Luciano Blaga (1895-1961)

Lucian Blaga fu un importante filosofo dell'Europa orientale nel periodo tra le due guerre mondiali. Formatosi sia nella teologia ortodossa orientale che nella filosofia classica, ha sviluppato una filosofia “speculativa” che include libri di epistemologia, metafisica, estetica, filosofia della cultura, antropologia filosofica, filosofia della storia, filosofia della scienza, e filosofia della religione. A chair in philosophy of culture was created for him at the University of Cluj, a leading Romanian university of the period, now Babes-Bolyai University.

Purtroppo, the height of Blaga’s career coincided with WWII, after which Romania was occupied by Soviet troops that installed a socialist government. The new government removed Blaga and many other professors from their university posts. Although Blaga was forbidden to teach and publish, he continued to study and write. Eventually thirty-four of his books of philosophy were published. At the heart of his philosophical publications are four trilogies that constitute a systematic philosophy, a feat that has rarely been attempted since Hegel. He also published books of poetry and theater, plus one novel.

Today Blaga is a national figure in Romania, but because of the unfortunate circumstances surrounding his career, he is barely known to the outside world. Tuttavia, because of his creativity and systematic vision, his work is being actively studied in Europe in the 21st century. There are those who argue that this mid-20th century philosopher can make valuable contributions to issues that philosophers are still struggling with today.

This article begins by explaining Blaga’s intellectual formation, which provides a context for understanding his philosophy. It then introduces the main features of his philosophical system and provides a bibliography of primary and secondary sources for further study.

Sommario
Biographical Sketch
Philosophy of Philosophy
Epistemologia
Metafisica
Other Philosophical Issues
Riferimenti e approfondimenti
Fonti primarie
English
Romanian
Other Languages
Secondary Sources in English
1. Biographical Sketch

Luciano Blaga (1895-1961) was the son of a village priest. The village was Lancram, an ethnically Romanian village on the eastern edge of the Austro-Hungarian Empire. The priest was Isidor Blaga, an avid reader who seems to have enjoyed studying German philosophy as much as Orthodox theology. Isidor only reluctantly accepted the priestly vacancy in Lancram that was created by the premature death of his own father. A lack of finances to continue his education made this choice a necessity, but the priestly vocation was not Isidor’s original goal: he seems to have harbored more academic aspirations. His interest in higher learning, his interest in philosophy and his personal library would leave a profound imprint on his youngest son.

Life in the Romanian village too left a profound imprint on Blaga. A Romanian village of the late nineteenth and early twentieth century was essentially unaltered from medieval times. There was no industry and little mechanization to speak of. The economy was agricultural. The only schooling was a one-room primary school. Ancora, a wealth of traditional wisdom preserved in legends, ballads, poems, and perhaps especially the multitude of proverbs and aphorisms that Lucian Blaga later collected and published in several volumes, provided its own kind of philosophical insight. The culture of the Romanian village would be the subject of Blaga’s acceptance speech given at his induction into the Romanian Academy in 1936.

Because of the dismal academics of the village elementary school and the complete lack of a high school, Isidor and his wife, Ana, sacrificed to send Lucian to private boarding schools. The urban centers in Transylvania were either Hungarian or German, and as a result the best educational opportunities were in Hungarian or German schools. The first school that Blaga attended was a German boarding school in the nearby town of Sebes. Here he studied in German and read important German thinkers. Blaga next enrolled in the prestigious Andrei Saguna High School in the city of Brasov where he studied German, Hungarian, latino, and Greek. He was particularly interested in the natural sciences, the philosophy of science, and also world religions. A senior thesis was required for graduation from Andrei Saguna: Blaga’s was on Einstein’s relativity and Poincare’s non-Euclidean geometry.

Blaga intended to enroll in a German university upon graduation, but the onset of WWI prevented this. He took the only option open to him besides military service: he enrolled in the Romanian Orthodox seminary in Sibiu, another Transylvanian city. Although he neither enjoyed nor excelled at the more pastoral aspects of the seminary curriculum, he surpassed his classmates in the theoretical areas of study. During this period he especially increased his understanding of philosophy of religion and the history of art.

Blaga completed his undergraduate degree in 1917 and enrolled in the PhD program in philosophy at the University of Vienna. During this time he published his first two books, a book of poetry and a book of aphorisms, which sold well in Romania and helped him finance his studies. He successfully defended his dissertation in November of 1920. It was titled Kultur und Erkenntnis (Culture and Knowledge).

Blaga’s life experiences growing up in a multicultural region (Transylvania was populated by Romanians, Hungarians, Germans, Gypsies, and several smaller minority groups); experiencing the contrast between the peasant village and the modern city; and studying Eastern Orthodox theology and liturgy side by side with European philosophy, history, and science spawned in him a philosophical outlook that gives prominent place to philosophy of culture. Within the broad framework of culture Blaga finds places for science, arte, history, and religion.

Blaga’s philosophical system interacts with the theories of classical and contemporary philosophers and intellectuals. These range from the pre-Socratics through early twentieth century philosophers like William James, Edmund Husserl, and Henri Bergson, and also intellectuals such as Albert Einstein, Sigmund Freud, and Paul Tillich. The influence of Plotinus, Kant, and the German Romantics is clearly evident. But Blaga’s philosophy is not merely an attempt to synthesize the insights of other thinkers. It is a systematic and integrated attempt to address the issues that occupied the leading minds of his day.

