Thus he proclaims as mysteries degeneracy (criminals) within civilisation and rightlessness and inequality in the state. This means that socialist literature, which has revealed these mysteries, is still a mystery to Herr Szeliga, or that he wants to convert the best-known findings of that literature into a private mystery of "Critical Criticism." We therefore need not go more deeply into Herr Szeliga's discourse on these mysteries; we shall merely draw attention to a few of the most brilliant points. If Eugene Sue depicts the taverns, hide-outs and language of criminals, Herr Szeliga discloses the "mystery that what the "author" wanted was not to depict that language or those hide-outs, but For Parisians in general and even for the Paris police the hide-outs of criminals are such a "mystery" that at this very moment broad light streets are being laid out in the Cit ' to give the police access to them. Finally, Eug ne Sue himself states that in the descriptions mentioned above he was counting "sur la curiosit , craintive" of his readers. M. Eug ne Sue has counted on the timid curiosity of his readers in all his novels. It is sufficient to recall Atar Gull, Salamandre, Plick and Plock, etc. If from real apples, pears, strawberries and almonds I form the general idea "Fruit , if I go further and imagine that my abstract idea "Fruit , derived from real fruit, is an entity existing outside me, is indeed the true essence of the pear, the apple, etc., then in the language of speculative philosophy I am declaring that "Fruit is the "Substance of the pear, the apple, the almond, etc. I am saying, therefore, that to be a pear is not essential to the pear, that to be an apple is not essential to the apple; that what is essential to these things is not their real existence, perceptible to the senses, but the essence that I have abstracted from them and then foisted on them, the essence of my idea "Fruit . I therefore declare apples, pears, almonds, etc., to be mere forms of existence, modi, of "Fruit My finite understanding supported by my senses does of course distinguish an apple from a pear and a pear from an almond, but my speculative reason declares these sensuous differences inessential and irrelevant. It sees in the apple the same as in the pear, and in the pear the same as in the almond, namely "Fruit . Particular real fruits are no more than semblances whose true essence is "the substance" "Fruit . By this method one attains no particular wealth of definition. The mineralogist whose whole science was limited to the statement that all minerals are really "the Mineral" would be a mineralogist only in his imagination. For every mineral the speculative mineralogist Says "the Mineral", and his science is reduced to repeating this word as many times as there are real minerals. Having reduced the different real fruits to the one "fruit" of abstraction "the Fruit", speculation must, in order to attain some semblance of real content, try somehow to find its way back from "the Fruit", from the Substance to the diverse, ordinary real fruits, the pear, the apple, the almond, etc. It is as hard to produce real fruits from the abstract idea "the Fruit" as it is easy to produce this abstract idea from real fruits. Indeed, it is impossible to arrive at the opposite of an abstraction without relinquishing the abstraction. The speculative philosopher therefore relinquishes the abstraction "the Fruit", but in a speculative, mystical fashion with the appearance of not relinquishing it. Thus it is really only in appearance that he rises above his abstraction. He argues somewhat as follows: If apples, pears, almonds and strawberries are really nothing but "the Substance", "the Fruit", the question arises: Why does "the Fruit" manifest itself to me sometimes as an apple, sometimes as a pear, sometimes as an almond? Why this semblance of diversity which so obviously contradicts my speculative conception of Unity, "the Substance", "the Fruit"? This, answers the speculative philosopher, is because "the Fruit" is not dead, undifferentiated, motionless, but a living, self-differentiating, moving essence. The diversity of the ordinary fruits is significant not only for my sensuous understanding, but also for "the Fruit" itself and for speculative reason. The different ordinary fruits are different manifestations of the life of the "one Fruit"; they are crystallisations of "the Fruit" itself. Thus in the apple "the Fruit" gives itself an apple-like existence, in the pear a pear-like existence. We must therefore no longer say, as one might from the standpoint of the Substance: a pear is "the Fruit", an apple is "the Fruit", an almond is "the Fruit", but rather "the Fruit" presents itself as a pear, "the Fruit" presents itself as an apple, "the Fruit" presents itself as an almond; and the differences which distinguish apples, pears and almonds from one another are the self-differentiations of "the Fruit" and,.make the particular fiuits different members of the life-process of "the Fruit". Thus "the Fruit" is no longer an empty undifferentiated unity; it is oneness as allness, as "totality of fruits, which constitute an "organically linked series of members . In every member of that series "the Fruit" gives itself a more developed, more explicit existence, until finally, as the "summary of all fruits, it is at the same time the living unity which contains all those fruits dissolved in itself just as it produces them from within itself, just as, for instance, all the limbs of the body are constantly dissolved in and constantly produced out of the blood. We see that if the Christian religion knows only one Incarnation of God, speculative philosophy has as many incarnations as there are things, just as it has here in every fruit an incarnation of the Substance, of the Absolute Fruit. The main interest for the speculative philosopher is therefore to produce the