Note 1 — Chapter VII · THE MYSTERY OF THE LOGOS AND DIVINE IMAGE.

The second Person, as God revealing, manifesting, declaring himself (Deus se dicit), is the world-creating principle in God. But this means nothing else than that the second Person is intermediate between the noumenal nature of God and the phenomenal nature of the world, that he is the divine principle of the finite, of that which is distinguished from God. The second Person as begotten, as not à se, not existing of himself, has the fundamental condition of the finite in himself.1 But at the same time, he is not yet a real finite Being, posited out of God; on the contrary, he is still identical with God,—as identical as the son is with the father, the son being indeed another person, but still of like nature with the father. The second Person, therefore, does not represent to us the pure idea of the Godhead, but neither does he represent the pure idea of humanity, or of reality in general: he is an intermediate Being between the two opposites. The opposition of the noumenal or invisible divine nature and the phenomenal or visible nature of the world, is, however, nothing else than the opposition between the nature of abstraction and the nature of perception; but that which connects abstraction with perception is the imagination: consequently, the transition from God to the world by means of the second Person, is only the form in which religion makes objective the transition from abstraction to perception by means of the imagination. It is the imagination alone by which man neutralises the opposition between God and the world. All religious cosmogonies are products of the imagination. Every being, intermediate between God and the world, let it be defined how it may, is a being of the imagination. The psychological truth and necessity which lies at the foundation of all these theogonies and cosmogonies is the truth and necessity of the imagination as a middle term between the abstract and concrete. And the task of philosophy in investigating this subject is to comprehend the relation of the imagination to the reason,—the genesis of the image by means of which an object of thought becomes an object of sense, of feeling.