Blaga’s early philosophical career involved research and publication rather than teaching. He published many articles and a number of books, and served as an editor for several literary magazines. His publications range from fiction to philosophy. His first book of philosophy, Filosofia stilului (The Philosophy of Style), was published in 1924. He also served his country as a statesman. In 1936 he was inducted into the Romanian Academy (a prestigious research institution). Finally in 1938 a special chair of philosophy of culture was created in his honor at the University of Cluj, a leading Romanian university in Transylvania. His inaugural essay was titled Despre plenitudinea istorica (Concerning Historical Fullness). He taught at the University of Cluj until 1949, when he was removed from his post by the newly installed Socialist government of Romania. After this he was not permitted to teach and was only permitted to publish under strict supervision. After his death in 1961 a number of his works were permitted to be posthumously published, and since the fall of Romanian communism Blaga’s entire oeuvre has been republished.

2. Philosophy of Philosophy

Some philosophers philosophize about a range of topics without ever turning their analytic skills to an analysis of philosophy itself. In contrast to this, Blaga begins his systematic philosophy with an entire book dedicated to a critical discussion of philosophy. The title of this book is Despre constiinta filosofica (Concerning Philosophical Consciousness). It describes philosophy as a creative and constructive attempt to understand reality. Therefore Blaga views the construction of a systematic metaphysics as the pinnacle of the philosophical enterprise.

Allo stesso tempo, Blaga rejects the notion that a philosophical system can ever provide an ultimate analysis of reality. All philosophical systems are creative interpretations that attempt to express reality symbolically through human language. But despite this apparent futility inherent in the philosophical task, Blaga views the attempt to “reveal” ultimate reality as the activity that brings humans closest to fulfillment.

The philosophical method is characterized by the utilization of logic and the attempt at objectivity, but subjectivity and style also have their place. Blaga elucidates the proper function of each. He argues that every philosophical system has a central thesis that orients the system. He names the orientation that this point provides the “transcendental accent.” This accent is an expression of the style of the philosopher who created it. Per esempio, the knowledge of the Ideals, which serves as the transcendental accent in Plato’s philosophy, seems to reflect Plato’s own expansive personality and his drive to understand the many disparate aspects of his world.

It is not only the individual who is affected by controlling themes: such beliefs affect entire cultures. Sometimes these themes enter the public subconscious and are called “common sense.” Blaga recognizes that common sense beliefs often preserve wisdom based upon a wealth of experiences, but also warns that they sometimes preserve the prejudices and mistakes of previous generations. He then makes an important and controversial observation about the relationship of philosophy to common sense: whereas many Anglo-American philosophers have taken it upon themselves to defend common sense, Blaga argues that a philosopher must shun the conformist impulse underlying belief in common sense. A philosopher sometimes needs to attack common sense beliefs in order to open up a space for greater understanding.

This position vis-à-vis common sense could be taken as an indication that Blaga views philosophy as a realist rather than a constructivist attempt to understand reality. This would be at least partially mistaken, Tuttavia. Blaga views philosophy as a creative activity that is justified even when its results are mistaken, since it deepens and enriches the understanding of the problematic of the human spirit. Thus philosophical speculation is justified quite apart from the truthfulness of its theories. Philosophy is justified by its fruitfulness, vision, suggestiveness, foresight, and how it stirs the soul, even if its theories never attain complete perfection.

This seems to suggest that philosophy is closer to art than to science, a view that would displease many analytic philosophers. Blaga finds both differences and similarities between philosophy and science. The primary difference between philosophy and science is methodological. Both begin with a set of objective data (the aria) and with certain presuppositions about how the data will be handled (the interior horizon of the problem). But while the data of science is very specific and the presuppositions are detailed and complex, the data of philosophy includes all of human experience and the presuppositions are very general. Per questo motivo, a scientific investigation is very closely controlled by its initial data and its presuppositions; while philosophical investigation is open to many creative solutions that the scientist would not consider. Initially this might seem like a disadvantage, since it seems like an admission of the undisciplined nature of philosophical investigation in comparison to the fairly rigid discipline of the natural sciences. Tuttavia, it also has a significant strength: Blaga points out that because of the very specific aria and interior horizon of a scientific investigation, science methodologically anticipates its solutions much more than philosophy does. Hence philosophy is more open to discovering the unexpected.

3. Epistemologia

This discussion of the difference between philosophy and science draws on several ideas that Blaga elaborates in his epistemology. His primary works on this subject are the three books that comprise his “Trilogy of Knowledge”: Eonul dogmatic (The Dogmatic Age), Cunoasterea luciferica (Luciferic Cognition), and Cenzura transcendenta (Transcendent Censorship). These books analyze, with surprising lucidity, the entire range of modes of human cognition.

