“这使我想到圣经上的金科玉律：欲人施于己者，己必施诸人。”
“是的，这也是一个‘形式上’的行为准则，基本上适用于所有道德抉择。你可以说你刚才讲的金科玉律正是康德所谓的普遍性道德法则。”
“可是这显然只是一种论断而已。休姆说我们无法以理性证明何者是、何者非的说法也许是有道理的。”
“根据康德的说法，这个道德法则就像因果律一样是绝对的、放诸四海而皆准的。这当然也是无法用理性来证明的，但是它仍然是绝对的、不可改变的。没有人会否认它。”
“我开始觉得我们谈的其实就是良心。因为每个人都有良心，不是吗?”
“是的，当康德描述道德法则时，他所说的正是人类的良心。我们无法证明我们的良心告诉我们的事情，但我们仍然知道它。”
“有时候我们对别人很好或帮助别人，可能只是因为我们知道：这样做会有好处，也可能是因为我们想成为一个受欢迎的人。”
“可是如果你只是为了想受人的欢迎而与别人分享东西，那你就不算是真正依据道德的法则行事。当然你的行为并没有违反道德法则(其实这样就算不错了)，但是真正的道德行为是在克服自己的情况下所做的行为。只有那些你纯粹是基于责任所做的事才算是道德行为。所以康德的伦理观有时又被称为‘义务伦理现’。”
“譬如说，我们可能会感觉为红十字会或教会的义卖筹款是我们的义务。”
“是的，重要的是：你是因为知道一件事情是你应该做的才去做它。即使你筹的款项在街上遗失了，或它的金额不足以使那些你要帮助的人吃饱，你仍然算是已经遵守道德法则了，因为你的行为乃是出自一片善意。而根据康德的说法，你的行为是否合乎德正取决于你是否出自善意而为之，并不取决于你的行为后果。因此康德的伦理学有时也被称为善意的伦理学。”
“为什么他一定要分清楚在哪一种情况下我们做的事才真正符合道德原则?我想最重要的应当是我们做的事确实对别人有所帮助。”
“的确如此。我想康德一定不会反对你的说法。但是，只有我们自己确知我们纯粹是为了遵守道德法则而行动时，我们的行为才是自由的。”
“只有在遵守一项法则的时候，我们的行为才是自由的?这不是很奇怪吗?”
“对于康德来说并不奇怪。你也许还记得他必须‘假定’人有自由意志。这一点很重要，因为康德也说过每一件事都服从因果律，那么我们怎么会有自由意志呢?”
“我怎么会知道?”
“在这点上，康德把人分为两部分，有点像笛卡尔说人是‘二元的受造物’一样，因为人有身体，也有心灵。康德说，做为一个由物质形成的生物，我们完全受到不变的因果律的支配。我们不能决定自己的感官经验。这些经验因为某种必要性而发生在我们身上，并对我们造成影响，不管我们乐意与否。但我们不仅是由物质形成的受造物，也是具有理性的受造物。”
“请你再说明一下。”
“做为一个由物质形成的存在者，我们完全属于自然界，因此受到因果律的支配。在这种情况下我们没有自由意志可言。可是做为一个有理性的存在者，我们在康德所谓的‘物自身’(与我们的感官印象没有关系的世界本身)中占有一席之地。只有在我们追随我们的‘实践理性’，并因此得以做道德上的抉择时，我们才有自由意志可言。因为当我们遵守道德法则时，我们也正是制定这项法则的人。”
“是的，从某个角度来说，这是对的。因为是我自己(或我内心的某种东西)决定不要对别人不好的。”
“所以当你选择不要对别人不好时——即使这样会违反你自己的利益——你就是在从事自由的行为。”
“而如果你只是做自己想做的事，你就不算自由或独立。”
“我们可能会成为各种事物的奴隶，我们甚至可能成为我们的自我中心思想的奴隶。独立与自由正是我们超脱自我的欲望与恶念的方法。”
“那动物呢?我想它们大概只是遵循自己的天性和需求，而没有任何遵守道德法则的自由，不是吗?”
