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It is only by reason of this bond that external nature, the manifestation of Natura naturans, lends itself to the artist so that he too may manifest himself. To attain this end the artist will imitate nature but not copy her. For the purposes of the general critic of art, Coleridge has given us too much and too little.
God is the causa immanens omnium; he is not a personal being existing apart from the universe; but himself in his own reality, he is expressed in the universe, which is his living garment. Keeping to the philosophical language of the time, Spinoza preserves the distinction between natura naturans and natura naturata.
Therefore it is not worth while that I should waste time in refuting this absurdity. Before I go any farther, I wish here to explain or rather to recall to recollection, what we mean by natura naturans and what by natura naturata.
For what is an art so inimitable, so innocent, so intimate as this of Tuscany, after all, but a high effort of creative Nature Natura naturans, as Spinosa calls her? Here, on the weather-fretted walls, a Delia Robbia blossoms out in natural colours blue and white and green. They are Spring's colours.
For, from what has gone before, I think it is plain that by natura naturans we are to understand that which is in itself and is conceived through itself, or those attributes of substance which express eternal and infinite essence, that is to say, God in so far as He is considered as a free cause.
And the Encyclopaedia man explained it. "God, as the infinite substance, with its infinity of attributes is the natura naturans. As the infinity of modes under which his attributes are manifested, he is the natura naturata." Nature naturing would be the cause, and Nature natured would be the effect. God was both.
But, on closer inspection, we find that the God of whom he speaks is not the Creator and Governor of the world, not a living, personal Being, distinct from Nature and superior to it, not the Holy One and the Just, possessing infinite moral perfections, and exercising a supreme dominion over His works; but, simply, absolute Being, the necessary self-existent Substance, whose known "Attributes" are extension and thought, and whose affections, or "Modes," comprehend all the varieties of finite existence; in short, it is Nature that is God, for every possible existence may be included under the twofold expression of Natura naturans and Natura naturata.
The Stone is an absolutely imperishable Good; but if it should be lost it is surely not the right stone. I add now first the remark of Hitchcock that the “two” things are to be regarded as an antithesis: natura naturans and natura naturata. Then there are no longer two mercuries but only one; and the sulphur, our completed subject, has become more or less a unity.
The threefold division, "infinite original activity nature or object individual ego or subject," remains as in Fichte, only that the first member is not termed pure ego, but nature, yet creative nature, natura naturans. Schelling's aim is to show how from the object a subject arises, from the existent something represented, from the representable a representer, from nature an ego.
Nature itself natura naturans is now conceived, and rightly conceived, as a power not bound to laws other than those which it makes for or imposes on itself, and as in its operations at least analogous to a will self-determined, self-governing, creative of the ways and means by which its purpose or purposes are achieved.
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