THE GERMAN ILLUMINATION.
The Germans were at this time quietly drifting along in their Leibnitzo-Wolffian philosophy, in its definitions, axioms and proofs. Then they were gradually breathed upon by the spirit of foreign lands, they made acquaintance with all the developments which there came to pass, and took very kindly to the empiricism of Locke; on the other hand they at the same time laid aside metaphysical investigations, turned their attention to the question of how truths can be grasped by the healthy human understanding, and plunged into the Aufkl?rung and into the consideration of the utility of all things - a point of view which they adopted from the French. Utility as the essence of existent things signifies that they are determined as not being in themselves, but for another: this is a necessary moment, but not the only one. The German Aufkl?rung warred against ideas, with the principle of utility as its weapon. Philosophic investigations on this subject had degenerated into a feeble popular treatment of it which was incapable of going deeper; they displayed a rigid pedantry and an earnestness of the understanding, but were unspiritual. The Germans are busy bees who do justice to all nations, they are old-clothesmen for whom anything is good enough, and who carry on their haggling with everyone. Picked up as it was from foreign nations, all this had lost the wit and life, the energy and originality which with the French had made the content to be lost sight of in the form. The Germans, who honestly sift a matter to its root, and who would put rational arguments in the place of wit and vivacity, since wit and vivacity really prove nothing, in this way reached a content which was utterly empty, so much so that nothing could be more wearisome than this profound mode of treatment; such was the case with Eberhard, Tetens, and those like them.
Others, like Nicolai, Sulzer and their fellows, were excellent in their speculations on questions of taste and the liberal sciences; for literature and art were also to flourish among the Germans. But with all this they only arrived at a most trivial treatment of ?sthetics - Lessing(1) called it shallow chatter. As a matter of fact, indeed, the poems of Gellert, Weisse and Lessing sank almost, if not quite as much into the same poetic feebleness. Moreover, previous to the philosophy of Kant, the general principle was really the theory of happiness, which we have already met with in the philosophy of the Cyrenaics (Vol. I. p. 477), and the point of view of pleasant or unpleasant sensations held good among the philosophers of that time as an ultimate and essential determination. Of this manner of philosophizing I will quote an example which Nicolai gives in the account of a conversation which he had with Mendelssohn: what is in question is the pleasure in tragic subjects which is held to be awakened even by means of the unpleasant emotions depicted in a tragedy:
HERR MOSES. "The power of having an inclination for perfections and of shunning imperfections is a reality. Therefore the exercise of this power brings a pleasure with it, which, however, is in nature comparatively less than the displeasure which arises from the contemplation of the object.
I. Yet even then, when the violence of passion causes us unpleasant sensations, the movement (what else is this movement than the power of loving perfections, &c.?) which it brings with it has still delights for us. It is the strength of the movement which we enjoy, even in spite of the painful sensations which oppose what is pleasant in the passion, and in a short time obtain the victory.
HERR MOSES. In a stage play, on the contrary, as the imperfect object is absent, pleasure must gain the upper hand and eclipse the small degree of displeasure.
I. A passion therefore which is not followed by these results must be altogether pleasant. Of this sort are the imitations of the passions which the tragedy affords."(2)With such vapid and meaningless drivel they rambled on. In addition to these, the eternity of punishment in hell, the salvation of the heathen, the difference between uprightness and godliness, were philosophic matters on which much labour was expended among the Germans, while the French troubled themselves little about them. Finite determinations were made to hold good against the infinite; against the Trinity it was asserted that One cannot be Three; against original sin, that each must bear his own guilt, must have done his own deeds of himself, and must answer for them; in the same way against redemption, that another cannot take upon himself punishment that is due; against forgiveness of sin, that what is done cannot be rendered undone; to sum up generally, the incommensurability of the human nature with the divine. On the one side we see healthy human understanding, experience, facts of consciousness, but on the other side there was still in vogue the Wolffian metaphysics of the dry, dead understanding; thus we see Mendelssohn take his stand by the healthy human understanding, and make it his rule.