existence of the real ordinary fruits and to say in some mysterious way that there are apples, pears, almonds and raisins. But the apples, pears, almonds and raisins that we rediscover in the speculative world are nothing but semblances of apples, semblances of pears, semblances of almonds and semblances of raisins, for they are moments in the life of "the Fruit", this abstract creation of the mind, and therefore themselves abstract creations of the mind. Hence what is delightful in this speculation is to rediscover all the real fruits there, but as fruits which have a higher mystical significance, which have grown out of the ether of your brain and not out of the material earth, which are incarnations of "the Fruit", of the Absolute Subject. When you return from the abstraction, the supernatural creation of the mind, "the Fruit", to real natural fruits, you give on the contrary the natural fruits a supernatural significance and transform them into sheer abstractions. Your main interest is then to point out the unity of "the Fruit" in all the manifestations of its life the apple, the pear, the almond that is, to show the mystical interconnection between these fruits, how in each one of them "the Fruit" realises itself by degrees and necessarily progresses, for instance, from its existence as a raisin to its existence as an almond. Hence the value of the ordinary fruits no longer consists in their natural qualities, but in their speculative quality, which gives each of them a definite place in the life-process of "the Absolute Fruit" The ordinary man does not think he is saying anything extraordinary when he states that there are apples and pears. But when the philosopher expresses their existence in the speculative way he says something extraordinary. He performs a miracle by producing the real natural objects, the apple, the pear, etc., out of the unreal creation of the mind "the Fruit", i.e., by creating those fruits out of his own abstract reason, which he considers as an Absolute Subject outside himself, represented here as "the Fruit". And in regard to every object the existence of which he expresses, he accomplishes an act of creation. It goes without saying that the speculative philosopher accomplishes this continuous creation only by presenting universally known qualities of the apple, the pear, etc., which exist in reality, as determining features invented by him, by giving the names of the real things to what abstract reason alone can create, to abstract formulas of reason, finally, by declaring his own activity, by which he passes from the idea of an apple to the idea of a pear, to be the self-activity of the Absolute Subject, "the Fruit" In the speculative way of speaking, this operation is called comprehending Substance as Subject, as an inner process, as an Absolute Person, and this comprehension constitutes the essential character of Hegel's method. These preliminary remarks were necessary to make Herr Szeliga intelligible. Only now, after dissolving real relations, e.g., law and civilisation, in the category of mystery and thereby making "Mystery (das Geheimnis) into Substance, does he rise to the true speculative, Hegelian height and transforms "Mystery into a self-existing Subject incarnating itself in real situations and persons so that the manifestations of its life are countesses, marquises, grisettes, porters, notaries, charlatans, and love intrigues, balls, wooden doors, etc. Having produced the category "Mystery out of the real world, he produces the real world out of this category. The mysteries of speculative construction in Herr Szeliga's presentation will be all the more visibly disclosed as he has an indisputable double advantage over Hegel. On the one hand, Hegel with masterly sophistry is able to present as a process of the imagined creation of the mind itself, of the Absolute Subject, the process by which the philosopher through sensory perception and imagination passes from one subject to another. On the other hand, however, Hegel very often gives a real presentation, embracing the thing itself, within the speculative presentation. This real development within the speculative development misleads the reader into considering the speculative development as real and the real as speculative. With Herr Szeliga both these difficulties vanish. His dialectics have no hypocrisy or dissimulation. He performs his tricks with the most laudable honesty and the most ingenuous straightforwardness. But then he nowhere develops any real content, so that his speculative construction is free from all disturbing accessories, from all ambiguous disguises, and appeals to the eye in its naked beauty. In Herr Szeliga we also see a brilliant illustration of how speculation on the one hand apparently freely creates its object a priori out of itself and, on the other hand, precisely because it wishes to get rid by sophistry of the rational and natural dependence on the object, falls into the most irrational and unnatural bondage to the object, whose most accidental and most individual attributes it is obliged to construe as absolutely necessary and general. This transition Herr Szeliga construes as follows: Before really following Eugene Sue where his heart leads him - to an aristocratic ball, Herr Szeliga resorts to the hypocritical twists of speculation which makes a priori constructions. In his unctuous naivety the Critical parson listens to the two "most beautiful among the beautiful", Clemence d'Harville and Countess Sarah MacGregor. One can guess what he wishes to "hear" from them: We get the following naive revelation about one of the ladies, Countess MacGregor: of the Countess, Herr Szeliga has sharp words for her: Here is what we learn about the character of two other ideals, the Marquise d'Harville and the Duchess of Lucenay: He, for example, who is not allowed to drink at home and yet feels the need to drink looks