Blaga analyzes cognition into seven possible modes:

Positive-adequate cognition
Quasi-cognition
Negative cognition
Cognition that is part positive-adequate and part quasi-cognition
Cognition that is part positive-adequate and part negative cognition
Cognition that is part positive-adequate and part quasi-cognition and part negative cognition
Cognition that is part quasi-cognition and part negative cognition

He discusses each of these modes of cognition, but only the second and the seventh are actually realized by humans. Il secondo, quasi-cognition, can be further analyzed into concrete cognition, paradisaic cognition, mythic cognition, and occult cognition. The seventh, which Blaga names “luciferic cognition,” can be analyzed into three subdivisions: plus-cognition, zero-cognition, and minus-cognition. His discussion of the subdivisions of luciferic cognition, which is the subject of his book by that name, is perhaps the most original and most interesting part of his epistemology.

Blaga remarks that the possible forms of cognition can be analyzed into three types: (1) cognition that is positive-adequate and unlimited, (2) cognition that is censured but in principle unlimited, e (3) cognition that is positive-adequate but strictly limited. The first type would pertain only to a deity. The third type pertains to simple organisms and enables them to perform functions such as the replication of lost appendages. Human cognition falls within the second type, since human cognition is potentially unlimited in extent but strictly limited qualitatively, because it never completely captures its object and never perfectly corresponds to reality.

Mystery, and the cognitive limits that produce mystery, are central to Blaga’s epistemology (and perhaps to his whole philosophy). The reason for these limits is explained in his metaphysics, and the means are explained in his philosophy of culture.

There are at least five important features of Blaga’s epistemology that are innovative, to a greater or lesser degree, and that are significant epistemological contributions. The first of these is the placing of his epistemology within a complementary and explicatory metaphysical system, which will be discussed presently. This metaphysical speculation provides answers to such epistemologically relevant questions as: what are the material, efficient, and final causes of the human epistemological situation; why this situation pertains; how it was implemented; and how it is preserved. A second important feature is Blaga’s emphasis on the important role played in human cognition by culture. According to Blaga, even categories of understanding are culturally affected. He argues that there are both subjective and beautifully creative aspects of human cognition, and also that human cognition is not thwarted by its historicity but is rather empowered by it.

The third and fourth important contributions of Blaga’s epistemology are his analysis of the two types of cognition that he calls “luciferic cognition” and “minus-cognition.” Minus-cognition is a subset of luciferic cognition. Blaga devoted an entire book of his epistemological trilogy to minus-cognition, and another is largely devoted to luciferic cognition. In his elucidation of these two types of cognition, Blaga uncovers methods of problem solving that have heretofore been largely overlooked in Western epistemology.

A fifth important aspect of Blaga’s epistemology is its constructivism. Constructivism, the view that knowledge is a human construct, is a ubiquitous element of Blaga’s philosophy. It was seen in the previous elaboration of Blaga’s philosophy of philosophy, it is reflected in his epistemology, it will be seen in his freely creative metaphysics, and it can also be seen in his philosophy of culture and philosophy of religion.

There have been numerous other constructivist philosophers, ranging from Kant through Nietzsche to 20th century figures such as Jean Piaget and Ernst van Glasersfeld. Ciò nonostante, there are several important things about Blaga’s constructivism that make it particularly noteworthy. The first of these is how neatly and consistently constructivism fits within the larger philosophical picture that Blaga paints. His philosophical system gives constructivism a context, an explanation and a purpose that are sometimes lacking in other constructivist philosophies. A second noteworthy aspect of his constructivism is that it is argued for in a wide variety of cognitive contexts: Blaga shows that human thought is constructivist whether it occurs in math, the natural sciences, filosofia, teologia, the arts, or in any other cognitive context. A third important aspect is how his constructivism is argued: he does not cease being a constructivist when he argues for his own philosophical system. He views his own system as merely a possible thesis supported (but not proved) by evidence and pragmatic utility.

More should be said about luciferic cognition, since this is one of the key insights of Blaga’s epistemology. Paradisaic cognition (what could be considered “ordinary cognition”) attempts to quantitatively reduce the mysteries of existence. Its progress is linear, adding new facts to the existent body of knowledge. Luciferic cognition, d'altra parte, seeks to qualitatively reduce mystery through attenuation or, if that is not possible, through permanentization or intensification of the mysterious. Its progress is inward, deepening and intensifying knowledge of the hidden essence of the cognitive object. Every step of progress leads to another step, ad infinitum, and thus luciferic cognition is never totally successful in grasping its object, but it is successful in providing new understanding of the layers and aspects of the mystery of its being. Luciferic cognition does not exceed the inherent limits of human cognition, but it does explore those limits and press cognition to its fullest extent.

Luciferic cognition is dependent on paradisaic cognition for its starting point, the empirical, conceptual, or imaginary data that Blaga calls “phanic material.” It then “provokes a crisis” in the phanic material through bringing out the mysteries inherent in the object. Whereas paradisaic cognition views objects of cognition as “given,” luciferic cognition views them as partly given, but also partly hidden. Whereas paradisaic cognition is subject to the “illusion of adequacy”—the mistaken belief that the object is as it is perceived to be or, più precisamente, the mistaken belief that paradisaic cognition is able to grasp the object as it really is—luciferic cognition begins with the removal of this illusion. An investigation that stops at the mere defining of an object as it is “given” overlooks potentially multitudinous other facets of knowledge about the object.

