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THE STORY OF PHILOSOPHY2 The Lives and Opinions

THE STORY OF PHILOSOPHY2 The Lives and Opinions

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KANT AND GERMAN IDEALISM 211<br />

adequate to this effect; in other words, it must postulate the existence of<br />

God." 33 This again is no proof by "reason"; the moral sense, which has<br />

to do with the world of our actions, must have priority over that theo-<br />

retical logic which was developed only to deal with sense-phenomena.<br />

Our reason leaves us free to believe that behind the thing-in-itself there is<br />

a just God; our moral sense comm<strong>and</strong>s us to believe it. Rousseau was<br />

right: above the logic of the head is the feeling in the heart. Pascal was<br />

right: the heart has reasons of its own,, which the head can never underst<strong>and</strong>.<br />

V. ON RELIGION AND REASON<br />

Does this appear trite, <strong>and</strong> timid, <strong>and</strong> conservative? But it was not so;<br />

on the contrary, this bold denial of "rational" theology, this frank reduc-<br />

tion of religion to moral faith <strong>and</strong> hope, aroused all the orthodox of<br />

Germany to protests. To face this "forty-parson-power" (as Byron would<br />

have called it) required more courage than one usually associates with<br />

the name of Kant.<br />

That he was brave enough appeared in all clarity when he published,<br />

at sixty-six, his Critique of Judgment, <strong>and</strong>, at sixty-nine, his Religion<br />

within the Limits of Pure Reason. In the earlier of these books Kant<br />

returns to the discussion of that argument from design which, in the first<br />

Critique, he had rejected as an insufficient proof of the existence of God.<br />

He begins by correlating design <strong>and</strong> beauty; the beautiful he thinks, is<br />

anything which reveals symmetry <strong>and</strong> unity of structure, as if it had<br />

been designed by intelligence. He observes in passing (<strong>and</strong> Schopenhauer<br />

here helped himself to a good deal of his theory of art) that the con-<br />

templation of symmetrical design always gives us a disinterested pleasure;<br />

<strong>and</strong> that "an interest in the beauty of nature for its own sake is always<br />

a sign of goodness." 34<br />

Many objects in nature show such beauty, such<br />

symmetry <strong>and</strong> unity, as almost to drive us to the notion of supernatural<br />

design. But on the other h<strong>and</strong>, says Kant, there are also in nature many<br />

instances of waste <strong>and</strong> chaos, of useless repetition <strong>and</strong> multiplication;<br />

nature preserves life, but at the cost of how much suffering <strong>and</strong> death!<br />

<strong>The</strong> appearance of external design, then, is not a conclusive proof of<br />

Providence. <strong>The</strong> theologians who use the idea so much should ab<strong>and</strong>on it,<br />

<strong>and</strong> the scientists who have ab<strong>and</strong>oned it should use it; it is a magnificent<br />

clue, <strong>and</strong> leads to hundreds of revelations. For there is design, un-<br />

doubtedly; but it is internal design, the design of the parts by the whole;<br />

<strong>and</strong> if science will interpret the parts of an organism in terms of their<br />

meaning for the whole, it will have an admirable balance for that othesf<br />

heuristic principle the mechanical conception of life which also is fruit*<br />

ful for discovery, but which, alone, can never explain the growth of even a<br />

blade of grass.<br />

**PratiaL Reason, p. 5220.<br />

** Critique of Judgment; sect. 29.

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