But before having recourse to such a temptation, it will be prudent to ask counsel of methodical doubt (which is always most useful), and to direct the attention precisely upon those brute and disconnected facts from which the causal method claims to start and before which we, who are now abandoned by it and by its complement, the philosophy of history, appear to find ourselves again. Methodical doubt will suggest above all things the thought that those facts are a _presupposition_ that has _not been proved_, and it will lead to the inquiry as to _whether the proof can be obtained_. Having attempted the proof, we shall finally arrive at the conclusion that _those facts really do not exist._
For who, as a matter of fact, affirms their existence? Precisely the spirit, at the moment when it is about to undertake the search for causes. But when accomplishing that act the spirit does not already possess the brute facts (_d'abord la collection des faits_) and then seek the causes (_après, la recherche des causes_); but it makes the _facts brute_ by that very act--that is to say, it posits them itself in that way, because it is of use to it so to posit them. The search for causes, undertaken by history, is not in any way different from the procedure of naturalism, already several times illustrated, which abstractly analyses and classifies reality. And to illustrate abstractly and to classify implies at the same time to judge in classifying--that is to say, to treat facts, not as acts of the spirit, conscious in the spirit that thinks them, but as external brute facts. The _Divine Comedy_ is that poem which we create again in our imagination in all its particulars as we read it and which we understand critically as a particular determination of the spirit, and to which we therefore assign its place in history, with all its surroundings and all its relations. But when this actuality of our thought and imagination has come to an end--that is to say, when that mental process is completed--we are able, by means of a new act of the spirit, separately to analyse its elements. Thus, for instance, we shall classify the concepts relating to 'Florentine civilization,' or to 'political poetry,' and say that the _Divine Comedy_ was an effect of Florentine civilization, and this in its turn an effect of the strife of the communes, and the like. We shall also thus have prepared the way for those absurd problems which used to annoy de Sanctis so much in relation to the work of Dante, and which he admirably described when he said that they arise only when lively æsthetic expression has grown cold and poetical work has fallen into the hands of dullards addicted to trifles. But if we stop in time and do not enter the path of those absurdities, if we restrict ourselves purely and simply to the naturalistic moment, to classification, and to the classificatory judgment (which is also causal connexion), in an altogether practical manner, without drawing any deductions from it, we shall have done nothing that is not perfectly legitimate; indeed, we shall be exercising our right and bowing to a rational necessity, which is that of naturalizing, when naturalization is of use, but not beyond those limits. Thus the materialization of the facts and the external or causal binding of them together are altogether justified as pure naturalism. And even the maxim which bids us to stop at 'proximate' causes--that is to say, not to force classification so far that it loses all practical utility--will find its justification. To place the concept of the _Divine Comedy_ in relation to that of 'Florentine civilization' may be of use, but it will be of no use whatever, or infinitely less use, to place it in relation to the class of 'Indo-European civilization' or to the 'civilization of the white man.'