“对。这正是动物与人不同的地方。”
“我懂了。”
“最后，我们也许可以说康德指引了一条道路，使哲学走出了理性主义与经验主义之间的僵局。哲学史上的一个纪元于是随着康德而结束。他死于一八O四年，当时我们所谓的‘浪漫主义’正开始发展。康德死后葬在哥尼斯堡。他的墓碑上刻着一句他最常被人引用的名言：‘有两件事物我愈是思考愈觉神奇，心中也愈充满敬畏，那就是我头顶上的星空与我内心的道德准则。它们向我印证：上帝在我头顶，亦在我心中。，”
艾伯特靠回椅背。
“说完了。”他说。“我想我已经把康德最重要的理念告诉你了。”
“也已经四点十五分了。”
“不过还有一件事。请你再给我一分钟的时间。”
“老师没讲完，我是不会离开教室的。”
“我有没有说过康德认为如果我们只是过着感官动物的生活，我们就没有自由可言?”
“有，你说过类似的话。”
“可是如果我们服膺宇宙普遍的理性，我们就是自由和独立的。我也说过这样的话吗?”
“说过呀。你干嘛要再说一遍?”
艾伯特倾身向前，靠近苏菲，深深地凝视她的眼睛，并轻声地说道：“苏菲，不要相信你所看到的每一件事物。”
“你是什么意思?”
“孩子，你要走另外一条路。”
“我不懂。”
“人们通常说：眼见为信。可是即使是你亲眼见到的，也不一定能相信。”
“你以前说过类似的话。”
“是的，在我讲帕梅尼德斯的时候。”
“可是我还是不懂你的意思。”
“唔……我们坐在台阶上讲话的时候，不是有一只所谓的水怪在湖里翻腾吗?”
“对呀。真是大奇怪了。”
“一点也不奇怪。后来小红帽来到门口说：‘我在找我奶奶住的地方。’多愚蠢的表演哪!那只是少校的把戏，苏菲。就像那香蕉里写的宇和那愚蠢的雷雨一般。”
“你以为…．．．”
“我说过我有一个计划。只要我们坚守我们的理性，他就不能骗过我们。因为就某一方面来说，我们是自由的。他可以让我们‘感知’各种事物，但没有一件事物会让我感到惊讶。就算他让天色变黑、让大象飞行，我也只会笑笑而已。可是七加五永远是十二。不管他耍再多的把戏，这仍然会是一个事实。哲学是童话故事的相反。”
有好一会儿，苏菲只是坐在那儿惊奇地注视着他。
“你走吧。”他终于说。“我会打电话通知你来上有关浪漫主义的课。除此以外，你也得听听黑格尔和祁克果的哲学。可是只剩一个礼拜少校就要在凯耶维克机场着陆了。在那之前，我们必须设法挣脱他那死缠不休的想象力。我就说到这里为止了，苏菲。不过我希望你知道我正在为我们两人拟定一个很棒的计划。”
“那我走哼。”
“等一下——我们可能忘记了最重要的事。”
“什么事?”
