The 'organic concept' as developed in the writings of the early German romantics is perhaps not as well known as it might be. In brief, the concept, a fusion of the philosophies of Fichte and Spinoza, sought to unify the natural, physical world and the mental world into an organic whole (see Beiser, 2003). In this model, nature is the absolute and the mind is one part, the most highly developed part, of that whole. There is only a difference in degree and not a distinction in kind, between the mental and the physical. According to this theory, the mental activity of the genius (the artist or the philosopher) is but nature coming to its self awareness. Nature remains indeterminate and inchoate without humanity. But as plenty of Romantic poets have demonstrated through their work, it may also be true that humans can discover or reflect on their own self through exposure to nature.
There can be little doubt that humans have transformed their environment to a far greater degree than other species. This capacity for transformation and rapid change lend to humankind a somewhat precarious destiny. We may use our extraordinary capacities of imagination and love to live in friendship with and amongst human and nonhuman others, or we may continue to believe that the earth serves man and remain 'masters of the mystery that the earth breathes'. As the most complex manifestation of nature, the romantics understood quite well that humans bore a heavy burden. With the benefit of an aesthetic and moral education that taught the individual how to truly love what is not of themselves as a family, as community, we might at least approach wholeness. Friedrich Schlegel once wrote that to 'follow nature' is the only precept of a moral education. (See Beiser, 1996: 152) Why did he say this? Because Schlegel thought that despite humanity's elevated position, nature may remain the best teacher of all. Nature can teach us how to live well…