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Additional resources for The Pythia’s Drunken Song: Thomas Carlyle’s Sartor Resartus and the Style Problem in German Idealist Philosophy
Sample text
The style varies, of course, from one intuitive prophet to another, but all were 'declaimers - not reasoners' .... " (pp. 150--151). , statements in which the conclusion of an argument precedes, or in some cases appears in total isolation from, the argument itself, and so "preempts" it, either in the interest of brevity or to hold in suspension a number of different kinds of material until the proper time arrives for bringing them all together. 8 The truly dogmatic content of Teufelsdrockh's Clothes Volume can be summarized in the form of four basic propositions, each of which is in some way central to the view of the world the Clothes Philosophy presents.
Italics added for emphasis. John Henry Newman, An Essay in Aid of a Grammar of Assent (London, 188 I), p. 425. 40 32 HISTORICAL BACKGROUND OF SARTOR RESARTUS principles of formal logic but a wide and subtle grasp of the whole of the reader's experience. 41 More important, however, the presence of English empiricism as an organized and socially sanctioned point of view meant that for the idealist the process of "conversion" was not simply a matter of demonstrating the internal consistency of his own approach to experience.
Tufts (New York, I958), II, 438. 44 SARTOR RESARTUS AND HISTORICITY OF IDEALISM Not surprisingly, Kant's solution to Hume's problem, like the style of the first Critique itself, bore a distinctly Baconian cast. It was, as he described it in the Preface to the first Critique, an "experiment" in metaphysics, and it was to be understood in terms of an explicit analogy to one of the central events in the development of the new science: Bisher nahm man an, aile unsere Erkenntnis miisse sich nach den Gegenstiinden richten; aber alle Versuche, iiber sie a priori etwas durch Begriffe auszumachen, wodurch unsere Erkenntnis erweitert wiirde, gingen unter dieser Voraussetzung zu nichte.