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His idea of evolution also epitomizes the spirit of the nineteenth century with its search everywhere for geneses and transformations in religion, philology, geology, biology. Closely connected with the predominance of the historical in Hegel's philosophy is its explicit critique of individualism and particularism. According to his doctrine, the individual as individual is meaningless.
He is the chronicler of human progress, and to measure that progress he should be equally attentive to the impulses that give it direction and to the circumstances amid which it stumbles toward its natural goal. There is unfortunately no school of modern philosophy to which a critique of human progress can well be attached.
Anna, with the patient resignation of her sex, sat silent or at times endeavoured to read. She had taken down from the little wall-shelf Bunyan's Holy Living and Holy Dying. She tried to read it. She could not. Then she had taken Dante's Inferno. She could not read it. Then she had selected Kant's Critique of Pure Reason. But she could not read it either.
But, in order to fill the measure of his ingenuous encomiums, Strauss even arrogates to himself the right of commending old Kant: he speaks of the latter's General History of the Heavens of the Year 1755 as of "a work which has always appeared to me not less important than his later Critique of Pure Reason.
Rymer's work out of his hands: he has promised the world a critique on that author wherein, though he will not allow his poem for heroic, I hope he will grant us that his thoughts are elevated, his words sounding, and that no man has so happily copied the manner of Homer, or so copiously translated his Grecisms and the Latin elegances of Virgil.
His poems are full of freshness and originality; his story, "The Life of my Brother," is a genial book, by the critique on which the Danish Monthly Review of Literature has proved that it does not understand how to give judgment. These two academicians were very different from me: life rushed rejoicingly through their veins; I was sensitive and childlike.
'The Spanish Barber' was founded on a circumstance which happened at a country house between Conti and a young lady, during the reign of Louis XV., when intrigues of every kind were practised and almost sanctioned. The poet has exposed the Prince by making him the Doctor Bartolo of his play. The play is a critique on the whole Royal Family, from the drawing up of the curtain to its fall.
The critique of erudition absorbs every thing; as if it imported us much whether the relation were true, provided we could extract from it any useful induction. Men of sense ought to regard history as a tissue of fables, whose moral is perfectly adapted to the human heart."
But the reader must remark that, in this the second division of our transcendental Critique the discipline of pure reason is not directed to the content, but to the method of the cognition of pure reason. The former task has been completed in the doctrine of elements.
This rather acute critique, translated by Dr. Niecks, is from the Wiener "Theaterzeitung" of August 20, 1829. The writer of it cannot be accused of misoneism, that hardening of the faculties of curiousness and prophecy that semi-paralysis of the organs of hearing which afflicts critics of music so early in life and evokes rancor and dislike to novelties.
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