The article discusses the early career of Jürgen Habermas as a public intellectual, which commenced in 1952 with his critical review of a radio play by Gottfried Benn, published in the Feuilleton section of F.A.Z. At just twenty-three years old, Habermas approached the work with fervor, presenting a nuanced critique that not only highlighted his dissatisfaction with Benn's portrayal but also introduced his philosophical insights. The piece garnered significant attention from the editor Karl Korn, signaling the beginning of Habermas's impactful journey in the realms of philosophy and public discourse.

In his piece, Habermas engaged with Benn's work titled "Die Stimme hinter dem Vorhang" and began by referencing Leopold von Ranke's historicist axiom that suggested every epoch connects directly to God. Through this lens, he accused the much older poet of historical ignorance and a certain cynicism, emphasizing how Benn's artistic expression gravitated away from meaningful historical engagement. Habermas's critique was not merely one of destruction; it oscillated towards reconciliation, allowing for reflections on the 'sacred,' indicative of his complex understanding of art and its relevance to social history.

Overall, this early text by Habermas not only marked the beginning of his notable public intellectual trajectory but also illustrated critical debates within German literature and philosophy during the post-war era. His engagement with Benn's work set the tone for his significant contributions to political theory and philosophy, raising important questions about the role of art and intellectual discourse in shaping historical consciousness and cultural critique in society.