The distinction between the object of paradisaic cognition and the object of luciferic cognition bears a resemblance to Kant’s phenomena-noumena distinction, but has several important differences. One significant difference is that the Kantian noumenon is an object that is one single mystery; the luciferic object is a long series of latent mysteries. An even more important difference is that whereas the Kantian noumenon is not available to human cognition, Blaga’s luciferic objects are available to luciferic cognition (but are not cognized in the same way as objects are cognized in paradisaic cognition).

Blaga’s analysis of the process of luciferic cognition is fairly detailed and very interesting. It includes ideas that mirror more recent developments in the philosophy of science, such as his concepts of “theory idea,” “directed observation,” “categorical dislocation,” and “Copernican inversion of the object.” His concept of “theory capacity” resembles ideas suggested by American Pragmatists.

Blaga weighs in on the issues of truth and verification, which have largely dominated discussions in recent analytic epistemology. He accepts coherence as a necessary but not sufficient condition of truthfulness, and demonstration of correspondence as a sufficient but not necessary condition. He suggests that the best way to verify the truthfulness of a theory is pragmatic: put it into practice. His own philosophy is consistent with these views: it is a cohesive system, but he does not appeal to this cohesiveness as the grounds for believing it true. Rather he appeals to its ability to facilitate the resolution of philosophical problems.

4. Metafisica

Blaga’s metaphysic is contained in the three books that form his “Cosmological Trilogy”: Diferentialele divine, (Divine Differentials), Aspecte anthropologice (Anthropological Aspects), and Fiinta istorica (The Historical Being). It is centered on a cosmology that is specifically intended to complement his epistemology. It is sometimes characterized as a “speculative” metaphysic rather than an empirical one. Blaga is firmly persuaded that metaphysical theories are not (and cannot be) proven empirically, although he accords a significant role to experience in the testing of such theories. His method resembles the hypothetico-deductive method wherein a theoretically possible solution to a problem is granted as a working hypothesis, and then the consequences of this hypothesis are deduced in order to determine if they are compatible with generally accepted theory. If they are, then the hypothesis stands as provisionally vindicated, despite the fact that the hypothesis itself has not been directly verified empirically.

Blaga states that metaphysical starting points are presupposed at the outset of the metaphysical investigation and are only subsequently justified by their ability to organize data and to “construct a world.” In elucidating his metaphysical vision, Blaga proposes a cluster of premises that are essential to the system he intends to promulgate. He then elaborates how these form the basis of a system that provides, or enables, the resolution of certain important problems heretofore not satisfactorily resolved by other metaphysical systems.

It is widely acknowledged that Blaga accepts and works within a sort of neo-Kantian Idealism, wherein the actual existence of an external world is accepted as a necessary metaphysical corollary even though an external world is not directly knowable epistemologically. If doing metaphysics would be defined along realist lines, as an accurate description of “noumenal” reality, then Blaga would not be able to do metaphysics, since according to his epistemology humanity cannot have perfect knowledge of objects of cognition. Tuttavia, because Blaga views metaphysics as a creative and pragmatically justified endeavor that attempts to reach beyond the empirical and provide a theoretical explanation for all of existence, metaphysics is possible.

One of the first issues addressed in Blaga’s metaphysical writings is the question of the origin of the cosmos. It is conceivable that the cosmos has no origin, and that it has always existed. In alternativa, it is possible that the cosmos has a specific origin. Blaga opts for the latter view because it “enormously facilitates approaching cosmological problems” and is therefore to be preferred. Based on this pragmatic justification, he proceeds to construct his metaphysics around a postulated beginning and source of the world.

That both the origin and the source of the cosmos are unknown is admitted by Blaga. Therefore one of the ways that he refers to the source is “The Anonymous Fund.” Theoretically, the cosmos could be a result of one or more creative acts of this Fund acting upon external preexistent sources; it could be an emanation from the Fund; or it could even be a reproduction of the Fund. Blaga rejects the possibility of creation using sources outside of the Fund, presumably because this would entail the existence of a cosmos that precedes the creation of the present cosmos, introducing a regress that thwarts the solving of the problems that Blaga is addressing. He also rejects the possibility of creation ex nihilo. Blaga opts for a theory of emanation similar to that proposed by Plotinus, an emanation wherein the Fund reproduces itself endlessly without diminishing itself in any way.

Blaga proposes that the Fund be viewed as possessing, due to its own “fullness,” the capacity of infinite self-replication. It controls its reproduction so that it will not destabilize existence. (Blaga grants that this sort of talk is necessarily metaphorical.) But it is the nature of the Fund to create/reproduce (this is inherent in the meaning of “fund”); therefore it allows itself to reproduce, but only in a specific mode that assures the longevity and greatest success of its reproductive acts. This controlled reproduction is the best compromise between the Fund’s capacity for replication and the necessity of safeguarding the centrality of existence. Had such precautions not been taken, the result of the Fund’s creative capacity would be a series of competing funds rather than the present world. What is remarkable, according to Blaga, is not so much that the present world exists, but that a series of competing funds does not exist. The present world is a result of the Fund’s own self-limitation, of the partial thwarting of the Fund’s natural creativity.

The form that the controlled reproduction of the Anonymous Fund takes is that of creation through “differentials”. Differentials are minute particles emanated from the Fund that exactly replicate minute aspects of the Fund and are emanated in endless numbers. The differentials have a natural propensity to combine with each other, forming new subcreations. The most central differentials are withheld from emanation in order to prevent the recombination of differentials into a copy of the Anonymous Fund. The recombination of emitted differentials has created the present world in its ever-changing forms.

