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G. Lidissini: the concept of nature between German Romanticism and Leopardi

... we can not know, the world ...
Nothing at all ...
Where to grab, or infinite nature?

( Goethe, "Faust")

"The concept of nature is certainly one of the major themes of Romanticism, especially the German one. For the love and fascination for it are one of the most characteristic data of the period, which has its roots in the cultural climate of the Sturm-und-Drang philosophically and is nourished by the rediscovery of the thought of Spinoza .

Exactly the name of Spinoza lies behind this movement of ideas during the eighteenth century many of his texts exerted a hidden influence on German culture, without ever this line of thought could have come out. "
Read the rest of the report G. Lidissini ...

Spinoza's name was linked atheism and so "Spinoza" was synonymous with "atheist." Then in 1785, Jacobi, one of the intellectual universe of the Enlightenment culture that link the hospitality, public "letters on Spinoza's doctrine" is a text that had a great success and opened intensive discussions on Spinozism become decisive for the first generation of young romantics. To understand the significance of this debate, it must be remembered that the scientific view of nature was not satisfactory for the romantics who saw the blind necessity of the course of the world a very strong sign of the split between man and nature, between freedom and morality to which they aspire natural necessity that the mechanism of die Enlightenment, and ultimately Cartesian, had made it famous. In contrast to Spinoza, the romantic view of nature can find a very different, and especially a deep connection between man and the world in opposition to the mechanism plate, unable to give an account of the human spirit.

is not immune from this atmosphere of "neo-Spinoza" ramanticheggiante turn of the century even the great German poet Goethe (1749-1832) which reads as follows:

" Nature! We are surrounded and captivated by it, without being able to go out and by it without being able to get into it more deeply. Uninvited and not warned, it takes us in a matter of its dance and draws us into the vortex, until, exhausted, we fall into his arms. It creates ever new forces: that which time had not yet, what had not come back, everything is new, and yet it is always old. We live in the middle of it, and we are strangers. She speaks constantly with us, and there it reveals the secret. We work constantly on it but we have not no power on it. It seems that all nature has directed towards the individual, but does not know what to do with individuals. Incomparable artist, with no appearance of past efforts by the greatest works to more accurate minutiae. E 'whole and yet always unfinished. He does not know the past and future, the present is its eternity. "

The interpretation of Spinoza on the romantic is not very respectful to the truth of the authentic thought of the Dutch philosopher. This form of Spinoza is in effect something original, a creation of their own end of the eighteenth century. The Romantics stressed the unity between the principle absolute in the world (what Spinoza calls "substance" or "nature" or "God") and the reality of bodies and thoughts, according to Spinoza's famous formula: "the order and connection of ideas is the same as the order and connection of things. " They then built the famous form of one-all, "en kai pan", which is a symbol of German Romanticism. Here's how he expressed himself in this respect the poet Hölderlin (1770-1843) in a well-known passage of the 'hyperons "

" O holy nature! I do not know what happens to me when I raise my eyes to your beauty, but all the joy of heaven is in tears that I cry in front of you, like the lover in the presence of his beloved. My whole being silenced and there is a tendency, when the gentle breath of air play on my chest. Lost into the boundless, I often vulgar my gaze upward to the light and down in the holy water and it's like a kindred spirit I opened my arms, as if to dissolve the pain of loneliness in the life of the gods. Be one with the whole, this is the life of the gods, this is heaven man. Be one with everything that has life, to return, in blissful self-forgetfulness, in the whole of nature, this is the summit of the thoughts and joys, the sacred peak of the mountain, the place of everlasting peace, where the noon loses its heat and thunder his voice, where the sea is boiling all'ondeggiare resembles a field of thorns. "

This formula of one-everything you interpret human life in the cosmic key, as a manifestation of the living force of nature, the only vital energy which is expressed both in the field as the scourge of the spirit. It allows also to interpret nature as an organic reality and not just mechanical, not living without any form of spirituality.

This theory will not become organic body of philosophical theory developed until later, with the idealists. Al principle it is primarily a way to live the relationship with nature in a deep, intimate, very close to the sensitivity of Sturmer. A Goethe goes the rest of the first definition of these ideas through an interpretation of the key organic nature and key in the pantheistic deity. This concept is very close to a mystical form of pantheism, a kind of nature mysticism: the life of man is the very life of nature, is an expression of the same strength at all. God is therefore not an individual separate from the world of personal power, eternal Creator Spirit, but one with the life of the world. For this reason a man can find the relationship with the gods so living in the depths of his being, to be seized by an act of immediate mystical insight, as in the secret forces of nature and active, to be seized through a philosophy of nature that is capable of enhancing the organic aspects.

not surprising that in this field of research addressing the romantic naturalism of the Renaissance, the cult of its own magic of the sixteenth century Italian and European, that is, those phases of scientific research that immediately precede the Cartesian revolution and Galileo. The "return to nature" envisioned by Rousseau is so intense as a return to the deep origin of life, the God that is within us and that is everything.