“生日快乐歌。席德今天满十五岁了。”
“我也是呀。”
“对，你也一样。那么我们就来唱吧。”
于是他们两人便站起身来唱：祝你生日快乐祝你生日快乐祝亲爱的席德生日快乐祝你生日快乐已经四点半了。苏菲跑到湖边，划到对岸。她把船拉进草丛间，然后便开始快步穿过树林。
当她走到小路上时，突然看到树林间有某个东西在动。她心想不知道是不是小红帽独自一人走过树林到她奶奶家，可是树丛间那个东西形状比小红帽要小得多。
她走向前去，那个东西只有一个娃娃大小。它是棕色的，身上穿了一件红色的毛衣。
当她发现那是一个玩具熊时，便陡然停下了脚步。
有人把玩具熊留在森林里，这并不是什么奇怪的事。问题是这只玩具熊是活的，并且正专心一意地忙着某件事。
“嗨!”苏菲向它打招呼。
“我的名字叫波波熊。”它说。“很不幸的。我在树林里迷路了。
唉，本来我今天过得很好的。咦，我以前从来没有见过你。”
“也许迷路的人是我。”苏菲说。“所以，你现在可能还是在你的家乡百亩林。”
“你说的话太难懂了。别忘了，我只是一只小熊，而且不是很聪明。”
“我听说过你的故事。”
“你大概是爱丽丝吧!有一天罗宾告诉我们你的事。所以我们才见过面。你从一个瓶子里喝了好多好多的水，于是就愈变愈小。
可是然后你又喝了另外一瓶水，于是又开始变大了。你真该小心不要乱吃东西。有一次我吃得太多，居然在一个兔予洞里被卡住了。”
“我不是爱丽丝。”
“我们是谁并没有关系，重要的是我们是什么，这是猫头鹰说的话。它是很聪明的。有一天，天气很好时，它说过七加四等于十二。驴子和我都觉得自己好笨，因为算算术是很难的。算天气就容易得多。”
“我的名字叫苏菲。”
“很高兴见到你，苏菲。我说过了，我想你一定是没到过这儿。
不过我现在得走了，因为我必须要找到小猪。我们要去参加一个为兔子和它的朋友们举行的盛大花园宴会。”
它挥了挥它的手掌。苏菲看到它的另外一只手里拿着一小片卷起来的纸。
“你手里拿的是什么东西?”苏菲问。
小熊拿出那张纸说：“我就是因为这个才迷路的。”
“可是那只是一张纸呀！”
“不，这不只是一张纸。这是一封写给‘镜子另外一边的席德’的信。”“原来如此，你可以交给我。”
“你就是镜子里面的那个女孩吗?”
“不是，可是……”
“信一定要交给本人。罗宾昨天才教过我。”
“可是我认识席德。”。
“那又怎么样?就算你跟一个人很熟，你也不应该偷看他的信。”
“我的意思是我可以帮你转交给席德。”
“那还差不多。好吧，苏菲，你拿去吧。如果我可以把这封信交出去，也许我也可以找到小猪。你如果要找到镜子那边的席德，必须先找到一面大镜子。可是要在这里找到镜子可不简单哪！”
小熊说完了，就把那张折起来的纸交给苏菲，然后用它那双小脚走过树林。它消失不见后，苏菲打开那张纸开始看：亲爱的席德：很可惜艾伯特没有告诉苏菲，康德曾经倡议成立“国际联盟”。
他在《永远的和平》那篇论文中写道，所有国家都应该联合起来成立一个国际联盟，以确保各国能够和平共存。这篇论文写于一七九五年。过了大约一二五年，在第一次世界大战结束后，国际联盟成立了，但在第二次大战后被联合国取代。所以康德可说是联合国概念之父。康德的主旨是，人的‘实践理性’要求各国脱离制造战争的野蛮状态，并订定契约以维护和平。虽然建立一个国际联盟是一件辛苦的工作，但我们有责任为世界《永久的和平》而努力。对康德而言，建立这样一个联盟是远程目标。我们几乎可以说那是哲学的终极目标。我此刻仍在黎巴嫩。爱你的爸爸苏菲将纸条放进口袋，继续走回家。艾伯特曾经警告她在树林里会发生这样的事，但她总不能让那只小玩具熊在树林里滚来滚去，不停地找寻“镜子那边的席德”吧！
Romanticism
the path of mystery leads inwards
Hilde let the heavy ring binder slide into her lap. Then she let it slide further onto the floor.
It was already lighter in the room than when she had gone to bed. She looked at the clock. It was almost three. She snuggled down under the covers and closed her eyes. As she was falling asleep she wondered why her father had begun to write about Little Red Ridinghood and Winnie-the-Pooh ...
