Kants Sendschreiben zum Tod des Studenten Johann Friedrich von Funk (1760). Zur literaturhistorischen Einordnung – Teil 2: Antike Vorbilder der Seelenleitung
Abstract
In this second installment (for the first, see Kantian Journal, 2024, vol. 43, no. 2), Kant’s references to ancient consolation writings are elaborated. The general aim is to make Kant’s proximity to the Roman Stoa, and his borrowings from it, more apparent. A comparison with his necrology for Funk then shows more explicitly how Kant takes up this ancient philosophy anew for his time, and for his fellow human beings. In so doing, he continued a trend that had begun in the Enlightenment. In Universal Natural History and Theory of Heavens, Kant showed that the world can exist without God’s constant intervention. Human being must understand his position in the cosmos and his radical finitude. Closeness to God can only arise through the moral feeling and the infinitely distant work of God, heaven itself — a famous motif Kant adopted from Seneca. Therefore, comfort and the resources for coping with life can no longer be drawn from irrational mystical moments and naïve biblical story telling. We can only find comfort in reason, the human capacity which brings us closest to God. Many of the reasons for consolation that Kant applies to Funk in the necrology can be found in Cicero, Seneca, and other authors of that period. With all this in mind, the necrology will have to be viewed philosophically in a completely different light from before. This is because Kant succeeds in reconciling Enlightenment tensions between the return to man alone and the distancing from God, as well as the resulting question of what to do, especially in those moments when it seems that only a God can help. The conclusion and appendix show that Gottsched’s influence on the journalism of the Enlightenment can also be observed in Kant’s reading and adoption of motives from Addison’s “Spectator”: Gottsched commissioned the translation. Kant refers in Funk’s necrology to a story (“The Visions of Mirza”) told by Addison, picturing human life as a dilapidated bridge with many traps. One misstep, and the protagonist falls into the abyss.