# The Philosophical Review/Volume 1/Review: Fischer - Schiller als Philosoph

As far as the title is concerned, this is the second edition of a book. which appeared many years ago. Its contents are, however, altogether new. The former work confined itself to the consideration of Schiller's Kantian period, while the present volume studies his earlier philosophical productions, and is, therefore, Part I of a work embracing both epochs.
In his usual clear and masterly manner Fischer traces Schiller's philosophical development, the knowledge of which he deems essential to a proper understanding and appreciation of the poet's compositions. Works like Die philosophischen Briefe, Der Geisterseher, Die Künstler, must remain obscure to the reader unacquainted with their evolution. A thinker is a part of his country and time, and consequently related to the prevailing course of thought. The beginning of the latter half of the eighteenth century found Germany under the sway of a "common-sense" philosophy that was the final outcome of Wolff's eclecticism, and bore a great resemblance to the Scottish school of Reid, with which indeed it came into direct contact. We find adherents of Wolff, like Garve, translating the books of Scottish moralists into German, books which Schiller studied in the Karlsschule. Schiller's earlier writings, Die Philosophie der Physiologie and Ueber den Zusammenhang der thierischen Natur des Menschen mit seiner geistigen, betray the influences of the reigning systems of thought. But the "poet" crops out in all these productions; poetical speculations are introduced that have no immediate bearing on the scientific investigations under discussion. Thus, the universe is conceived as a divine work of art, which it is the highest end of man to contemplate and understand. Every physical ​phenomenon is the expression of a divine thought. Fischer's keen analysis shows how, in spite of occasional tendencies to materialism, scepticism, and pessimism, this æsthetical ideal prevails in Schiller's compositions, and ultimately triumphs in Die Künstler. With an examination of the latter poem the volume before us closes.
It is interesting to watch the struggle between the poetical fancy of the man and his materialistic doubts. Die philosophischen Briefe, in which this conflict rages, might be called a dialogue between idealism and materialism. "My heart," writes Julius, "was craving for a philosophy, and phantasy substituted its dreams.... A bold attack of materialism overthrows my creation." "What a miserable paradox of nature, this free and aspiring spirit is chained to the sluggish, never-changing clock-work of a mortal body, yoked to its petty trials, ruled by its petty desires, this god is relegated to a world of worms." After Schiller had conquered these sceptical moods, he portrayed them in the character of the Prince in Der Geisterseher. "Show me a creature that endures," exclaims the latter, "and I'll be virtuous. Everything is subject to change; nothing constant except this mechanical process of causality. The universe is without purpose. All physical and mental occurrences are but links in an endless causal chain. Pleasures and pains set the human mechanism in motion; the desire for happiness, the fundamental impulse of man's nature, is satisfied by momentary pleasures. But human happiness is not the purpose of the universe. If the crystal could think, it would regard crystallization as the highest plan of the world, and the most perfect crystal would be its god. Let man enjoy! Why care for the past or future? I am the bearer of a sealed message. I know not what it contains, nor care I to know. All I ask is the pay for my errand."
The clearness and precision which characterize all of Fischer's writings also belong to the meritorious features of the present work, and contribute to his reputation of being a philosopher "whom one can understand." This excellence in his style, of combining precision with clearness, is due not only to lucid thinking, but to his power of detecting the essential traits of an author's thoughts, a quality which we may call the highest form of critical tact.
Frank Thilly.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1934, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 89 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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