We have further to remark that Schelling by this theory became the originator of modern Natural Philosophy, since he was the first to exhibit Nature as the sensuous perception or the expression of the Notion and its determinations. Natural Philosophy is no new science; we met with it continually—in the works of Aristotle, for instance, and elsewhere. English Philosophy is also a mere apprehension in thought of the physical; forces, laws of Nature, are its fundamental determinations. The opposition of physics and Natural Philosophy is therefore not the opposition of the unthinking and the thinking view of Nature; Natural Philosophy means, if we take it in its whole extent, nothing else than the thoughtful contemplation of Nature; but this is the work of ordinary physics also, since its determinations of forces, laws, &c., are thoughts. The only difference is that in physics thoughts are formal thoughts of the understanding, whose material and content cannot, as regards their details, be determined by thought itself, but must be taken from experience. But concrete thought contains its determination and its content in itself, and merely the external mode of appearance pertains to the senses. If, then, Philosophy passes beyond the form of the understanding, and has apprehended the speculative Notion, it must alter the determinations of thought, the categories of the understanding regarding Nature. Kant was the first to set about this; and Schelling has sought to grasp the Notion of Nature, instead of contenting himself with the ordinary metaphysics of the same. Nature is to him nothing but the external mode of existence as regards the system of thought-forms, just as mind is the existence of the same system in the form of consciousness. That for which we have to thank Schelling, therefore, is not that he brought thought to bear on the comprehension of Nature, but that he altered the categories according to which thought applied itself to Nature; he introduced forms of Reason, and applied them—as he did the form of the syllogism in magnetism, for instance—in place of the ordinary categories of the understanding. He has not only shown these forms in Nature, but has also sought to evolve Nature out of a principle of this kind.
In the “Further Exposition of the System of Philosophy” which the “New Journal for Speculative Physics” furnishes, Schelling chose other forms; for, by reason of incompletely developed form and lack of dialectic, he had recourse to various forms one after another, because he found none of them sufficient. Instead of the equilibrium of subjectivity and objectivity, he now speaks of the identity of existence and form, of universal and particular, of finite and infinite, of positive and negative, and he defines absolute indifference sometimes in one and sometimes in another form of opposition, just according to chance. All such oppositions may be employed; but they are only abstract, and refer to different stages in the development of the logical principle itself. Form and essence are distinguished by Schelling in this way, that form, regarded on its own account, is the particular, or the emerging of difference, subjectivity. But real existence is absolute form or absolute knowledge immediately in itself, a self-conscious existence in the sense of thinking knowledge, just as with Spinoza it had the form of something objective or in thought. Speculative Philosophy is to be found in this assertion, not that it asserts an independent philosophy, for it is purely organization; knowledge is based on the Absolute. Thus Schelling has again given to transcendental Idealism the significance of absolute Idealism. This unity of existence and form is thus, according to Schelling, the Absolute; or if we regard reality as the universal, and form as the particular, the Absolute is the absolute unity of universal and particular, or of Being and knowledge. The different aspects, subject and object, or universal and particular, are only ideal oppositions; they are in the Absolute entirely and altogether one. This unity as form is intellectual intuition, which posits Thinking and Being as absolutely alike, and as it formally expresses the Absolute, it becomes at the same time the expression of its essence. He who has not the power of imagination, whereby he may represent this unity to himself, is deficient in the organ of Philosophy. But in this consists the true absoluteness of all and each, that the one is not recognized as universal, and the other as particular, but the universal in this its determination is recognized as unity of the universal and particular, and in like manner the particular is recognized as the unity of both. Construction merely consists in leading back everything determined and particular into the Absolute, or regarding it as it is in absolute unity; its determinateness is only its ideal moment, but its truth is really its Being in the Absolute. These three moments or potencies—that of the passing of existence (the infinite) into form (the finite), and of form into existence (which are both relative unities), and the third, the absolute unity, thus recur anew in each individual. Hence Nature, the real or actual aspect, as the passing of existence into form or of the universal into the particular, itself again possesses these three unities in itself, and in the same way the ideal aspect does so; therefore each potency is on its own account once more absolute. This is the general idea of the scientific construction of the universe—to repeat in each individual alike the triplicity which is the scheme of the whole, thereby to show the identity of all things, and in doing so to regard them in their absolute essence, so that they all express the same unity.[430]
The more detailed explanation is extremely formal: “Existence passes into form—this taken by itself being the particular (the finite)—by means of the infinite being added to it; unity is received into multiplicity, indifference into difference.” The other assertion is: “Form passes into existence by the finite being received into the infinite, difference into indifference.” But passing into and receiving into are merely sensuous expressions. “Otherwise expressed, the particular becomes absolute form by the universal becoming one with it, and the universal becomes absolute existence by the particular becoming one with it. But these two unities, as in the Absolute, are not outside of one another, but in one another, and therefore the Absolute is absolute indifference of form and existence,” as unity of this double passing-into-one. “By means of these two unities two different potencies are determined, but in themselves they are both the exactly equal roots of the Absolute.”[431] That is a mere assertion, the continual return after each differentiation, which is perpetually again removed out of the Absolute.