This schema depicts the origin of the world as taking place in three phases: (1) the operation of limiting the generative possibilities of the Anonymous Fund, (2) the emission of differentials, e (3) the combination of differentials, creating more complex beings through integration. The schema also depicts the creation of the world as being based upon two fundamental factors, the Anonymous Fund’s reproductive potential and its success in directing this potential into creating in a manner that preserves its own hegemony as metaphysical center of the universe.

Integration of the differentials is a natural result of the fact that the differentials are, in their structure, particles of one integrated whole. But integration does not occur on the basis of a perfect match between differentials. If it did, there would only be one line of integration that would result in only one type of created being. Integration takes place on the basis of a merely sufficient match between differentials. This allows for a vast number of different integrations, which explains such empirical phenomena as the existence of sometimes similar, sometimes identical or parallel features in entities that belong to different kingdoms, classes, phyla, and species.

Blaga offers the following empirical analysis in support of his theory that the world is composed of differentials. Upon close inspection, it can be observed that all empirical existents display at least three types of discontinuity: (1) Structural discontinuity: some existents are very simple structurally, others are very complex. (2) Intrinsic discontinuity: existents are at the same time independent and interdependent. (3) Discontinuity of repetition: groups of existents of the same type are composed of individuals. These phenomena are explained by the existence of discontinuity in the very heart of the empirical world. This fundamental discontinuity is a result of the empirical world being composed of a multitude of diverse differentials, variously integrated and organized. Inoltre, Blaga argues that two lines of empirical proof show that creation takes place through something akin to differentials: (1) The widespread consistency of certain structures and the equally widespread variability of others indicates that at the base of existence there is a discontinuity of elements that are capable of a variety of different combinations. (2) The presence of similar or identical features in entities that are otherwise very different from each other likewise indicates that existence is composed of a variety of elements capable of forming a variety of combinations.

Blaga discusses how the Anonymous Fund concept differs from and is similar to the theistic conception of God. Both are conceived as being the source of all else, the most central of all existents, and the greatest existent, to the extent that their own existence surpasses all others in both extent and in quality. Tuttavia, Blaga states that he hesitates to use the term God to refer to his conception of the central metaphysical entity both because there are significant differences between his own conception and that of traditional theology, and because he believes it impossible to know whether the attributes usually ascribed to God apply to the Anonymous Fund. He grants that the term “God” could be used as a synonym for the Anonymous Fund, since according to his metaphysics there is nothing in existence that is more central than the Anonymous Fund. But Blaga will not even affirm that the Fund is a being in the usual sense, saying rather that conceiving it thus is merely a “crutch” used by the understanding.

Blaga sees the product of self-reproduction of the Anonymous Fund as necessarily differentiated from the Fund itself in order to preserve the order of the cosmos. This differentiation is accomplished by the Fund in order to achieve a specific goal. The goal and benefits of differentiated creation include: (1) facilitation of the fulfillment of the Fund’s generative nature, (2) the avoidance of genesis of innumerable identical “hypostases," E (3) the avoidance of genesis of complex, indivisible, and indestructible existents that would have too great an autarchic potential, (4) the generation of complex existents that do not infringe upon numbers 2 and 3 above, (5) the genesis of an immense variety of existents and beings, (6) a proportioning of existents between those that are simple and those that are more complex, e (7) the generation of beings with cognitive capacity while at the same time censoring that capacity so as to protect both the beings and the order of the universe. Blaga believes that his proposal shows that the Anonymous Fund has employed a means of genesis that achieves a maximum number of advantages through the employment of a minimum number of measures.

He states that the existence of dis-analogy between Creator and creation is paradoxical. It is paradoxical because the expected result of an Anonymous Fund as postulated by Blaga would be the production of other entities like itself, the production of identical self-replications. Blaga finds it surprising but empirically evident that this self-replication does not take place. The explanation for this surprising nonoccurrence is the necessity of thwarting “theo-geneses” in order to preserve the necessary order of existence. Thus the apparent paradox is only an initial paradox, which is seen to be resolvable through the means of minus-cognition (as discussed in Blaga’s epistemology).

In Blaga’s metaphysics there are two important measures employed by the Anonymous Fund in preservation of cosmic equilibrium. One of these has already been discussed: differentiated creation. The other is transcendent censorship. While many metaphysicians have struggled with the question “What is the nature of existence?” and many epistemologists have struggled with “What are the methods of knowledge?” relatively few have sought to answer the question “What is it that impedes our answering of these fundamental questions?” Blaga insightfully observes that this “prohibitive factor” is one of the factors of existence that philosophy has yet to reckon with.

Blaga proposes that ultimate questions are difficult to answer, and in some sense unanswerable, because in addition to the ontological limit that the Anonymous Fund has imposed upon creation (through the means of differentiated creation), the Fund has also imposed a cognitive limit on creation. This was done at the time of the creation of the cosmos, and is now an inherent aspect, affecting all modes of cognition. Blaga refers to this limit as “transcendent censorship.” This censorship is accomplished via a network of factors, including obligatory epistemic reliance on the concrete, the intervention of cognitive structures, the resulting “dissimulation of the transcendent,” and “the illusion of adequacy.” Transcendent censorship not only prevents humans from having positive-adequate knowledge of the mysteries of existence, it prevents them from having “positive-adequate” knowledge of any object of cognition whatsoever. Blaga points out that this view has an interesting difference from the Kantian/neo-Kantian view. In Kant’s epistemology, existence is passive in the cognitive event; according to Blaga’s theory, existence is active in preventing itself from being known.

