caricature.

This judgment of Schiller can only refer to the Kantian philosophy with which he had had his experiences. In many respects, it estranges man from nature. It approaches nature with no confidence in it but recognizes as valid truth only what is derived from man's own mental organization. Through this trait all judgments of that philosophy seem to lack the lively content and color so characteristic of everything that has its source in the immediate experience of nature's events and things themselves. This philosophy moves in bloodless, gray and cold abstractions. It has sacrificed the warmth we derive from the immediate touch with things and beings and has exchanged the frigidity of its abstract concepts for it. In the field of morality, also, Kant's world conception presents the same antagonism to nature. The duty-concept of pure reason is regarded as its highest aims. What man loves, what his inclinations tend to, everything in man's being that is immediately rooted in man's nature, must be subordinated to this ideal of duty. Kant goes even as far as the realm of beauty to extinguish the share that man must have in it according to his original sensations and feelings. The beautiful is to produce a delight that is completely "free from interest."

Compare that with how devoted, how really interested Schiller approaches a work in which he admires the highest stage of artistic production. He says concerning Wilhelm Meister: I can express the feeling that permeates me and takes possession of me as I read this book no better than as a sweet well-being, as a feeling of spiritual and bodily health, and I am firmly convinced that this must be the feeling with all readers in general. . . . I explain this well-being with the quiet clarity, smoothness and transparence that prevails throughout the book, leaving the reader without the slightest dissatisfaction and disturbance, and producing no more emotion than is necessary to kindle and support a cheerful life in his soul.

These are not the words of somebody who believes in delight without interest, but of a man who is convinced that the pleasure in the beautiful is capable of being so refined that a complete surrender to this pleasure does not involve degradation. Interest is not to be extinguished as we approach the work of art; rather are we to become capable of including in our interest what has its source in the spirit. The "true" man is to develop this kind of interest for the beautiful also with respect to his moral conceptions. Schiller writes in a letter to Goethe, "It is really worth observing that the slackness with regard to esthetic things appears always to be connected with moral slackness, and that a pure rigorous striving for high beauty with the highest degree of liberality concerning everything that is nature will contain in itself rigorism in moral life."

The estrangement from nature in the world conception and in all of the culture of the time in which he lived was felt so strongly by Schiller that he made it the subject of his essay, On Naive and Sentimental Poetry. He compares the life conception of his time with that of the Greeks and raises the question, "How is it that we, who are infinitely surpa.s.sed by the ancients in everything that is nature, can render homage to nature to a higher degree, cling to her with fervour and can embrace even the lifeless world with the warmest sentiments."

He answers this question by saying: This is caused by the fact that, with us, nature has vanished out of humanity and we therefore find her in reality only outside humanity in the inanimate world. It is not our greater naturalness, but, quite to the contrary, the unnaturalness of our lives, state of affairs and customs that drives us to give satisfaction in the physical to the awakening sense for truth and simplicity, which, like the moral faculty from which it springs, lies without corruption and inextinguishably in all men's hearts because we no longer can hope to find it in the

moral world. It is for this reason that the feeling with which we cling to nature is so closely related to the sentiment with which we lament the loss of the age of childhood and of the child's innocence. Our childhood is the only unspoiled nature that we still find in civilized humanity, and it is, therefore, no wonder that every footstep of nature leads us back to our own childhood.

This was entirely different with the Greeks. They lived their lives within the bounds of the natural. Everything they did sprang from their natural conception, feeling and sentiment.

They were intimately bound to nature. Modern man feels himself in his own being placed in contrast to nature. As the urge toward this primeval mother of being cannot be extinguished, it transforms itself in the modern soul into a yearning for nature, into a search for it. The Greek had nature; modern man searches for nature.

As long as man is still pure nature and, to be sure, not brutal, he acts as an undivided sensual unity and as a harmonizing whole. His senses and his reason, his receptive and his self- active faculties, have not as yet separated in their function and certainly do not act in contradiction to each other. His sentiments are not the formless play of chance; his thoughts, not the empty play of his imagination. These thoughts have their origin in the law of necessity; the sentiments, in reality.

As soon as man comes into the state of civilization, and as soon as art enters into his sphere of life, the sensual harmony is dissolved and he can now only act as a moral unity, that is to say, as striving for unity. The agreement between his perception and his thought, which in his former state was actual, is now merely ideal; it is no longer in him, but beyond him; as a thought whose realization is demanded, it is no longer a fact of his life.

The fundamental mood of the Greek spirit was naive, that of modern man is sentimental. The Greeks' world conception could, for this reason, be rightly realistic, for he had not yet separated the spiritual from the natural; for him, nature included the spirit. If he surrendered to nature, it was to a spirit-saturated nature. This is not so with modern man. He has detached the spirit from nature; he has lifted the spirit into the realm of gray abstractions. If he were to surrender to his nature, he would yield to a nature deprived of all spirit.

Therefore, his loftiest striving must be directed toward the ideal; through the striving for this goal, spirit and nature are to be reconciled again. In Goethe's mode of spirit, however, Schiller found something that was akin to the Greek spirit.

