"The Enlightenment began with the scientific revolution in the mid-17th century, and culminated in the French Revolution at the end of the 18th. ... The Enlightenment was a diverse phenomenon; most of its philosophy stood far apart from Kantianism, let alone from Hegel’s version of Kant. The truth is that Hegel and the 19th-century Romantics, who believed they were moved by a new spirit of beauty and feeling, summoned up the ‘age of reason’ to serve as a foil for their own self-conception. Their Kantian subject was a straw man, as was the dogmatic rationalism of their Enlightenment.
In France, the philosophes were surprisingly enthusiastic about the passions, and deeply suspicious about abstractions. Rather than holding that reason was the only means of battling error and ignorance, the French Enlightenment emphasised sensation. Many Enlightenment thinkers advocated a polyvocal and playful version of rationality, one that was continuous with the particularities of sensation, imagination and embodiment. Against the inwardness of speculative philosophy – René Descartes and his followers were often the target of choice – the philosophes turned outward, and brought to the fore the body as the point of passionate engagement with the world. You might even go so far as to say that the French Enlightenment tried to produce a philosophy without reason.
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Another totemic figure of the French Enlightenment was Denis Diderot. Most widely known as the editor of the massively ambitious Encyclopédie (1751-72), Diderot wrote many of its subversive and ironic articles himself – a strategy designed, in part, to avoid the French censors. Diderot did not write down his philosophy in the form of abstract treatises: along with Voltaire, Jean-Jacques Rousseau and the Marquis de Sade, Diderot was a master of the philosophical novel (as well as experimental and pornographic fiction, satire and art criticism). A century and a half before René Magritte wrote the iconic line ‘This Is Not a Pipe’ under his painting The Treachery of Images (1928-9), Diderot wrote a short story called ‘This Is Not a Story’ (Ceci n’est pas un conte).In France, the philosophes were surprisingly enthusiastic about the passions, and deeply suspicious about abstractions. Rather than holding that reason was the only means of battling error and ignorance, the French Enlightenment emphasised sensation. Many Enlightenment thinkers advocated a polyvocal and playful version of rationality, one that was continuous with the particularities of sensation, imagination and embodiment. Against the inwardness of speculative philosophy – René Descartes and his followers were often the target of choice – the philosophes turned outward, and brought to the fore the body as the point of passionate engagement with the world. You might even go so far as to say that the French Enlightenment tried to produce a philosophy without reason.
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Diderot did believe in the utility of reason in the pursuit of truth – but he had an acute enthusiasm for the passions, particularly when it came to morality and aesthetics. With many of the key figures in the Scottish Enlightenment, such as David Hume, he believed that morality was grounded in sense-experience. Ethical judgment was closely aligned with, even indistinguishable from, aesthetic judgments, he claimed. We judge the beauty of a painting, a landscape or our lover’s face just as we judge the morality of a character in a novel, a play or our own lives – that is, we judge the good and the beautiful directly and without the need of reason. For Diderot, then, eliminating the passions could produce only an abomination. A person without the ability to be affected, either because of the absence of passions or the absence of senses, would be morally monstrous.
That the Enlightenment celebrated sensibility and feeling didn’t entail a rejection of science, however. Quite the opposite: the most sensitive individual – the person with the greatest sensibility – was considered to be the most acute observer of nature. The archetypical example here was a doctor, attuned to the bodily rhythms of patients and their particular symptoms. Instead, it was the speculative system-builder who was the enemy of scientific progress – the Cartesian physician who saw the body as a mere machine, or those who learned medicine by reading Aristotle but not by observing the ill. So the philosophical suspicion of reason was not a rejection of rationality per se; it was only a rejection of reason in isolation from the senses, and alienated from the impassioned body. In this, the philosophes were in fact more closely aligned with the Romantics than the latter liked to believe.
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The Enlightenment did have distinct national characteristics, and even within a single nation it was not monolithic. Some thinkers did invoke a strict dichotomy of reason and the passions, and privilege the a priori over sensation – Kant, most famously. But in this respect Kant was isolated from many, if not most, of his era’s major themes. Particularly in France, rationality was not opposed to sensibility but was predicated on and continuous with it. Romanticism was largely a continuation of Enlightenment themes, not a break or rupture from them."
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