According to Blaga, the result of transcendent censorship is that all human knowledge is either dissimulation (in which objects of cognition are represented as being other than they really are), or negative cognition (in which antinomian elements of a cognitive problem are reconciled through the employment of a heuristic “theory idea,” which leads to a deepened understanding of the problem without resulting in its complete elimination), o una combinazione di questi. This does not indicate that Blaga is a skeptic, Tuttavia. Even the “mysteries” of existence are approachable through the strategy that Blaga names “luciferic cognition,” although they are not actually reachable.

The reasons that the Anonymous Fund would impose censorship upon its creation are similar to the reasons for its dissimulation of creation. Blaga lists the following four reasons for transcendent censorship: (1) Human possession of perfect knowledge would upset the equilibrium of existence by bestowing perfection on limited beings. (2) Human possession of perfect knowledge might threaten the benign governance of the universe by introducing the possibility of a human cognitive rival to the Anonymous Fund. (3) Possession of absolute knowledge would ossify the human spirit, quenching human creativity. (4) Censorship spurs human creativity and exertion, giving humanity its raison d’etre. To this list could be added the explanation that human creativity is one indirect outlet of the creativity of the Anonymous Fund, and anything that lessens human creativity is an attack on the creative intentions of the Fund.

The responsibility for the human inability to arrive at an absolute understanding of existence therefore rests squarely upon the Anonymous Fund, for benevolent reasons. This is in striking contrast to the philosophical system of Descartes, wherein God’s righteousness and benevolence are made the foundation of all sure knowledge. In Blaga’s system, the benevolence and wisdom of the Anonymous Fund result in the prevention of sure knowledge.

It is clear that Blaga’s metaphysical system can say relatively little about the actual structure of the universe, because according to this system such knowledge is structurally excluded from human cognition. Blaga’s system does allow for metaphysical postulation, Tuttavia, and these postulates can be supported or substantiated by experience and by pragmatic arguments. Thus Blaga justifies himself in asserting that the cosmos has a center, and that this center is the Anonymous Fund.

Blaga does take stands on several of the standard issues of cosmology. He rejects both naive realism and subjective idealism (a la Berkeley), opting for a neo-Kantian critical realism. With regards to the monism-pluralism controversy, Blaga is clearly a pluralist. While the cosmos is a result of one single entity, and is composed of pieces emitted from that one entity, these pieces (the differentials) are separate, distinct entities in their own right. They are permanent and unchanging, and are the building blocks of all else that exists. Although Blaga is a realist, he is not a materialist. Differentials are not material, but rather are submaterial. They underlie all material existents, but underlie nonmaterial realities as well.

According to Blaga, humanity is, in a sense, the very pinnacle of the Anonymous Fund’s creation, because the human consciousness is the most complex organization of differentials it has permitted. There is also another sense in which humanity is the pinnacle of creation: more than any other complex created existent, humanity has the ability to further the Fund’s own creative activity. Humans are naturally creative, and their creations can be viewed as secondary creations of the Anonymous Fund.

Human existence is characterized by two modes of existence, the “paradisaic” mode, which is the normal state of life in the world, and the “luciferic” mode, which is life lived in the presence of mystery and for the purpose of “revealing” it (grappling with it; trying to make it understandable). The latter mode results in an “ontological mutation” that is unique in the universe and essential to full humanness. “Mystery” is a result of the protective limits imposed on creation by the Anonymous Fund (transcendent censorship and the discontinuity between creator and creation). Through these means the Fund bestows upon humanity a destiny and a purpose in life: humanity’s purpose is to create; its destiny is to strive (through creating) to reveal the mysteries of existence.

Since the mysteries of existence are not ultimately fathomable by humans, humanity is doomed to a continual striving to reveal them, sometimes experiencing partial successes, but never reaching the ultimate goal. In Blaga’s vision, human history becomes an endless, permanent creative state, never reaching its goal, but never exhausting its source of motivation and meaningfulness either. Through this artifice the Anonymous Fund gives to humanity a goal, a purpose, and gives it the unique historicity that makes it so culturally rich. Thus historicity is one of the greatest dimensions of human existence. It is seen to be a vital aspect of “luciferic” humanness. Allo stesso modo, the “principle of conservation of mystery,” which was made part of the very fiber of existence in order to preserve the centrality of the Anonymous Fund from the ambitions of created beings, is seen to be one of the chief metaphysical conditions of the historicity of humanity.

This description highlights the two opposing components that shape human history: the inner human desire to creatively reveal mystery, and the necessity of the Anonymous Fund to thwart this desire. This desire and its lack of fulfillment are here seen as essential both to the historicity of humanity and to full humanness, since they provide the peaks and valleys of failed attempts and renewed aspirations toward the absolute of which human history is composed.

