By Ernest Rubinstein
Reading romanticism within the considered Jewish thinker, Franz Rosenzweig, this booklet compares his magnum opus, The famous person of Redemption, with Leo Baeck's essay, "Romantic Religion," and Friedrich Schelling's Philosophy of artwork, texts representing certain and, to a wide volume, hostile interpretations of romanticism.
Rosenzweig's inspiration was once formed by means of highbrow histories: Germany's and Judaism's. simply because romanticism had this type of convinced impression on glossy German writing and notion, it turns into a query no matter if, and to what volume, Rosenzweig, too, was once a romantic. a part of the strength of the query derives from the tensions occasionally famous among Jewish and romantic worldviews. during this booklet, writer Ernest Rubinstein exhibits The megastar of Redemption to be alongside the spectrum of rules that extends among Baeck and Schelling, and hence illustrates a certified romanticism.
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Additional info for An Episode of Jewish Romanticism: Franz Rosenzweig’s the Star of Redemption
13 Baeck's choice of words evokes an analogy-feeling is to romanticism what critique is to reason-that lets devolve upon feeling all the reality-delimiting powers of the Kantian critique. And we do indeed read that, for romanticism, the world is not the conceptual determination of sensual intuition, as Kant would have it, but "an experience to be felt" (RR 191). Reality is simply moods. Of course, the critique of reason, in Kant, was an activity of reason itself; all the more ironic then is the implicit analogy with feeling, when feeling is so wholly passive.
But redemption does not stop with these relations. It applies, beyond eternity and the present, to the other tenses of time-past and future-and beyond interrelated humans, to the other elements of reality-God and world. Indeed, if Rosenzweig's section titles are any guide, the primary redemption is of the world-for it is only redemption in this sense that names a book of the Star, the third one of part two. Of all three elements of reality, it is only the world whose essence is not yet established.
Paradoxically, these two sources for his essay infect it with the very romanticism he decries, since the two strands ofthe literary and the religious do not always harmonize, but divisively betray their distinct and to some extent opposed origins. From the circle of the early romantics, Baeck names in his essay three of his sources: Schleiermacher, Novalis, and Schlegel. He does not name Schelling. 91 Schelling might well prefer to influence from a concealed and unnamed station. On the other hand, the unnaming of Schelling in an essay on romantic religion may reflect an ambiguous position that philosopher holds in the history of romanticism.
An Episode of Jewish Romanticism: Franz Rosenzweig’s the Star of Redemption by Ernest Rubinstein