Creative Intelligence: Essays in the Pragmatic Attitude

by John Dewey; Boyd Henry Bode; Harold Chapman Brown; Horace Meyer Kallen; George H. Mead; Addison Webster Moore; Henry Waldgrave Stuart; James Hayden Tu

Plato's description of the philosopher and philosophy is, it will be seen, at once an apology and a program. But it is a program which has been petrified into a compensatory ideal. The confession of impotence, the abandonment of the programmatic intent is due to identification of the ideal with metaphysical fact, to the hypostasis of the ideal. With Christianism, that being a philosophy operating as a religion, world-weariness made the apology unnecessary and converted the hypostasis into the basis of that program of complete surrender of the attempt to master the problems of existence upon which ensued the arrest of science and civilization for a thousand years. The Greeks were not world-weary, and consequently, their joy in life and existence contributed a minimum of relevance to their other-worldly dreams. Need it be reasserted that the whole Platonic system, at its richest and best in the Republic, is both an expression of and a compensation for a concrete social situation? Once it was formulated it became a part of that situation, altered it, served as another among the actual causes which determined the subsequent history of philosophy. Its historic and efficacious significance is defined by that situation, but philosophers ignore the situation and accept the system as painters accept a landscape—as the thing in itself.

Now, the æsthetic aspect of the philosophic system, its autonomy, and consequent irrelevancy, are undeniable. Once it comes to be, its intrinsic excellence may constitute its infallible justification for existence, with no more to be said; and if its defenders or proponents claimed nothing more for it than this immediate satisfactoriness, there would be no quarrel with them. There is, however, present in their minds a sense of the other bearings of their systems. They claim them, in any event, to be true, that is, to be relevant to a situation regarded as more important because more lastingly determinative of conduct, more "real" than the situation of which they are born. Their systems are offered, hence, as maps of life, as guides to the everlasting. That they intend to define some method for the conservation of life eternally, is clear enough from their initial motivation and formal issue: all the Socratics, with their minds fixed on happiness or salvation according to the prevalence of disillusionment among them; the Christian systems, still Socratic, but as resolutely other-worldly as disillusioned Buddhists; the systems of Spinoza, of Kant, the whole subsequent horde of idealisms, up to the contemporary Germanoid and German idealistic soliloquies,—they all declare that the vanity and multiplicity of life as it is leads them to seek for the permanent and the meaningful, and they each find it according to the idiosyncrasies of the particular impulses and terms they start with. That their Snark turns out in every case to be a Boojum is another story.

Yet this story is what gives philosophy, like religion, its social significance. If its roots, as its actual biography shows, did not reach deep in the soil of events, if its issues had no fruitage in events made over by its being, it would never have been so closely identified with intelligence and its systematic hypostasis would never have ensued. The fact is that philosophy, like all forms of creative intelligence, is a tool before it is a perfection. Its autonomy supervenes on its efficaciousness; it does not precede its efficaciousness. Men philosophize in order to live before they live in order to philosophize. Aristotle's description of the self-sufficiency of theory is possible only for a life wherein theory had already earned this self-sufficiency as practice, in a life, that is, which is itself an art, organized by the application of value-forms to its existent psycho-physical processes in such a way that its existence incarnates the values it desiderates and the values perfect the existence that embodies them.

The biography of philosophy, hence, reveals it to have the same possibilities and the same fate that all other ideas have. Today ideas are the patent of our humanity, the stuff and form of intelligence, the differentiæ between us and the beasts. In so far forth, they express the surplusage of vitality over need, the creative freedom of life at play. This is the thing we see in the imaginings and fantasies of childhood, whose environment is by social intent formed to favor and sustain its being. The capacity for spontaneity of idea appears to decrease with maturity, and the few favored healthy mortals with whom it remains are called men of genius. William James was such a man, and there are a few still among the philosophers. But in the mass and in the long run, ideas are not a primary confirmation of our humanity; in the mass and long they are warnings of menace to it, a sign of its disintegration. Even so radical an intellectualist as Mr. Santayana cherishes this observation to the degree of almost suggesting it as the dogma that all ideas have their origin in inner or outer maladjustment.[100] However this may be, that the dominant philosophic ideas arise out of radical disharmonies between nature and human nature need not be here reiterated, while the provocative character of minor maladjustments is to be inferred from the fertility of ideas in unstable minds, of whatever type, from the neurasthenic to the mad. Ideas represent in these cases the limits of vital elasticity, the attempt of the organism to maintain its organic balance; it is as if a balloon, compressed on one side, bulged on the other.

