Part 12

In Descartes are also to be found the most acute observations as to the practical nature of error. After having stated that it is impossible that God should have given to man any faculty that was not perfect of its kind, he asks himself: "D'où est-ce donc que naissent mes erreurs? C'est à savoir, de cela seul que la volonté, étant beaucoup plus ample et plus étendue que l'entendement, je ne la contiens pas dans les mêmes limites, mais que je l'étends aussi aux choses que je n'entends pas; auxquelles étant de soi indifférente, elle s'égare fort aisément, et choisit le faux pour le vrai et le mal pour le bien: ce qui fait que je me trompe et je pèche." Errors arise from the concourse of two causes, the faculty of knowing and the faculty of choice: "car pour l'entendement seul je n'assure ni ne nie aucune chose, mais je conçois seulement les idées des choses que je puis assurer ou nier." For Descartes the affirmation was an act of the will, and here perhaps lies his mistake and the mistake of those who have followed him in this theory (Rosmini for example); that is to say, they have mistaken the affirmation, which is theoretical, for the communication, which is practical, or they have taken as being of the same degree the general will that is in affirmation through the unity of the spirit, and the particular will that is in error. Spinoza opposes Descartes' theory of error, but in conformity with the deterministic nature of his philosophy, his criticism relates only to the point as to whether the will can be the cause of error when it is not more than a mere abstraction or ens rationis; hence errors or the particulares volitiones can be determined, not indeed by the will and by liberty, but a causis externis The consciousness of the introduction of the will into the theoretical spirit as production of error has been affirmed by Schleiermacher as well as by Rosmini: "It is the will (he writes) that conceals men from themselves: the judgment cannot err if it turn its gaze really upon itself." Baader frankly reduced incredulity to ill-will and moral corruption.

As to the concept of an immediate form of practical discrimination, independent of the intellectual judgment, it is to be remarked that the faculty of taste in Gracian and in other thinkers of the seventeenth century has a practical rather than a theoretical origin, and that the sentimentalists of Ethic (Shaftesbury, Hutcheson and others) were led to posit a moral tact sense. Before Herbart talked of a moral taste (sittlicher Geschmack) Jacobi, who saw better than others the analogy between practical and æsthetic facts, had written: "The science of the good, like the science of the beautiful, is subject to the condition of taste, without which nothing can be decided, and beyond which nothing can be carried. The taste for the good, like that for the beautiful, is formed by means of models of excellence, and original acts are always the work of genius. By means of genius, nature gives laws to art, both as regards the good and the beautiful. Both are liberal arts; they do not allow themselves to be lowered to the level of mechanical arts and placed at the service of industry."

V. With the mention of a few facts and names, it can be proved that the function of the term "feeling" in the history of philosophy has been as shown above. We have already said that the peculiarity of the practical form has been asserted by the use of the word "feeling" or similar denominations ("moral sense," "conscience," and the like), especially by the Scottish School, in opposition to intellectualist reductions. Jacobi appealed to the feeling of duty (Gefühl der Pflicht) or conscience in his ethical discussions. In our day, too, it has been affirmed (by Simmel and others), in opposition to abstract and imperative Ethics, that the practical decision is the product of feeling and is not definable by theoreticians. But the principal cause of the importance attached to feeling in the eighteenth century was the æsthetic problem. This is seen in Dubos's book, in the English sentimentalists (who approach the ideas of virtue and of beauty, treating of the moral sense and of the beautiful), and, finally, in the doctrines of Leibnitz himself and of his school, as to confused cognition, which led to the Aesthetica of Baumgarten.

We owe the word and the concept of feeling (Gefühl and sometimes also Empfindung) principally to the Leibnitzian-Wolfians and to the German thinkers under the influence of Wolff (Mendelssohn, Tetens, Sulzer, Riedel).

By means of the speculation of Jacobi, on the other hand, feeling was called upon to fulfil the functions of a true and proper metaphysical organ. He had demonstrated in a rigorous and irrefutable manner that the form of the empirical sciences and of the abstract intellect, since it proceeds by nexus of cause and effect, is incapable of attaining to the infinite, and had assigned the affirmation of God to the "sense of the supersensible," to "immediate knowledge," and to "feeling." After Jacobi, the same position was assumed by Schleiermacher, who maintained that it was impossible to know God by means of the intellect and to treat Him as an object, since He is indifference of thought and being. He can be known only by feeling, which is indifference of all determinate functions of ideal and real, of thought and being. The neocriticists and agnostics of to-day, with their appeal to feeling in all truly philosophical questions, are followers, often unconscious and certainly less coherent, of Jacobi and Schleiermacher.