The human inability to have absolute knowledge is often viewed as a failure, shortcoming, or handicap. Blaga reverses this evaluation, making human subjectivity and relativity essential to humanness and the glory of the human situation: according to Blaga, these factors give humanity its role and place in a great ontological scheme. Humans are not the deplorable victims of their own limits that they are sometimes supposed to be; Piuttosto, they are the servants of a system that is so great it surpasses them.

The final question of cosmology might be, “Is there anything beyond this cosmos?” Transcendent censorship does not prevent Blaga from having an answer to this question. All that exists is either one of two things: a structure of differentials emitted by the Anonymous Fund, or the Anonymous Fund itself. The cosmos is composed of differentials, come discusso sopra. The Fund, d'altra parte, is not composed of differentials. Therefore the Anonymous Fund is not part of the cosmos. The answer to this question, Poi, is that there is something “beyond” the cosmos, but only one thing: the Anonymous Fund.

5. Other Philosophical Issues

From this sketch of Blaga’s epistemology and metaphysics one can infer the major themes and directions of the rest of his philosophy. His philosophy of culture elevates culture to the pinnacle of human existence. Culture is a product of the human drive to creatively “reveal” the mysteries of reality and the thwarting of this drive by the Anonymous Fund. Its creativity is an extension of the creativity of the Fund itself, and lends beauty and meaning to human existence. In his philosophy of history he describes humans as historical beings who derive their meaningfulness through living in the face of the unknown, wrestling with it, and conquering it, only to find that it rises up again, providing ever new mountains to climb. Human history is a record of a long series of only partially successful attempts to master our world. (It can be seen that history and culture are closely related, both as subjects and as themes in Blaga’s oeuvre.)

Blaga’s attitude towards science is fairly remarkable considering the positivistic philosophical currents of the early 20th century. He has a great appreciation for science as a cognitive approach that combines both paradisaic and luciferic cognition. As can be anticipated, his application of his epistemology to science leads to insights similar to those of Michael Polanyi and Thomas Kuhn. His is not a critique of science, di per sé, but rather an explanation of how science operates, locating it within the range of human creative endeavors that aim at revealing the mysteries of existence. In quanto tale, scienza, like art, religione, and all other human cognitive enterprises can be successful, but only within the boundaries postulated by Blaga’s metaphysics.

Blaga views religion as yet another attempt to penetrate the mysteries of existence. Religion is perhaps the grandest of all such attempts, since it aims the highest, but it is also the most doomed, since its reach far outstretches its grasp. He argues that religion is a cultural production, which is a position that caused great animosity toward him on the part of some contemporary Romanian theologians. Tuttavia, an implication of his metaphysic is that religion is a response to the transcendent Anonymous Fund, a position that is fairly harmonious with Romanian Orthodox theology. And Blaga admits that his “Anonymous Fund” could also be termed “God,” though he explains that he avoids using this term because it carries with it so much baggage.

Blaga’s primary books on philosophy of culture are the three that comprise his “Trilogy of Culture”: Orizont si stil (Horizon and Style), Spatiul mioritic (The Ewe-Space), and Geneza metaforei si sensul culturii (The Genesis of Metaphor and the Meaning of Culture). His philosophy of history is exposited together with his philosophical anthropology in Aspecte antropologice (Anthropological Aspects) and Fiinta istorica (The Historical Being), two of the books making up his “Cosmological Trilogy.” He addresses issues in the philosophy of science in Experimentul si spiritual mathematic (Experiment and the Mathematical Spirit) and Stiinta si creatie (Science and Creation). His theory of aesthetics is outlined in Arta si valoare (Art and Value), and his philosophy of religion is explained in Gandire magica si religiei (Magical Thinking and Religion) and in a set of lecture notes that were posthumously published as Curs de filosofia religiei (Curse on the Philosophy of Religion).

6. Riferimenti e approfondimenti

Blaga authored many books and articles. Purtroppo, while all of his poetry and some of his theater is available in English, his philosophy remains to be translated. An anthology of fragments, which have been translated into English, with some secondary sources in English as well, is available on CD from Richard T. Allen.