Ideas, then, bear three types of relations to organic life, relations socially incarnated in traditional art, religion, and philosophy. First of all they may be an expression of innate capacities, the very essence of the freedom of life. In certain arts, such as music, they are just this. In the opposite case they may be the effect of the compression of innate capacities, an outcome of obstruction to the free low of life. They are then compensatory. Where expressive ideas are confluent with existence, compensatory ideas diverge from existence; they become pure value-forms whose paramount realization is traditional philosophy. Their rise and motivation in both these forms is unconscious. They are ideas, but not yet intelligence. The third instance falls between these original two. The idea is neither merely a free expression of innate capacities, nor a compensation for their obstruction or compression. Arising as the effect of a disharmony, it develops as an enchannelment of organic powers directed to the conversion of the disharmony into an adjustment. It does not use up vital energies like the expressive idea, it is not an abortion of them, like the compensatory idea. It uses them, and is aware that it uses them—that is, it is a program of action upon the environment, of conversion of values into existences. Such an idea has the differentia of intelligence. It is creative; it actually converts nature into forms appropriate to human nature. It abolishes the Otherworld of the compensatory tradition in philosophy by incarnating it in this world; it abolishes the Otherworld of the religionist, rendered important by belittling the actual one, by restoring the working relationships between thoughts and things. This restoration develops as reconstruction of the world in fact. It consists specifically of the art and science which compose the efficacious enterprises of history and of which the actual web of our civilization is spun.

Manifest in its purity in art, it attends unconsciously both religion and philosophy, for the strands of life keep interweaving, and whatever is, in our collective being, changes and is changed by whatever else may be, that is in reach. The life of reason is initially unconscious because it can learn only by living to seek a reason for life. Once it discovers that it can become self-maintaining alone through relevance to its ground and conditions, the control which this relevance yields makes it so infectious that it tends to permeate every human institution, even religion and philosophy. Philosophy, it is true, has lagged behind even religion in relevancy, but the lagging has been due not to the intention of the philosopher but to the inherent character of the task he assumed. Both art and religion, we have seen, possess an immediacy and concreteness which philosophy lacks. Art reconstructs correlative portions of the environment for the eye, the ear, the hopes and fears of the daily life. Religion extends this reconstruction beyond the actual environment, but applies its saving technique at the critical points in the career of the group or the individual; to control the food-supply, to protect in birth, pubescence, marriage, and death. All its motives are grounded in specific instincts and needs, all its reconstructions and compensations culminate with reference to these. Philosophy, on the other hand, deals with the whole nature of man and his whole environment. It seeks primaries and ultimates. Its traditional task is so to define the universe as to articulate thereby a theory of life and eternal salvation. It establishes contact with reality at no individual, specific point: its reals are "real in general." It aims, in a word, to be relevant to all nature, and to express the whole soul of man. The consequence is inevitable: it forfeits relevance to everything natural; touching nothing actual, it reconstructs nothing actual. Its concretest incarnation is a dialectic design woven of words. The systems of tradition, hence, are works of art, to be contemplated, enjoyed, and believed in, but not to be acted on. For, since action is always concrete and specific, always determined to time, place, and occasion, we cannot in fact adapt ourselves to the aggregate infinitude of the environment, or that to ourselves. Something always stands out, recalcitrant, invincible, defiant. But it is just such an adaptation that philosophy intends, and the futility of the intention is evinced by the fact that the systems of tradition continue side by side with the realities they deny, and live unmixed in one and the same mind, as a picture of the ocean on the wall of a dining room in an inland town. Our operative relations to them tend always to be essentially æsthetic. We may and do believe in them in spite of life and experience, because belief in them, involving no action, involves no practical risk. Where action is a consequence of a philosophic system, the system seems to dichotomize into art and religion. It becomes particularized into a technique of living or the dogma of a sect, and so particularized it becomes radically self-conscious and an aspect of creative intelligence.