Goethe felt that he saw his ideas and thoughts with his eyes because he felt reality as an undivided unity of spirit and nature. According to Schiller, Goethe had preserved something in himself that will be attained again by the "sentimental man" when he has reached the climax of his striving. Modern man arrives at such a summit in the esthetic mood as Schiller describes it in the state of soul in which sensuality and reason are harmonized again.

The nature of the development of modern world conception is significantly characterized in the observation Schiller made to Goethe in his letter of August 23, 1794: Had you been born a Greek and been surrounded since birth by exquisite nature and idealizing art, your road would have been infinitely shortened; perhaps it would have been made entirely unnecessary. With the very first perception of things, you would have absorbed the form of the necessary, and with your first experience, the grand style would have developed within you.

As it is now . . . since your Greek spirit was cast into this nordic creation, you had no other choice than either to

become a nordic artist yourself or to supplement your imagination by means of thought for what reality fails to supply, and thus to give birth from within to another Greece.

Schiller, as these sentences show, is aware of the course that the development of soul life has taken from the age of the ancient Greeks until his own time, for the Greek soul life disclosed itself in the life of thought and he could accept this unveiling because thought was for him a perception like the perception of color and sounds. This kind of thought life has faded away for modern man. The powers that weave creatively through the world must be experienced by him as an inner soul experience, and in order to render this imperceptible thought life inwardly visible, it nevertheless must be filled by imagination. This imagination must be such that it is felt as one with the creative powers of nature.

Because soul consciousness has been transformed into self- consciousness in modern man, the question of world conception arises: How can self-consciousness experience itself so vividly that it feels its conscious process as permeating the creative process of the living world forces?

Schiller answered this question for himself in his own fashion when he claimed the life in the artistic experience as his ideal.

In this experience the human self-consciousness feels its kinship with an element that transcends the mere nature picture. In it, man feels himself seized by the spirit as he surrenders as a natural and sensual being to the world.

Leibniz had attempted to understand the human soul as a monad. Fichte had not proceeded from a mere idea to gain clarity of the nature of the human soul; he searched for a form of experience in which this soul lays hold on its own being.

Schiller raises the question: Is there a form of experience for the human soul in which it can feel how it has its roots in spiritual reality? Goethe experiences ideas in himself that present themselves to him at the same time as ideas of nature.

In Goethe, Fichte and Schiller, the experienced idea - one could also say, the idea-experience - forces its way into the soul. Such a process had previously happened in the world of the Greeks with the perceived idea, the idea-perception.

The world and life conception that lived in Goethe in a natural (naive) way, and toward which Schiller strove on all detours of his thought development, does not feel the need for the kind of universally valid truth that sees its ideal in the mathematical form. It is satisfied by another truth, which our spirit derives from the immediate intercourse with the real world. The insights Goethe derived from the contemplation of the works of art in Italy were, to be sure, not of the unconditional certainty as are the theorems of mathematics, but they also were less abstract. Goethe approached them with the feeling, "Here is necessity, here is G.o.d." A truth that could not also be revealed in a perfect work of art did not exist for Goethe. What art makes manifest with its technical means of tone, marble, color, rhythm, etc., springs from the same source from which the philosopher also draws who does not avail himself of visual means of presentation but who uses as his means of expression only thought, the idea itself. "Poetry points at the mysteries of nature and attempts to solve them through the picture," says Goethe. "Philosophy points at the mysteries of reason and attempts to solve them through the word." In the final a.n.a.lysis, however, reason and nature are, for him, inseparably one; the same truth is the foundation of both. An endeavor for knowledge, which lives in detachment from things in an abstract world, does not seem to him to be the highest form of cognitive life. "It would be the highest attainment to understand that all factual knowledge is already theory." The blueness of the sky reveals the fundamental law of color phenomena to us. "One should not search for anything behind the phenomena; they, themselves, are the message."

The psychologist, Heinroth, in his Anthology, called the mode of thinking through which Goethe arrived at his insights into the natural formation of plants and animals, an "object- related thinking" (Gegenstaendliches Denken). What he means is that this mode of thinking does not detach itself from its objects, but that the objects of observation are intimately permeated with this thinking, that Goethe's mode of thinking is at the same time a form of observation, and his mode of observation a form of thinking. Schiller becomes a subtle observer as he describes this mode of spirit. He writes on this subject in a letter to Goethe: Your observing eye, which so calmly and clearly rests on things, keeps you from being ever exposed to the danger of going astray in the direction where speculation and an arbitrary, merely introspective imagination so easily lose their way. Your correct intuition contains everything, and in a far greater completeness, for which an a.n.a.lytical mind searches laboriously; only because everything is at your disposal as a complete whole are you unaware of your own riches, for unfortunately we know only what we dissect. Spirits of your kind, therefore, rarely know how far advanced they are and how little cause they have to borrow from philosophy, which in turn can only learn from them.

