1234 Modern End Game Studies With Appendix Containing 24 by M.A.; LOMMER, H.M. SUTHERLAND


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N 2:208. In this regard there is ample evidence to suggest that Hamann introduced into German letters an intentionally “sublime style”: first, given his knowledge of Longinus; second, on a modern view of the sublime, in view of the “pleasure within the pain,” the “light within the darkness,” his writings afforded; and third, given the striking parallels between his own style and the sublime style Lowth attributed to the Hebrew Bible in his Lectures on the Sacred Poetry of the Hebrews (1753)—a style characterized by elevated themes, a proliferation of symbolic figures, gnomic allusions, darkness, terseness, and vehemence of expression.

SW I/8:8. Hamann, it should be noted, did not necessarily have a fa- 31 R EADI N G “S I BY LLI NE LE AV E S ” vorable view of Böhme, and therefore may not have welcomed Schelling’s comparison of them. See ZH 1:307. 34. For example, in his philosophy of nature, Schelling had already attempted to go beyond Fichte’s moral philosophy and recover a positive significance of nature as something more than a necessary “other,” as something more than a merely negative moment of resistance and opposition that is posited only in order to awaken self-consciousness and be overcome in the conscious advance of human freedom.

BE T Z such remarks to be an important influence in this period of Schelling’s philosophy. ) Perhaps the most important Hamannian insight that resurfaces in Schelling, however—inasmuch as it defines the path of Schelling’s late philosophy and his corresponding critique of Hegel—is that creation, like any work of artistic genius, is a profound revelation and in no way reducible to the terms of reason or logic alone. 38 If Jacobi and Schelling had been on friendly terms up to this point, things suddenly changed in 1811 with the publication of Jacobi’s polemical tract On Divine Things and Their Revelation (Von den Göttlichen Dingen und ihrer Offenbarung).

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