In particular poets Holderlin in particular, help to enhance this position, this sort of pantheistic naturalism and mysticism. The nature more generally represents the background onto which the religious quest of the romantic, staying in more strictly poetic, the return to nature and the naturalistic pantheism are expressed in a mythical golden age to which to refer and to whom to return. Schiller (1759-1805) spoke of his return to the harmony of the ancients who, with their naive Dichtung "lived in harmony with the natural point of identifying poetry with nature. And 'that comes from here that the German Romantics define the "sentimentalische Dichtun" sentimental poetry or a poem that tries to remember the nature and lust for short absolute return.

The modern science had led to a despiritualizzazione of the cosmos and it is reacting to this mechanistic view that the Romantics believed that nature and man had a

same spiritual structure, which authorizes a psychological interpretation of physical phenomena and a physical interpretation of psychic phenomena.

If it is placed in drive the close relationship of man and nature, it shows that what is true for humans should also apply to the nature and vice versa. The man was seen as the living epitome of everything he sleeps the entire history of the world, this idea was, for example, Novalis (1772-1801):

" What is the nature if the index is not encyclopedic or systematic plan of our spirit? "

E 'for this reason that many romantics believe that knowing is equivalent to descend into ourselves to find the key that explains all phenomena; Schiller expressed thus:

" Everything in me is only the hieroglyph of a force that is akin to me. The laws of nature are the signs that the thinking being encrypted combined to make in order to understand the thinking being. If you want to be convinced, looking back. "

It is quite clear as to end the romance represents a decisive shift in perspective in relation to the Enlightenment tradition: disappointed by the" objective character "of scientists, which explained the world as a set of factual reports linked by efficient causes, there is a new way of thinking about nature. If we reconnect for a moment at a school of thought vitality and dynamism, such as Leibniz or Kant himself, and resume watching the other ancient and Renaissance of nature, they reach the romantic image of nature based on various factors:

1. 
   
   
   
   
   
   The Orgnic-nature is an organized whole in which they live only on the basis of the Whole
2. 
   
   
   
   
   
   vitalism-nature is a living dynamic force and animated
3. 
   
   
   
   
   
   the final-nature is a structured according to specific purposes or immanent transcendent
4. 
   
   
   
   
   
   Spiritualism-nature is something that is a spirit in spiritual intrinsacamente become
5. 
   
   
   
   
   
   struttara The dialectical nature-organized second pairs of opposing forces, consisting of a positive and negative dynamics and constituent units.

to what was previously said that it yields the same conception of reason as it changed the spirit of man was entirely interpreted as a manifestation of the cosmic force of life. The faculty of reason which Kant identifies as responsible human impulse, to go more sensitive limits of knowledge, is praised for its antiintellettualistici aspects: while the intellect stops at the visible surface phenomena, the reason he looks for the essence, it postulates the freedom of nature ; life behind the seemingly mechanical phenomena of inert matter. The reason is the power unit deep, where the intellect is the faculty of distinguishing surface.

At the Romantics, then, the conception of reason is far away from the Cartesian view. From this point of view it is absolutely impossible to argue that the romance, philosophy, enhance the feeling against Enlightenment rationality. The knowledge of nature that leads to the mystical Spinozism is in fact a product of sentiment, but of rationality: the only reason that should not be opposed to sentiment, but must be seen in its deep unity with it.

Nature must be "felt" intuitively with an act of "rational intuition".