For the world conception of Goethe and Schiller, truth is not only contained in science, but also in art. Goethe expresses his opinion as follows, "I think science could be called the knowledge of the general art. Art would be science turned into action. Science would be reason, and art its mechanism, wherefore one could also call it practical science. Thus, finally, science would be the theorem and art the problem." Goethe describes the interdependence of scientific cognition and artistic expression of knowledge thus: It is obvious that an. . . .

artist must become greater and more erudite if he not only has his talent but is also a well-informed botanist; if he knows,

starting from the root, all the influences of the various parts of a plant on its thriving and growth, their function and mutual effect; if he has an insight into the successive development of the leaves, the flowers, the fertilization, the fruit and the new germ, and if he contemplates this process. Such an artist will not merely show his taste through his power of selection from the realm of appearances, but he will also surprise us with his correct presentation of the characteristic qualities.

Thus, truth rules in the process of artistic creation for the artistic style depends, according to this view, ". . . on the deepest foundations of knowledge, on the essence of things insofar as it is permissible to know it in visible and touchable forms." The fact that creative imagination is granted a share in the process of knowledge and that the abstract intellect is no longer considered to be the only cognitive faculty is a consequence of this view concerning truth. The conceptions on which Goethe based his contemplation's on plant and animal formations were not gray and abstract thoughts but sensual-supersensual pictures, created by spontaneous imagination. Only observation combined with imagination can really lead into the essence of things, not bloodless abstraction; this is Goethe's conviction. For this reason, Goethe said about Galileo that he made his observations as a genius "for whom one case represents a thousand cases . . .

when he developed the doctrine of the pendulum and the fall of bodies from swinging church lamps." Imagination uses the one case in order to produce a content-saturated picture of what is essential in the appearances; the intellect that operates by means of abstractions can, through combination, comparison and calculation of the appearances, gain no more than a general rule of their course. This belief in the possible cognitive function of an imagination that rises into a conscious partic.i.p.ation in the creative world process is supported by Goethe's entire world conception. Whoever, like

him, sees nature's activity in everything, can also see in the spiritual content of the human imagination nothing but higher products of nature. The pictures of fantasy are products of nature and, as they represent nature, they can only contain truth, for otherwise nature would lie to herself in these afterimages that she creates of herself. Only men with imagination can attain to the highest stages of knowledge.

Goethe calls these men the "comprehensive" and the "contemplative" in contrast to the merely "intellectual- inquisitive," who have remained on a lower stage of cognitive life.

The intellectual inquisitive need a calm, unselfish power of observation, the excitement of curiosity, a clear intellect . . . ; they only digest scientifically what they find ready-made.

The contemplative are already creative in their att.i.tude, and knowledge in them, as it reaches a higher level, demands contemplation unconsciously and changes over into that form; much as they may shun the word "imagination," they will, nevertheless, before they are aware of it, call upon the support of creative imagination. . . The comprehensive thinkers who, with a prouder name, could be called creative thinkers, are, in their att.i.tude, productive in the highest sense, for, as they start from ideas, they express from the outset the unity of the whole. From then on, it is the task of nature, as it were, to submit to these ideas.

It cannot occur to the believer in such a form of cognition to speak of limitations of human knowledge in a Kantian fashion, for he experiences within himself what man needs as his truth. The core of nature is in the inner life of man. The world conception of Goethe and Schiller does not demand of its truth that it should be a repet.i.tion of the world phenomena in conceptual form. It does not demand that its conception should literally correspond to something outside man. What

appears in man's inner life as an ideal element, as something spiritual, is as such not to be found in any external world; it appears as the climax of the whole development. For this reason, it does not, according to this philosophy, have to appear in all human beings in the same shape. It can take on an individual form in any individual. Whoever expects to find the truth in the agreement with something external can acknowledge only one form of it, and he will look for it, with Kant, in the type of metaphysics that alone "will be able to present itself as science." Whoever sees the element in which, as Goethe states in his essay on Winckelmann, "the universe, if it could feel itself, would rejoice as having arrived at its aim in which it could admire the climax of its own becoming and being," such a thinker can say with Goethe, "If I know my relation to myself and to the external world, I call this truth; in this way everybody can have his own truth and it is yet the same." For "man in himself, insofar as he uses his healthy senses, is the greatest and most exact apparatus of physics that is possible. Yet, that the experiments separated, as it were, from man, and that one wants to know nature only according to the indications of artificial instruments, even intending to limit and prove in this way what nature is capable of, is the greatest misfortune of modern physics." Man, however, "stands so high that in him is represented what cannot be represented otherwise. What is the string and all mechanical division of it compared to the ear of the musician?

One can even say, 'What are all elementary phenomena of nature themselves compared to man who must master and modify them all in order to be able to a.s.similate them to himself to a tolerable degree.' "

Concerning his world picture, Goethe speaks neither of a mere knowledge of intellectual concepts nor of belief; he speaks of a contemplative perception in the spirit. He writes to Jacobi, "You trust in belief in G.o.d; I, in seeing." This seeing in the