惡讀一段康德之後，學習一下叔本華，無不相見恨晚：
... Kant's language is often indistinct, indefinite, inadequate, and sometimes obscure. Its obscurity, certainly, is partly excusable on account of the difficulty of the subject and the depth of the thought; but he who is himself clear to the bottom, and knows with perfect distinctness what he thinks and wishes, will never write indistinctly, will never set up wavering and indefinite conceptions, compose most difficult and complicated expressions from foreign languages to denote them, and use these expressions constantly afterwards, as Kant took words and formulas from earlier philosophy, especially Scholasticism, which he combined with each other to suit his purposes; as, for example, "transcendental synthetic unity of apperception," and in general "unity of synthesis" (Einheit der Synthesis), always used where "union" (Vereinigung) would be quite sufficient by itself. Moreover, a man who is himself quite clear will not be always explaining anew what has once been explained, as Kant does, for example, in the case of the understanding, the categories, experience, and other leading conceptions. In general, such a man will not incessantly repeat himself, and yet in every new exposition of the thought already expressed a hundred times leave it in just the same obscure condition, but he will express his meaning once distinctly, thoroughly, and exhaustively, and then let it alone. "Quo enim melius rem aliquam concipimus eo magis determinati sumus ad eam unico modo exprimendam," says Descartes in his fifth letter. But the most injurious result of Kant's occasionally obscure language is, that it acted as exemplar vitiis imitabile; indeed, it was misconstrued as a pernicious authorisation. The public was compelled to see that what is obscure is not always without significance; consequently, what was without significance took refuge behind obscure language. Fichte was the first to seize this new privilege and use it vigorously; Schelling at least equalled him; and a host of hungry scribblers, without talent and without honesty, soon outbade them both. But the height of audacity, in serving up pure nonsense, in stringing together senseless and extravagant mazes of words, such as had previously only been heard in madhouses, was finally reached in Hegel, and became the instrument of the most barefaced general mystification that has ever taken place, with a result which will appear fabulous to posterity, and will remain as a monument of German stupidity. In vain, meanwhile, Jean Paul wrote his beautiful paragraph, "Higher criticism of philosophical madness in the professorial chair, and poetical madness in the theatre" (Æsthetische Nachschule); for in vain Goethe had already said---
"They prate and teach, and no one interferes;
All from the fellowship of fools are shrinking;
Man usually believes, if only words he hears,
That also with them goes material for thinking."
But let us return to Kant. We are compelled to admit that he entirely lacks grand, classical simplicity, naïveté, ingénuité, candeur. His philosophy has no analogy with Grecian architecture, which presents large simple proportions revealing themselves at once to the glance; on the contrary, it reminds us strongly of the Gothic style of building. For a purely individual characteristic of Kant's mind is a remarkable love of symmetry, which delights in a varied multiplicity, so that it may reduce it to order, and repeat this order in subordinate orders, and so on indefinitely, just as happens in Gothic churches. Indeed, he sometimes carries this to the extent of trifling, and from love of this tendency he goes so far as to do open violence to truth, and to deal with it as Nature was dealt with by the old-fashioned gardeners, whose work we see in symmetrical alleys, squares, and triangles, trees shaped like pyramids and spheres, and hedges winding in regular curves. I will support this with facts.
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