She slept until eleven o'clock the next morning. The tension in her body told her that she had dreamed intensely all night, but she could not remember what she had dreamed. It felt as if she had been in a totally different reality.
She went downstairs and fixed breakfast. Her mother had put on her blue jumpsuit ready to go down to the boathouse and work on the motorboat. Even if it was not afloat, it had to be shipshape when Dad got back from Lebanon.
"Do you want to come down and give me a hand?"
"I have to read a little first. Should I come down with some tea and a mid-morning snack?"
"What mid-morning?"
When Hilde had eaten she went back up to her room, made her bed, and sat herself comfortably with the ring binder resting against her knees.
* * *
Sophie slipped through the hedge and stood in the big garden which she had once thought of as her own Garden of Eden . . .
There were branches and leaves strewn everywhere after the storm the night before. It seemed to her that there was some connection between the storm and the fallen branches and her meeting with Little Red Ridinghood and Winnie-the-Pooh.
She went into the house. Her mother had just gotten home and was putting some bottles of soda in the refrigerator. On the table was a delicious-looking chocolate cake.
"Are you expecting visitors?" asked Sophie; she had almost forgotten it was her birthday.
"We're having the real party next Saturday, but I thought we ought to have a little celebration today as well."
"How?"
"I have invited Joanna and her parents."
"Fine with me."
The visitors arrived shortly before half-past seven. The atmosphere was somewhat formal--Sophie's mother very seldom saw Joanna's parents socially.
It was not long before Sophie and Joanna went upstairs to Sophie's room to write the garden party invitations. Since Alberto Knox was also to be invited, Sophie had the idea of inviting people to a "philosophical garden party." Joanna didn't object. It was Sophie's party after all, and theme parties were "in" at the moment.
Finally they had composed the invitation. It had taken two hours and they couldn't stop laughing.
Dear. . .
You are hereby invited to a philosophical garden party at 3 Clover Close on Saturday June 23 (Midsummer Eve) at 7 p.m. During the evening we shall hopefully solve the mystery of life. Please bring warm sweaters and bright ideas suitable for solving the riddles of philosophy. Because of the danger of woodland fires we unfortunately cannot have a bonfire, but everybody is free to let the flames of their imagination flicker unimpeded. There will be at least one genuine philosopher among the invited guests. For this reason the party is a strictly private arrangement. Members of the press will not be admitted. With regards,Joanna Ingebrigtsen (organizing committee)
and Sophie Amundsen (hostess)
The two girls went downstairs to their parents, who were now talking somewhat more freely. Sophie handed the draft invitation, written with a calligraphic pen, to her mother.
"Could you make eighteen copies, please." It was not the first time she had asked her mother to make photocopies for her at work.
Her mother read the invitation and then handed it to Joanna's father.
"You see what I mean? She is going a little crazy."
"But it looks really exciting," said Joanna's father, handing the sheet on to his wife. "I wouldn't mind coming to that party myself."
Barbie read the invitation, then she said: "Well, I must say! Can we come too, Sophie?"
"Let's say twenty copies, then," said Sophie, taking them at their word.
"You must be nuts!" said Joanna.
Before Sophie went to bed that night she stood for a long time gazing out of the window. She remembered how she had once seen the outline of Alberto's figure in the darkness. It was more than a month ago. Now it was again late at night, but this was a white summer night.
Sophie heard nothing from Alberto until Tuesday morning. He called just after her mother had left for work.
"Sophie Amundsen."
"And Alberto Knox."
"I thought so."
"I'm sorry I didn't call before, but I've been working hard on our plan. I can only be alone and work undisturbed when the major is concentrating wholly and com-pletely on you."
"That's weird."
"Then I seize the opportunity to conceal myself, you see. The best surveillance system in the world has its limitations when it is only controlled by one single person ... I got your card."
"You mean the invitation?"
"Dare you risk it?"
"Why not?"
"Anything can happen at a party like that."
"Are you coming?"
