A New Philosophy

by Edouard Le Roy

The act of thought is always a complex play of moving representations, an evolution of life in which incessant inner reactions occur. That is to say, it is movement. But there are several planes of thought, from intuition to language, and we must distinguish between the thought which moves on the surface among terms displayed on a single plane, and the thought with goes deeper and deeper from one plane to another.

We do not think solely by concepts or images; we think, first of all, according to Mr Bergson's expression, by dynamic schemes. What is a dynamic scheme? It is motive rather than representative, inexpressible in itself, but a source of language containing not so much the images or concepts in which it will develop as the indication of the path to be followed in order to obtain them. It is not so much system as movement, progress, genesis; it does not mark the gaze directed upon the various points of one plane of deliberate contemplation so much as an effort to pass through successive planes of thought in a direction leading from intuition to analysis. We might define it by its function of calling up images and concepts, representations which, for one and the same scheme, are neither strictly determined nor anything in particular in themselves, concurrent representations which have in common one and the same logical power.

The representations called up form a body to the scheme, and the relation of the scheme to the concepts and images which it calls up resembles, mutatis mutandis, the relation pointed out by Mr Bergson between an idea and its basis in the brain. In short, it is the very act of creative thought which the dynamic scheme interprets, the act not yet fixed in "results."

Nothing is easier than to illustrate the existence of this scheme. Let us merely remark a few facts of current observation. Recall, for example, the suggestive anxiety we experience when we seek to remember a name; the precise syllables of the name still escape us, but we feel them approaching, and already we possess something of them, since we immediately reject those which do not answer to a certain direction of expectancy; and by endeavouring to secure a more intimate feeling of this direction we suddenly arouse the desired recollection.

In the same way, what does it mean to have the sense of a complex situation in active life, if not that we perceive it, not as a static group of explicit details, but as a meeting of powers allied or hostile, convergent or divergent, directed towards this or that, of which the aggregate whole tends of itself to awaken in us the initial reactions which analyse it?

In the same way again, how do we learn, how can we assimilate a vast system of conceits or images? Our task is not to concentrate an enumerative attention on each individual factor; we should never get away from them, the weight would be too heavy.

What we entrust to memory is really a dynamic scheme permitting us to "regain" what we should not have succeeded in "retaining." In reality our only "knowledge" is through such a scheme, which contains in the state of potential implication an inexhaustible multiplicity ready to be developed in actual representations.

How, finally, is any discovery made? Finding is solving a problem; and to solve a problem we must always begin by supposing it solved. But of what does such a hypothesis consist?

It is not an anticipated view of the solution, for then all would be at an end; nor is it a simple formula putting in the present indicative what the enunciation expressed in the future or the imperative, for then nothing would be begun. It is exactly a dynamic scheme; that is to say, a method in the state of directed tension; and often, the discovery once realised as theory or system, capable of unending developments and resurrections, remains by the best of itself a method and a dynamic scheme.

But one last example will perhaps reveal the truth still more. "Anyone who has attempted literary composition knows well that when the subject has been long studied, all the documents collected, all the notes taken, we need, to embark on the actual work of composition, something more, an effort, often very painful, to place oneself suddenly in the very heart of the subject, and to seek as deep down as possible an impulse to which afterwards we shall only have to let ourselves go. This impulse, once received, projects the mind on a road where it finds both the information which it had collected and a thousand other details as well; it develops and analyses itself in terms, the enumeration of which would have no end; the further we advance, the more we discover; we shall never succeed in saying everything; and yet, if we turn sharply round towards the impulse we feel behind ourselves, to grasp it, it escapes; for it was not a thing but a direction of movement, and though indefinitely extensible, it is simplicity itself." (H. Bergson, "Metaphysical and Moral Review", January 1903. The whole critique of language is implicitly contained in this "Introduction to Metaphysics".)