The concept of feeling in the Kantian philosophy can be said to derive its importance from the meeting of two unsatisfied wants, namely, that which sought a concept for the æsthetic activity and that which sought a forma mentis proper to philosophy. Indeed, the Critique of Judgment corresponds to feeling, the first part of which consists of an inquiry into the nature of the beautiful and of art. The second part (critique of the theological judgment) is an anticipation of the concrete concept, or of that organ of speculative thought which the Critique of Pure Reason had not discovered.

Feeling, therefore, cannot but lose importance in the Hegelian philosophy, which makes of art a form of knowledge, and of the teleological judgment the logic of the idea or philosophical logic, resolving also in it the demand of Jacobi, whose feeling or immediate knowledge is shown to be logical knowledge and supreme mediation. In Hegel feeling is nothing but a class of spiritual facts, the lowest of all, that in which theory and practice are still indistinct. But this class has a merely psychological value in his system, not philosophical and real (which is not clearly recognised by him). Indeed, feeling, which was absolute knowledge for Jacobi and for Schleiermacher, is placed, not in the sphere of the absolute spirit, nor in that of the objective or practical spirit, but in the subjective spirit, or Psychology. The "doctrine of the three faculties" (Dreivermögenslehre), as was called that elaborated from Mendelssohn to Kant and promulgated in the Kantian philosophy, did not, however, remain without opponents in the nineteenth century; from Krug (1823) to the youthful Fichte, and in more recent times Brentano (1874).

Krugs confutation is wrongly combated by Hamilton and discredited by Brentano, for it proceeds with perfect correctness, and is founded on the correct philosophical principle that' there are no other activities of the spirit conceivable, save those directed either inwardly or outwardly (immanent or theoretical and transcendent or practical), and that therefore there is no place for feeling, which would be a mixture of the two activities, and consequently a failure of direction or inactivity, nothing, therefore, but a poor, rudimentary knowing or willing, that is, a psychological class, not a philosophical category.

Brentano, returning in a measure to Descartes, constructs the doctrine of the three faculties in a different way, determining them as representation (to which he makes art and the æsthetic activity correspond), judgment (to which corresponds science), and love and hate (to which corresponds the practical). Feeling, therefore, does not find a place of its own in the psyche, and that which is wont to be called feeling is either representation, or love and hate. Brentano shows himself inferior to Krug in the philosophical demonstration of the inconceivability of this form of the spirit, but he has the merit of having substituted certain positive elements for the indeterminate word "feeling," although the function exercised by feeling in the development of philosophical thought is more important than Brentano succeeds in perceiving, for among other things he ignores and fails to recognize the relation of the concept of feeling to the demands of speculative thought.

Eutyphron, 10.

The history of the enfranchising of Ethic from Religion has been done with especial care by Jodl, Gesch. d. Ethik als philos. Wissensch. vol. I². (Stuttgart--Berlin, 1906). For Vico, cf. my book, The Philosophy of G. B. Vico (Bari, 1911).

Phil. d. Rechts, § 4, Zus.; Gesch. d. Philos. ii. pp. 66, 169.

Eth. Nicom. 1103.

See above.

Kritik d. prakt. Vern., ed. Kirchmann, pp. 7-8.

Allg. prakt. Phil., ed. Hartenstein, p. 107.

Memor. iv., c. 2, §§ 14-16. Schopenhauer also exhaustively, Gründl. d. Moral, in Werke, ed. Grisebach, iii. pp. 603-607.

Metaphys. d. Sitten, ed. Kirchmann, p. 248.

De Finibus, v, c. 23.

System der Sittenlehre, § 29, in Werke, iv. 346-347.

Gründl. d. Moral, ed., cit., iii. pp. 506-508.

Allg. prakt. Philos., ed. Hartenstein, pp. 29-30.

Metaphys. d. Sitten, pp. 247-248.

Op. cit. p. 251.

Metaphys. d. Sitten, p. 255 sqq.

System d. Sittenlehre, pp. 208.

Philos. d. Rechts, §§ 148, 150.

Werke, i. 323-423.