Let us now consider the thought leopards. It may insert it as a vision of enlightenment and romanticism, between emotional and rational view towards the world and especially nature. His thinking is not an organic and systematic development, it is not formed in a pure and abstract mental sphere, but lives in relationship with the sentiment, then, on the one hand, the findings are a confirmation of the receipt of logical, rational validation of insights and emotional movements, on the other these same rational conclusions provoking deep emotional resonance. Ultimately
thought Leopardi remains excluded from the pure science of time, intrinsic to philosophy, but is always connected to the concrete and real human situations and historical.
This relationship between philosophy, emotion and culture justifies the personal way in which Leopardi interprets the philosophical tendencies of the eighteenth century. The central problem is that of happiness. The natural tendency of man. What is?
1. Adjustment of reality to the wishes, aspirations, in the real-ideal synthesis.
2. In no time limit.
Experience shows the opposite: reality does not match the aspirations ever, all things have an existence limited. Leopardi does this fact not only on the basis of his own personal experience, but on what has been defined (Timperley) 'disappointment in history: the collapse of the myth of reason, confident optimism of the Enlightenment.
The reason was to destroy forever the barbarism, superstition, to establish equality and democracy, return to a fair and healthy balance with nature, but the reason has failed: it produced the revolution has turned into the Napoleonic despotism and in the Restoration.
The reason he received only one purpose: it has unmasked the true face of reality. So the first answer to the problem of happiness is the recognition of a incomponibile antithesis between opposites:
size \u0026lt;-----> smallness
\u0026lt;-----> reason
anxiety illusions of infinity \u0026lt;- ----> limits of the real man
\u0026lt;----->
Nature Nature gives good illusions, which are the only happiness possible. So there is an age of mankind, an age of the individual, not without some form of happiness, because without illusions. Then he shows the real reason. This represents the so-called "historical pessimism", which is not, strictly speaking, pessimism, because it has not yet made absolute and set into the system and recognizes some value to the illusion of happiness.
These conclusions were two possible outcomes:
1) To oppose faith to reason in a mythical realm of the spirit, in God's reality and cause and end of life.
2) Move to the bottom of the rational analysis of the relationship between man and nature, in terms totally demystified. In Leopardi is too developed the rationale for resorting to escape religious and too rooted trends skeptical, atheist, materialist and enlightenment of his time. The disenchantment of reason against the Leopards can not find Recanati to the "remedy" the new romantic vision. Are then added to the frail health, which had to make him feel keenly the condition of nature over man.
His analysis, therefore, continues in strictly rational terms to provide definitive conclusions negative:
1) Nature has given men a happiness objectively, but only a veiled happiness. Not pitiful mother, but evil stepmother, because he has provided the tool that removes the veil of happiness and that is the reason, nature is indifferent to the fate of man that the universe is a perpetual cycle of destruction of matter, which are not know the cause and effect.
2) Nothing is absolutely necessary, nothing is, really. The principle of things is nothing (negative theology). Discovering the existence of absolute negativity following the finding that happiness does not exist, it is not. Is identified with the non-reality of illusion and therefore is only the future, as a dream or hope, or just past, as a reminder of the old illusions. The only reality is the non-happiness, pain, evil or terrible physical sensation of nothingness universal (boredom). This new view of the relationship between man and nature follow a new, inverted, assessment of the reason may no longer limiting, negative, but rather the only value and the only force which man can lean on to be truly himself off from fear and compromise.
The man must accept with manly firmness and consistency with all the painful consequences of a philosophy, but true. Religion does not produce a negative shock or denial, but rebellion, which calls all people to rally against the blind cruelty of nature in a new fraternity. This message is the content of Broom.

Last song of the "Songs" composed in 1836 and published posthumously, is proposed as a place where Leopardi concentrates the essence of his reflection on the meaning of life and substance delivery to readers in the final conclusions arrived at. Starting from the vision of the desolate landscape of Vesuvius, once beautiful and flourishing, demonstrating the destructive power of nature, the poet returns to denounce the spiritualistic and religious conceptions that locate the man at the center of creation.
From this premise flows a utopian appeal to the solidarity of men in a struggle against nature disperara "stepmother", for a coexistence based on the feeling of brotherhood that comes from awareness of our fragility. Implicitly suggests the sense of smell and slow broom as a symbol of heroic tenacity of life in the desert. The man, therefore, must be able to respond to the diversity of existence as the broom, which bends but is able to react and grow.

A stanza

intensely rich (like the first) alternate verses controversy (like the second) and verses of very large cosmic meditation (as the fourth). The contemptuous words against his time found in "La Ginestra" is not the expression of a reactionary spirit, but the expression of a soul who had already in itself an early maturity, sold out and condemned the principles on which supported the European bourgeoisie, a more advanced division of human relations, not once a ruthless war of the liberal initiatives of the trade, but the fraternal confederation of men against the common enemy. Therefore not a reactionary position, but again, as in any other poem, the mercy of men, the consciousness of a social duty, a message will, of evangelization. The man is a random and without purpose in the immensity of universal life, which is subjected to the destructive whims of nature, which may not be invoked more than his pride lunatic nonsense. However, being aware of the truth, then of his existential condition is, according to Leopardi, the only dignity, the only note of credit granted to man. The poem is therefore focused on the fragility of man and the evil power of nature, against which the human being can do nothing. Foolish man in the eyes of Leopardi, who has so much pride in their findings and their achievements, while not realize how insignificant. Weak, fragile, passenger, man was therefore only one true wealth: his dignity, and it is this which must defend at all costs, because it is the only thing that really sets it apart from the animal, lived and died without knowing anything himself. And 'this awareness and pessimistic at the same time recognizing the man who makes the poet the only true representative of this conception of reality. And 'yes true that his influence will be very present in the years following his death, but all these will be unmatched compared to the size of the cosmological and anthropological thought leopards. You can complete his design considering his person: a man of culture and indoctrinated by those last two Enlightenment, can not deal with the schism between man and nature that is revealed at the end of the same movement. It can be considered a post-Enlightenment that has very clear limits and possibilities of the human race, which limits him to a negative view of the nature and possibilities that allow gender to be able to raise again. His individualism is nothing but a consequence of the distance of his thought than its present situation and Italic little intellectually ready and away from the fervor of Europe. In fact it can be read and interpreted as a close proximity to humans it raises the solution of the conflict in the genre. It then puts the trust in the man who must overcome the contradictions in himself and in fact, continuing on his way with the self-conscious union with the kind to live in a dignified way. Leopardi is also the first modern thinker to declare the death as intimate presence in our lives, the first to make it acceptable as inevitable, the first to create a total vision of human life and not superficial.