for the "object" of drinking "outside" the house, and "so" takes to secret drinking. Indeed, he will be driven to consider secrecy an essential ingredient of drinking, although he will not debase drink to a mere "external" indifferent thing, any more than those ladies did with love. For, according to Herr Szeliga himself, it is not love, but marriage without love, that they debase to what it really is, to something external, to a so-called affair. The parson immediately betrays his real meaning when he continues: Herr Szeliga makes Countess MacGregor a representative of the kind of sensuality which "is elevated to a semblance of spiritual power", but in Eugene Sue she is a person of abstract reason. Her "ambition" and her "pride", far from being forms of sensuality, are born of an abstract reason which is completely independent of sensuality. That is why Eugene Sue explicitly notes that After his outpourings against sensuality, our Critical saint deems it necessary to show why Eugene Sue introduces us to haute volee at a ball, a method which is used by nearly all French novelists, whereas the English do so more often at the chase or in a country mansion. The Critic introduces us to the ball for the sake of the essence of dancing. He encounters a great difficulty. True, there is dancing at this ball, but only in imagination. The fact is that Eugene Sue does not say a word describing the dancing. He does not mix among the throng of dancers. He makes use of the ball only as an opportunity for bringing together his characters from the upper aristocracy. In despair, "Criticism" comes to help out and supplement the author, and its own "fancy" easily provides a description of ball incidents, etc. If, as prescribed by Criticism, Eugene Sue was not directly interested in the criminals' hide-outs and language when he described them, the dance, on the other hand, which not he but his "fanciful" Critic describes, necessarily interests him infinitely. Let us continue. Cecily, as a slave, remains true to the Negro doctor David because she loves him "passionately" and because her owner, Mr. Willis, is "brutal" in courting her. The reason for her change to a dissolute life is a very simple one. Transported into the "European world", she "blushes" at being "married to a Negro". On arriving in Germany she is "at once seduced by a wicked man and her "Indian blood" comes into its own. This the hypocritical M. Sue, for the sake of douce morale and doux commerce, is bound to describe as "perversit naturelle"." The secret of Cecily is that she is a half-breed. The secret of her sensuality is the heat of the tropics. Parny sang praises of the half-breed in his beautiful lines to Eleonore. Over a hundred sea-faring tales tell us how dangerous she is to sailors. Herr Szeliga pursues two aims. Firstly, Mystery which has become incarnate in the exclusive circle of high society must be declared "common property of the world . Secondly, the notary Jacques Ferrand must be construed as a link in the life of Mystery. Here is the way Herr Szeliga reasons: Herr Szeliga transforms Christianity into an individual quality, "piety , and morality into another individual quality, "probity". He combines these two qualities in one individual whom he christens Jacques Ferrand, because Jacques Ferrand does not possess these two qualities but only pretends to. Thus Jacques Ferrand becomes the "mystery of probity and piety". His "testament", on the other hand, is "the mystery of seeming piety and probity", and therefore no longer of piety and probity themselves. If Critical Criticism had wanted speculatively to construe this testament as a mystery, it should have declared the seeming probity and piety to be the mystery of this testament, and not the other way round, this testament as the mystery of the seeming probity. Whereas the Paris college of notaries considered Jacques Ferrand as a malicious libel against itself and through the theatrical censorship had this character removed from the stage performance of the Mysteres de Paris, Critical Criticism, at the very time when it "polemises against the airy kingdom of conceptions , sees in a Paris notary not a Paris notary but religion and morality, probity and piety. The trial of the notary Lehon ought to have taught it better. The position held by the notary in Eugene Sue's novel is closely connected with his official position. With the notary Ferrand, whose whole mystery consists in his hypocrisy and his profession, we do not seem to have made a single step forward yet. But listen: All the mysteries that Polidori possesses are limited to a means for abortion and a poison for murder.- In a speculative frenzy Herr Szeliga makes the "murderer" resort to Polidori's poison "because he wants to be not a murderer, but respected, loved and honoured". As if in an act of murder it was a question of respect, love or honour and not of one's neck! But the Critical murderer does not bother about his neck, but only about "Mystery".- As not everyone commits murder or becomes pregnant illegitimately, how is Polidori to put everyone in the desired possession of Mystery? Herr Szeliga probably confuses the charlatan Polidori with the scholar Polydore Virgil who lived in the sixteenth century and who, although he did not discover any mysteries, tried to make the history of those who did, the inventors, the "common property of ~he world" (see Polidori Virgilii liber de rerum inventoribus, Lugduni MDCCVI). Mystery, Absolute Mystery, as it has finally established itself as the "common property of the world", consists therefore in the mystery of abortion and poisoning. Mystery could not make itself "the common property of the world" more skilfully than by turning itself into mysteries which are mysteries to no one. Herr Szeliga intends to depict the servants and the porter Pipelet and his wife as the incarnation of Absolute Mystery. He wants