"Of course I'm coming. But there is another thing. Did you remember that it's the day Hilde's father gets back from Lebanon?"
"No, I didn't, actually."
"It can't possibly be pure coincidence that he lets you arrange a philosophical garden party the same day as he gets home to Bjerkely."
"I didn't think about it, as I said."
"I'm sure he did. But all right, we'll talk about that later. Can you come to the major's cabin this morning?"
"I'm supposed to weed the flower beds."
"Let's say two o'clock, then. Can you make that?"
"I'll be there."
Alberto Knox was sitting on the step again when Sophie arrived.
"Have a seat," he said, getting straight down to work.
"Previously we spoke of the Renaissance, the Baroque period, and the Enlightenment. Today we are going to talk about Romanticism, which could be described as Europe's last great cultural epoch. We are approaching the end of a long story, my child."
"Did Romanticism last that long?"
"It began toward the end of the eighteenth century and lasted till the middle of the nineteenth. But after 1850 one can no longer speak of whole 'epochs' which comprise poetry, philosophy, art, science, and music."
"Was Romanticism one of those epochs?"
"It has been said that Romanticism was Europe's last common approach to life. It started in Germany, arising as a reaction to the Enlightenment's unequivocal emphasis on reason. After Kant and his cool intellectualism, it was as if German youth heaved a sigh of relief."
"What did they replace it with?"
"The new catchwords were 'feeling,"imagination,"experience,' and 'yearning.' Some of the Enlightenment thinkers had drawn attention to the importance of feel-ing--not least Rousseau--but at that time it was a criticism of the bias toward reason. What had been an undercurrent now became the mainstream of German culture."
"So Kant's popularity didn't last very long?"
"Well, it did and it didn't. Many of the Romantics saw themselves as Kant's successors, since Kant had established that there was a limit to what we can know of 'das Ding an sich.' On the other hand, he had underlined the importance of the ego's contribution to knowledge, or cognition. The individual was now completely free to interpret life in his own way. The Romantics exploited this in an almost unrestrained 'ego-worship,' which led to the exaltation of artistic genius."
"Were there a lot of these geniuses?"
"Beethoven was one. His music expresses his own feelings and yearnings. Beethoven was in a sense a 'free' artist--unlike the Baroque masters such as Bach and Handel, who composed their works to the glory of God, mostly in strict musical forms."
"I only know the Moonlight Sonata and the Fifth Symphony."
"But you know how romantic the Moonlight Sonata is, and you can hear how dramatically Beethoven expresses himself in the Fifth Symphony."
"You said the Renaissance humanists were individualists too."
"Yes. There were many similarities between the Renaissance and Romanticism. A typical one was the importance of art to human cognition. Kant made a considerable contribution here as well. In his aesthetics he investigated what happens when we are overwhelmed by beauty--in a work of art, for instance. When we abandon ourselves to a work of art with no other intention than the aesthetic experience itself, we are brought closer to an experience of 'das Ding an sich.' "
"So the artist can provide something philosophers can't express?"
"That was the view of the Romantics. According to Kant, the artist plays freely on his faculty of cognition. The German poet Schiller developed Kant's thought further. He wrote that the activity of the artist is like playing, and man is only free when he plays, because then he makes up his own rules. The Romantics believed that only art could bring us closer to 'the inexpressible.' Some went as far as to compare the artist to God."
"Because the artist creates his own reality the way God created the world."
"It was said that the artist had a 'universe-creating imagination.' In his transports of artistic rapture he could sense the dissolving of the boundary between dream and reality.
"Novalis, one of the young geniuses, said that 'the world becomes a dream, and the dream becomes reality.' He wrote a novel called Heinrich von Ofterdingen set in Medieval times. It was unfinished when he died in 1801, but it was nevertheless a very significant novel. It tells of the young Heinrich who is searching for the 'blue flower' that he once saw in a dream and has yearned for ever since. The English Romantic poet Coleridge expressed the same idea; saying something like this:
