He failed also to recognize the identity of the
aesthetic activity, with language as the base of all other theoretic
activity.
But Schleiermacher's merits far outweigh these defects. He removed from
Aesthetic its _imperativistic_ character; he distinguished _a form of
thought_ different from logical thought. He attributed to our science a
_non-metaphysical, anthropological_ character. He _denied_ the concept
of the beautiful, substituting for it _artistic perfection_, and
maintaining the aesthetic equality of a small with a great work of art,
he looked upon the aesthetic fact as an exclusively _human
productivity_.
Thus Schleiermacher, the theologian, in this period of metaphysical
orgy, of rapidly constructed and as rapidly destroyed systems,
perceived, with the greatest philosophical acumen, what is really
characteristic of art, and distinguished its properties and relations.
Even where he fails to see clearly his way, he never abandons analysis
for mere guess-work.
Schleiermacher, thus exploring the obscure region of the _immediate
consciousness_, or of the aesthetic fact, can almost be heard crying out
to his straying contemporaries: _Hic Rhodus, hi salta_!
Speculation upon the origin and nature of language was rife at this time
in Germany. Many theories were put forward, among the most curious being
that of Schelling, who held language and mythology to be the product of
a pre-human consciousness, allegorically expressed as the diabolic
suggestions which had precipitated the Ego from the infinite to the
finite.
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