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 Exposed," which, however, was cancelled before publication at Zurich in 1843.

He then turned his attention to secular history and wrote on the French Revolution, on Napoleon, on the Illuminism of the Eighteenth Century, and on the party struggles in Germany during the years 1842-1846. At the beginning of the 'fifties he returned to theological subjects, but failed to exercise any influence. His work was simply ignored.

Radical though he was in spirit, Bauer found himself fighting, at the end of the 'fifties and beginning of the 'sixties, in the ranks of the Prussian Conservatives�we are reminded how Strauss in the Wurtemberg Chamber was similarly forced to side with the reactionaries. He died in 1882. His was a pure, modest, and lofty character.

At the time of his removal from Berlin to Bonn he was just at the end of the twenties, that critical age when pupils often surprise their teachers, when men begin to find themselves and show what they are, not merely what they have been taught.

In approaching the investigation of the Gospel history, Bauer saw, as he himself tells us, two ways open to him. He might take as his starting-point the Jewish Messianic conception, and endeavour to answer the question how the intuitive prophetic idea of the Messiah became a fixed reflective conception. That was the historical method; he chose, however, the other, the literary method. This starts from the opposite side of the question, from the end instead of the beginning of the Gospel history. Taking first the Gospel of John, in which it is obvious that reflective thought has fitted the life of the Jewish Messiah into the frame of the Logos conception, he then, starting as it were from the embouchure of the stream, works his way upwards to the high ground in which the Gospel tradition takes its rise. The decision in favour of the latter view determined the character of Bauer's life-work; it was his task to follow out, to its ultimate consequences, the literary solution of the problem of the life of Jesus.

How far this path would lead him he did not at first suspect. But he did suspect how strong was the influence upon the formation of history of a dominant idea which moulds and shapes it with a definite artistic purpose. His interest was especially arrested by Philo, who, without knowing or intending it, contributed to the fulfilment of a higher task than that with which he was immediately engaged. Bauer's view is that a speculative principle such as Philo's, when it begins to take possession of men's minds, influences them in the first glow of enthusiasm which it evokes