“Of the first absolute transformation there are copies in phenomenal Nature; therefore Nature, regarded in itself, is nothing else than that first transformation as it exists in the absolute (unseparated from the other). For by means of the infinite passing into the finite, existence passes into form; since then form obtains reality only by means of existence, existence, when it has passed into form without form having (according to the assumption) similarly passed into existence, can be represented only as potentiality or ground of reality, but not as indifference of possibility and actuality. But that which may be described thus, namely as existence, in so far as that is mere ground of reality, and therefore has really passed into form, although form has not in turn passed into it, is what presents itself as Nature.—Existence makes its appearance in form, but in return form also makes its appearance in existence; this is the other unity,” that of mind. “This unity is established by the finite being received into the infinite. At this point form, as the particular, strikes into existence, and itself becomes absolute. Form which passes into existence places itself as absolute activity and positive cause of reality in opposition to the existence which passes into form, and which appears only as ground. The passing of absolute form into existence is what we think of as God, and the images or copies of this transformation are in the ideal world, which is therefore in its implicitude the other unity.”[432] Each of these two transformations, then, is the whole totality, not, however, posited and not appearing as totality, but with the one or the other factor preponderating; each of the two spheres has, therefore, in itself again these differences, and thus in each of them the three potencies are to be found.
The ground or basis, Nature as basis merely, is matter, gravity, as the first potency; this passing of form into existence is in the actual world universal mechanism, necessity. But the second potency is “the light which shineth in darkness, form which has passed into existence. The absolute unification of the two unities in actuality, so that matter is altogether form, and form is altogether matter, is organism, the highest expression of Nature as it is in God, and of God as He is in Nature, in the finite.” On the ideal side “Knowledge is the essence of the Absolute brought into the daylight of form; action is a transformation of form, as the particular, into the essence of the Absolute. As in the real world form that is identified with essence appears as light, so in the ideal world God Himself appears in particular manifestation as the living form which has emerged in the passing of form into essence, so that in every respect the ideal and real world are again related as likeness and symbol. The absolute unification of the two unities in the ideal, so that material is wholly form and form wholly material, is the work of art; and that secret hidden in the Absolute which is the root of all reality comes here into view, in the reflected world itself, in the highest potency and highest union of God and Nature as the power of imagination.” On account of that permeation art and poetry therefore hold the highest rank in Schelling’s estimation. But art is the Absolute in sensuous form alone. Where and what could the work of art be, which should correspond to the Idea of the spirit? “The universe is formed in the Absolute as the most perfect organic existence and the most perfect work of art: for Reason, which recognizes the Absolute in it, it possesses absolute truth; for the imagination, which represents the Absolute in it, it possesses absolute Beauty. Each of these expresses the very same unity,” regarded “from different sides; and both arrive at the absolute indifference point in the recognition of which lies both the beginning and the aim of real knowledge.”[433] This highest Idea, these differences, are grasped as a whole in a very formal manner only.
3. The relation of Nature to Spirit, and to God, the Absolute, has been stated by Schelling elsewhere, i.e. in his later expositions, as follows: he defines the existence of God as Nature—in so far as God constitutes Himself its ground or basis, as infinite perception—and Nature is thus the negative moment in God, since intelligence and thought exist only by means of the opposition of one Being. For in one of his writings, directed on some particular occasion against Jacobi, Schelling explains himself further with regard to the nature of God and His relation to Nature. He says: “God, or more properly the existence which is God, is ground: He is ground of Himself as a moral Being. But” then “it is ground that He makes Himself”—not cause. Something must precede intelligence, and that something is Being—“since thought is the exact opposite of Being. That which is the beginning of an intelligence cannot be in its turn intelligent, since there would otherwise be no distinction; but it cannot be absolutely unintelligent, for the very reason that it is the potentiality of an intelligence. It will accordingly be something between these, i.e. it will operate with wisdom, but as it were with an innate, instinctive, blind, and yet unconscious wisdom; just as we often hear those who are under a spell uttering words full of understanding, but not uttering them with comprehension of their meaning, but as it were owing to an inspiration.” God, therefore, as this ground of Himself, is Nature—Nature as it is in God; this is the view taken of Nature in Natural Philosophy.[434] But the work of the Absolute is to abrogate this ground, and to constitute itself Intelligence. On this account Schelling’s philosophy has later been termed a Philosophy of Nature, and that in the sense of a universal philosophy, while at first Natural Philosophy was held to be only a part of the whole.
