History of Rationalism Embracing a Survey of the Present State of Protestant TheologyHurst, J. F. (John Fletcher)
History
History of Rationalism Embracing a Survey of the Present State of Protestant Theology
Hurst, J. F. (John Fletcher)
Protestantism; Rationalism -- History
While Schiller represented Kant in verse, Goethe did the same thing with
Schelling's philosophy. The influence of the latter poet on religion was
very pernicious. He expressed himself favorably of the Bible, but he
claimed that it could only educate the people up to a little higher
stage of intelligence and taste. He was intensely egotistic, and totally
indifferent to all religious belief. His false idolatry of art and his
enthusiasm arrayed for heathendom, in all the beautiful charms of the
most seductive poetry, had a tendency fatal to the cause of Christianity
and to all public and private virtue.[36] He expressed himself sometimes
as very favorable toward the Roman Catholic worship, and the adherents
of that faith quote his words of approbation with evident pride. In his
_Autobiography_ he pays some high compliments to the seven sacraments of
the Romanists. He made several visits to the beautiful little Catholic
church dedicated to St. Roch, situated just above Bingen on the Rhine.
He presented it with an altar-piece, and on one occasion said, "Whenever
I enter this church I always wish I were a Catholic priest." But
Goethe's love and admiration of Catholicism were due rather to his
attachment to the old works of art than to that particular system of
faith and worship. The Romish church was the conservator of the
art-triumphs of the Middle Ages. She laid great store by her paintings
and statuary, and had been the patroness of the arts ever since the
wealth of noblemen and kings began to be poured into her lap. Goethe
loved her because she loved art. The key to this only evidence of
religious principle lies in his own words, as he once expressed himself
on contemplating a painting of the old German school. "Down to the
period of the Reformation," he said, "a spirit of indescribable
sweetness, solace, and hope seems to live and breathe in all these
paintings--everything in them seems to announce the kingdom of heaven.
_But since the Reformation, something painful, desolate, almost evil
characterizes works of art; and, instead of faith, skepticism, is often
transparent._"
Public-domain text, read in full here on John Shaqi.
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