UN. Fonti primarie
io. English
Blaga, Lucian, and Andrei Codrescu (trans.). At the Court of Yearning. Colombo, OH: Ohio State University Press, 1989.
Blaga, Lucian, and Brenda Walker (trans.). Complete Poetical Works of Lucian Blaga. Iasi, RO, Oxford, GB, and Portland, USA: Center for Romanian Studies, 2001.
Blaga, Lucian, and Doris Planus-Runey (trans.). Zalmoxis: Obscure Pagan. Iasi, RO, Oxford, GB, and Portland, USA: Center for Romanian Studies, 2000.
Interessante, some of Blaga’s poetry, accompanied by music and visuals, is also available on YouTube.
ii. Romanian
Eonul dogmatic (The Dogmatic Age). Bucharest: Cartea Romaneasca, 1931.
Cunoasterea luciferica (Luciferic Knowledge). Sibiu: Tiparul Institutului de arte grafice “Dacia Traiana,” 1933.
Cenzura transcendenta: Incercare metafizica. (Transcendent Censorship: A Metaphysical Attempt). Bucharest: Cartea Româneasca, 1934.
Orizont si stil (Horizon and Style). Bucharest: Fundatia pentru literatura si arta “Regele Carol II,” 1935.
Spatiul mioritic (The Ewe-Space). Bucharest: Cartea Româneasca, 1936.
Geneza metaforei si sensul culturii (The Genesis of Metaphor and the Meaning of Culture). Bucharest: Fundatia pentru literatura si arta “Regele Carol II,” 1937.
Arta Si valoare (Art and Value). Bucharest: Fundatia pentru literatura si arta “Regele Carol II,” 1939.
Diferentialele divine (The Divine Differentials). Bucharest: Fundatia pentru literatura si arta “Regele Carol II,” 1940.
Despre gandirea magica (Concerning Magical Thinking). Bucharest: Fundatia regala pentru literatura si arta, 1941.
Religie si spirit (Religion and Spirit). Sibiu: Editura “Dacia Traiana,” 1942.
Stiinta si creatie (Science and Creation). Sibiu: Editura “Dacia Traiana,” 1942.
Despre constiinta filosofica (Concerning Philosophical Consciousness). Cluj-Napoca: Lito-Schildkraut, 1947.
Aspecte antropologice (Anthropological Aspects). Cluj-Napoca: Uniunea nationala a studentilor din Romania, Centrul studentesc Cluj, 1948.
Experimentul si spiritul matematic (Experiment and the Mathematical Spirit). Bucharest: Editura Stiintifica, 1969.
Fiinta istorica (The Historical Being). Cluj-Napoca: Editura Dacia, 1977.
iii. Other Languages
Orizzonte e stile, ed. Antonio Banfi. Milano: Minuziano Editore, 1946.
Zum Wesen der rumanischen Volkseele, ed. Mircea Flonta. Bucharest: Editura Minerva, 1982.
L’Eon dogmatique, L’Age d’Homme, trans. Jessie Marin, Raoul Marin, Mariana Danesco, and Georges Danesco. Losanna: Editions l’Age d’Home, 1988.
L’Eloge du village roumain, ed. Jessie Marin and Raoul Marin. Parigi: Librairie du Savoir, 1989.
L’Etre historique, trans. Mariana Danesco. Parigi: Librairie du Savoir, 1990.
Les Differentielles divines, trans. Thomas Bazin, Raoul Marin, and Georges Danesco. Parigi: Librairie du Savoir, 1990.
La trilogie de la connaissance, trans. Raul Marin and Georges Piscoci-Danescu. Parigi: Librairie du Savoir, 1992.
Trilogia della cultura: Lo spazio mioritico, trans. Ricardo Busetto and Marco Cugno. Alessandria, IT: Editionni dell’Orso, 1994.
b. Secondary Sources in English
Bejan, Cristina. “The Paradox of the Young Generation in Inter-war Romania,” Slovo, 18:2 (Autumn 2006): 115-128.
Botez, Angela. “Comparativist and Valuational Reflections on Blaga’s Philosophy,” Revue Roumaine de Philosophie et Logique 40 (1996): 153–62.
Botez, Angela. “Lucian Blaga and the Complementary Spiritual Paradigm of the 20th Century,” Revue Roumaine de Philosophie et Logique 37 (1993): 51–55.
Botez, Angela. “The Postmodern Antirepresentationalism (Polanyi, Blaga, Rorty),” Revue Roumaine de Philosophie et Logique 41 (1997): 59–70.
Eliade, Mircea. “Rumanian Philosophy,” in Encyclopedia of Philosophy, ed. Paul Edwards (New York: Macmillan e la stampa libera, 1967).
Flonta, Mircea. “Blaga, Lucian.” In Routledge Encyclopedia of Philosophy Online, edited by E. Craig. Londra: Routledge, 2004, (accessed January 3, 2006).
Hitchins, Keith. “Introduction to Complete Poetical Works of Lucian Blaga,” translated by Brenda Walker, 23–48. Iasi, RO, Oxford, Portland, USA: Center for Romanian Studies, 2001.
Isac, Ionut. “Considerations on some Historical and Contemporary Issues in Lucian Blaga’s Metaphysics,” Journal for the Study of Religions and Ideologies 7:19, spring 2008, 184-202.
Jones, Michael S. “Culture and Interreligious Understanding according to the Romanian Philosopher Lucian Blaga,” Journal of Ecumenical Studies 45: 1, winter 2010, 97-112.
Jones, Michael S. “Culture as Religion and Religion as Culture in the Philosophy of Lucian Blaga,” Journal for the Study of Religions and Ideologies no. 15, winter 2006, 66-87.
Jones, Michael S. “The Metaphysics of Religion: Lucian Blaga and contemporary philosophy.” Teaneck and Madison, New Jersey: Fairleigh Dickenson University Press, 2006.
Munteanu, Bazil. “Lucian Blaga, Metaphysician of Mystery and Philosopher of Culture,” Revue Roumaine de Philosophie et Logique 39 (1995): 43–46.
Nemoianu, Virgil. “Mihai Sora and the Traditions of Romanian Philosophy,” Review of Metaphysics 43 (March 1990): 591–605.
Nemoianu, Virgil. “A Theory of the Secondary: Literature, Progress, and Reaction.” Baltimore: Stampa dell'Università John Hopkins, 1989, 153 –170.
Informazioni sull'autore

Michael S. Jones
E-mail: [email protected]
Liberty University
U. S. UN.