It is not incumbent on us here to give a more detailed account of Schelling’s philosophy, or to show points in the expositions hitherto given by him which are far from satisfactory. The system is the latest form of Philosophy which we had to consider, and it is a form both interesting and true. In the first place special emphasis, in dealing with Schelling, must be laid on the idea that he has grasped the true as the concrete, as the unity of subjective and objective. The main point in Schelling’s philosophy thus is that its interest centres round that deep, speculative content, which, as content, is the content with which Philosophy in the entire course of its history has had to do. The Thought which is free and independent, not abstract, but in itself concrete, comprehends itself in itself as an intellectually actual world; and this is the truth of Nature, Nature in itself. The second great merit possessed by Schelling is to have pointed out in Nature the forms of Spirit; thus electricity, magnetism, &c., are for him only external modes of the Idea. His defect is that this Idea in general, its distinction into the ideal and the natural world, and also the totality of these determinations, are not shown forth and developed as necessitated in themselves by the Notion. As Schelling has not risen to this point of view, he has misconceived the nature of thought; the work of art thus becomes for him the supreme and only mode in which the Idea exists for spirit. But the supreme mode of the Idea is really its own element; thought, the Idea apprehended, is therefore higher than the work of art. The Idea is the truth, and all that is true is the Idea; the systematizing of the Idea into the world must be proved to be a necessary unveiling and revelation. With Schelling, on the other hand, form is really an external scheme, and his method is the artificial application of this scheme to external objects. This externally applied scheme takes the place of dialectic progress; and this is the special reason why the philosophy of Nature has brought itself into discredit, that it has proceeded on an altogether external plan, has made its foundation a ready-made scheme, and fitted into it Nature as we perceive it. These forms were potencies with Schelling, but instead of mathematical forms or a type of thought like this, by some other men sensuous forms have been taken as basis, just as were sulphur and mercury by Jacob Boehme. For instance, magnetism, electricity, and chemistry have been defined to be the three potencies in Nature, and thus in the organism reproduction has been termed chemistry; irritability, electricity; and sensibility, magnetism.[435] In this way there has crept into Natural Philosophy the great formalism of representing everything as a series, which is a superficial determination without necessity, since instead of Notions we find formulas. Brilliant powers of imagination are displayed, such as were exhibited by Görres. This mistake of applying forms which are taken from one sphere of Nature to another sphere of the same has been carried a long way; Oken, for example, calls wood-fibres the nerves and brain of the plant, and is almost crazy on the subject. Philosophy would in this way become a play of mere analogical reflections; and it is not with these but with thoughts that we have to do. Nerves are not thoughts, any more than such expressions as pole of contraction, of expansion, masculine, feminine, &c. The formal plan of applying an external scheme to the sphere of Nature which one wishes to observe, is the external work of Natural Philosophy, and this scheme is itself derived from the imagination. That is a most false mode of proceeding; Schelling took advantage of it to some extent, others have made a complete misuse of it. All this is done to escape thought; nevertheless, thought is the ultimate simple determination which has to be dealt with.
It is therefore of the greatest importance to distinguish Schelling’s philosophy, on the one hand, from that imitation of it which throws itself into an unspiritual farrago of words regarding the Absolute; and, on the other hand, from the philosophy of those imitators, who, owing to a failure to understand intellectual intuition, give up comprehension, and with it the leading moment of knowledge, and speak from so-called intuition, i.e. they take a glance at the thing in question, and having fastened on it some superficial analogy or definition, they fancy they have expressed its whole nature, while in point of fact they put an end to all capacity for attaining to scientific knowledge. This whole tendency places itself, in the first place, in opposition to reflective thought, or to progress in fixed, steadfast, immovable Notions. But instead of remaining in the Notion and recognizing it as the unresting ego, they have lighted on the opposite extreme of passive intuition, of immediate Being, of fixed implicitude; and they think that they can make up for the lack of fixity by superficial observation, and can render this observation intellectual by determining it once more by some fixed Notion or other; or they bring their minds to bear on the object of consideration by saying, for instance, that the ostrich is the fish among birds, because he has a long neck—fish becomes a general term, but not a Notion. This whole mode of reasoning, which has forced its way into natural history and natural science, as well as into medicine, is a miserable formalism, an irrational medley of the crudest empiricism with the most superficial ideal determinations that formalism ever descended to. The philosophy of Locke is not so crude as it is, for it is not a whit better in either its content or its form, and it is combined with foolish self-conceit into the bargain. Philosophy on this account sank into general and well-deserved contempt, such as is for the most part extended to those who assert that they have a monopoly of philosophy. Instead of earnestness of apprehension and circumspection of thought, we find in them a juggling with idle fancies, which pass for deep conceptions, lofty surmises, and even for poetry; and they think they are right in the centre of things when they are only on the surface. Five-and-twenty years ago[436] the case was the same with poetic art; a taste for ingenious conceits took possession of it, and the effusions of its poetic inspiration came forth blindly from itself, shot out as from a pistol. The results were either crazy ravings, or, if they were not ravings, they were prose so dull that it was unworthy of the name of prose. It is just the same in the later philosophies. What is not utterly senseless drivel about the indifference-point and polarity, about oxygen, the holy, the infinite, &c., is made up of thoughts so trivial that we might well doubt our having correctly apprehended their meaning, in the first place because they are given forth with such arrogant effrontery, and in the second place because we cannot help trusting that what was said was not so trivial as it seems. As in the Philosophy of Nature men forgot the Notion and proceeded in a dead unspiritual course, so here they lose sight of spirit entirely. They have strayed from the right road; for by their principle, Notion and perception are one unity, but in point of fact this unity, this spirit, itself emerges in immediacy, and is therefore in intuitive perception, and not in the Notion.