speculatively to construct the servant and the porter of "Mystery . How does he manage to make the headlong descent from pure category down to the "servant" who "spies at a locked door , from Mystery as the Absolute Subject, which is enthroned above the roof in the cloudy heavens of abstraction, down to the ground floor where the porter's lodge is situated? First he subjects the category Mystery to a speculative process. When by the aid of means for abortion and poisoning Mystery has become the common property of the world, it is After this brilliant dialectical feat of arms, Herr Szeliga naturally goes on from spying itself to the reasons for spying. Here he reveais the mystery that malicious gloating is the reason for it. From malicious gloating he goes on to the reason for malicious gloating. Thus it seems we have gone from Mystery that conceals itself to the ego that conceals it, from the ego to the locked door, from the locked door to spying, from spying to the reason for spying, malicious gloating; from malicious gloating to the reason for malicious gloating, the desire to be better than the others. We shall soon have the pleasure of seeing the servant standing at the locked door. For the general desire to be better than the others leads us directly to this: that "everyone is inclined to find out the mysteries of another", and this is followed easily by the witty remark: What "henceforth" annoys Herr Szeliga in servants is that they are not "disinterested" enough. This Critical misgiving leads him to the porter Pipelet and his wife. The following facts will enable the reader to form an opinion of the Critical fantasy concerning the relatively independent, disinterested position of the porter. The porter in Paris is the representative and spy of the landlord. He is generally paid not by the landlord but by the tenants. Because of that precarious position he often combines the functions of commission agent with his official duties. During the Terror, the Empire and the Restoration, the porter was one of the main agents of the secret police. General Foy, for instance, was watched by his porter, who took all the letters addressed to the general to be read by a police agent not far away (see Froment, La police d voil e). As a result "portier" and " picier" are considered insulting names and the porter prefers to be called "concierge . Far from being depicted as "disinterested" and harmless, Eugene Sue's Madame Pipelet immediately cheats Rudolph when giving him his change; she recommends to him the dishonest money-lender living in the house and describes Rigolette to him as an acquaintance who may be pleasant to him. She teases the major because he pays her badly and haggles with her - in her vexation she calls him a "commandant de deux liards" - "ca t'apprendra ne donner que douze francs par mois pour ton m nage." - and because he has the "petitesse as to keep a check on his firewood, etc. She herself gives the reason for her "independent" behaviour: the major only pays her twelve francs a month. According to Herr Szeliga, "Anastasia Pipelet has, to some extent, to declare a small war on Mystery". According to Eugene Sue, Anastasia Pipelet is a typical Paris Porti re. He wants "to dramatise the Porti re, whom Henri Monier portrayed with such mastery". But Herr Szeliga feels bound to transform one of Madame Pipelet's qualities - "m disance" - into a separate being and then to make her a representative of that being. Problem. You must give me the speculative construction showing how man becomes master over animals. Speculative solution. Given are half a dozen animals, such as the lion, the shark, the snake, the bull, the horse and the pug. From these six animals abstract the category: the "Animal". Imagine the "Animal" to be an independent being. Regard the lion, the shark, the snake, etc., as disguises, incarnations, of the "Animal". Just as you made your imagination, the "Animal" of your abstraction, into a real being, now make the real animals into beings of abstraction, of your imagination. You see that the "Animal", which in the lion tears man to pieces, in the shark swallows him up, in the snake stings him with venom, in the bull tosses him with its horns and in the horse kicks him, only barks at him when it presents itself as a pug, and converts the fight against man into the mere semblance of a fight. Through its own consistent development, the "Animal" is driven, as we have seen in the pug, to debase itself to a mere clown. When a child or a childish man runs away from a pug, the only thing is for the individual no longer to agree to play the silly comedy. The individual X takes this step in the most nonchalant way in the world by using his bamboo cane on the pug. You see how "Man", through the agency of the individual X and the pug, has become master over the "Animal", and consequently over animals, and in the Animal as a pug has defeated the lion as an animal. Similarly Herr Szeliga's "turtle-dove" defeats the mysteries of the present state of the world through the intermediary of Pipelet and Cabrion. More than that! She is herself a manifestation of the category "Mystery". It must be considered as a real confession, a revelation of Herr Szeliga's Critical Mystery, when he says that he wishes to pass ou to the "philosophical reproduction" of the epic event. He has so far been "philosophically reproducing" the world system. Herr Szeliga continues his confession: If we deal with Rudolph and his deeds only later, after diverting our attention from Herr Szeliga for some time, it can already be foreseen, and to a certain degree the reader can sense, indeed even surmise without presumption, that instead of treating him as a "mysterious vegetable existence , which he is in the Critical Literatur-Zeitung, we shall make him a "logical, obvious, free link" in the "organism of Critical Criticism."
The Holy Family by Marx and Engels