[1] See, for example, the work of Flint; but since, less radical than Flint, Hegel and the Hegelians themselves also ended in admitting the concourse of the two opposed methods, traces of this perversion are also to be found in their 'philosophies of history.' Here, too, is to be noted the false analogy by which Hegel was led to discover the same relation between a priori and historical facts as between mathematics and natural facts: Man muss mit dem Kreise dessen, worin die Prinzipien fallen, wenn man es so nennen will, a priori vertraut sein, so gut als Kepler mit den Ellipsen, mit Kuben und Quadraten und mit den Gedanken von Verhältnissen derselben a priori schon vorher bekannt sein musste, ehe er aus den empirischen Daten seine unsterblichen Gesetze, welche aus Bestimmungen jener Kreise von Vorstellungen bestehen, erfinden konnte. (Cf. Vorles. üb. d. Philos, d. Gesch., ed. Brunstäd, pp. 107-108.)
[2] Not even the above-mentioned Flint carried it out, for he lost him-self in preliminaries of historical documentation and never proceeded to the promised construction.
III
The true remedy for the contradictions of historical determinism and of the 'philosophy of history' is quite other than this. To obtain it, we must accept the result of the preceding confutation, which shows that both are futile, and reject, as lacking thought, both the 'designs' of the philosophy of history and the causal chains of determinism. When these two shadows have been dispersed we shall find ourselves at the starting-place: we are again face to face with disconnected brute facts, with facts that are connected, but not understood, for which determinism had tried to employ the cement of causality, the 'philosophy of history,' the magic wand of finality. What shall we do with these facts? How shall we make them clear rather than dense as they were, organic rather than inorganic, intelligible rather than unintelligible? Truly, it seems difficult to do anything with them, especially to effect their desired transformation. The spirit is helpless before that which is, or is supposed to be, external to it. And when facts are understood in that way we are apt to assume again that attitude of contempt of the philosophers for history which has been well-nigh constant since antiquity almost to the end of the eighteenth century (for Aristotle history was "less philosophical" and less serious than poetry, for Sextus Empiricus it was "unmethodical material"; Kant did not feel or understand history). The attitude amounts to this: leave ideas to the philosophers and brute facts to the historians—let us be satisfied with serious things and leave their toys to the children.
But before having recourse to such a temptation, it will be prudent to ask counsel of methodical doubt (which is always most useful), and to direct the attention precisely upon those brute and disconnected facts from which the causal method claims to start and before which we, who are now abandoned by it and by its complement, the philosophy of history, appear to find ourselves again. Methodical doubt will suggest above all things the thought that those facts are a presupposition that has not been proved, and it will lead to the inquiry as to whether the proof can be obtained. Having attempted the proof, we shall finally arrive at the conclusion that those facts really do not exist.
For who, as a matter of fact, affirms their existence? Precisely the spirit, at the moment when it is about to undertake the search for causes. But when accomplishing that act the spirit does not already possess the brute facts (d'abord la collection des faits) and then seek the causes (après, la recherche des causes); but it makes the facts brute by that very act—that is to say, it posits them itself in that way, because it is of use to it so to posit them. The search for causes, undertaken by history, is not in any way different from the procedure of naturalism, already several times illustrated, which abstractly analyses and classifies reality. And to illustrate abstractly and to classify implies at the same time to judge in classifying—that is to say, to treat facts, not as acts of the spirit, conscious in the spirit that thinks them, but as external brute facts. The Divine Comedy is that poem which we create again in our imagination in all its particulars as we read it and which we understand critically as a particular determination of the spirit, and to which we therefore assign its place in history, with all its surroundings and all its relations. But when this actuality of our thought and imagination has come to an end—that is to say, when that mental process is completed—we are able, by means of a new act of the spirit, separately to analyse its elements. Thus, for instance, we shall classify the concepts relating to 'Florentine civilization,' or to 'political poetry,' and say that the Divine Comedy was an effect of Florentine civilization, and this in its turn an effect of the strife of the communes, and the like. We shall also thus have prepared the way for those absurd problems which used to annoy de Sanctis so much in relation to the work of Dante, and which he admirably described when he said that they arise only when lively æsthetic expression has grown cold and poetical work has fallen into the hands of dullards addicted to trifles. But if we stop in time and do not enter the path of those absurdities, if we restrict ourselves purely and simply to the naturalistic moment, to classification, and to the classificatory judgment (which is also causal connexion), in an altogether practical manner, without drawing any deductions from it, we shall have done nothing that is not perfectly legitimate; indeed, we shall be exercising our right and bowing to a rational necessity, which is that of naturalizing, when naturalization is of use, but not beyond those limits. Thus the materialization of the facts and the external or causal binding of them together are altogether justified as pure naturalism. And even the maxim which bids us to stop at 'proximate' causes—that is to say, not to force classification so far that it loses all practical utility—will find its justification. To place the concept of the Divine Comedy in relation to that of 'Florentine civilization' may be of use, but it will be of no use whatever, or infinitely less use, to place it in relation to the class of 'Indo-European civilization' or to the 'civilization of the white man.'
IV
Let us then return with greater confidence to the point of departure, the true point of departure—that is to say, not to that of facts already disorganized and naturalized, but to that of the mind that thinks and constructs the fact. Let us raise up the debased countenances of the calumniated 'brute facts,' and we shall see the light of thought resplendent upon their foreheads. And that true point of departure will reveal itself not merely as a point of departure, but both as a point of arrival and of departure, not as the first step in historical construction, but the whole of history in its construction, which is also its self-construction. Historical determinism, and all the more 'philosophy of history,' leave the reality of history behind them, though they directed their journey thither, a journey which became so erratic and so full of useless repetitions.