So particularized, it is, however, no longer philosophy, and philosophy has (I hope I may say this without professional bias) an inalienable place in the life of reason. This place is rationally defined for it by the discovery of its ground and function in the making of civilization; and by the perfection of its possibilities through the definition of its natural relationships. Thus, it is, in its essential historic character at least, as fine an art as music, the most inward and human of all arts. It may be, and human nature being what it is, undoubtedly will continue to be, an added item to the creations wherewith man makes his world a better place to live in, precious in that it envisages and projects the excellences and perfections his heart desires and his imagination therefore defines. So taken, it is not a substitution for the world, but an addition to it, a refraction of it through the medium of human nature, as a landscape painting by Whistler or Turner is not a substitution for the actual landscape, but an interpretation and imaginative perfection of it, more suitable to the eye of man. A system like Bergson's is such a work, and its æsthetic adequacy, its beauty, may be measured by the acknowledgment it receives and the influence it exercises. Choosing one of the items of experience as its medium, and this item the most precious in the mind's eye which the history of philosophy reveals, it proceeds to fabricate a dialectical image of experience in which all the compensatory desiderates are expressed and realized. It entices minds of all orders, and they are happy to dwell in it, for the nonce realizing in the perception of the system the values it utters. By abandoning all pretense to be true, philosophic systems of the traditional sort may attain the simple but supreme excellence of beauty, and rest content therewith.

The philosophic ideal, however, is traditionally not beauty but truth: the function of a philosophic system is not presentative, but representative and causal, and that the systems of tradition have had and still have consequences as well as character, is obvious enough. It is, however, to be noted that these consequences have issued out of the fact that the systems have been specific items of existence among other equally and even more specific items, thought by particular men, at particular times and in particular places. As such they have been programs for meeting events and incarnating values; operative ideals aiming to recreate the world according to determined standards. They have looked forward rather than backward, have tacitly acknowledged the reality of change, the irreducible pluralism of nature, and the genuineness of the activities, oppugnant or harmonizing, between the items of the Cosmic. Many they ostensibly negate. The truth, in a word, has been experimental and prospective; the desiderates they uttered operated actually as such and not as already existing. Historians of philosophy, treating it as if it had no context, have denied or ignored this rôle of philosophy in human events, but historians of the events themselves could not avoid observing and enregistering it.

Only within very recent years, as an effect of the concept of evolution in the field of the sciences, have philosophers as such envisaged this non-æsthetic aspect of philosophy's ground and function in the making of civilization and have made it the basis for a sober vision which may or may not have beauty, but which cannot have finality. Such a vision is again nothing more than traditional philosophy become conscious of its character and limitations and shorn of its pretense. It is a program to execute rather than a metaphysic to rest in. Its procedure is the procedure of all the arts and sciences. It frankly acknowledges the realities of immediate experience, the turbulence and complexity of the flux, the interpenetrative confusion of orders, the inward self-diversification of even the simplest thing, which "change" means, and the continual emergence of novel entities, unforeseen and unprevisible, from the reciprocal action of the older aggregate. This perceptual reality it aims to remould according to the heart's desire. Accordingly it drops the pretense of envisaging the universe and devotes itself to its more modest task of applying its standards to a particular item that needs to be remade. It is believed in, but no longer without risk, for, without becoming a dogma, it still subjects itself to the tests of action. So it acknowledges that it must and will itself undergo constant modification through the process of action, in which it uses events, in their meanings rather than in their natures, to map out the future and to make it amenable to human nature. Philosophy so used is, as John Dewey somewhere says, a mode and organ of experience among many others. In a world the very core of which is change, it is directed upon that which is not yet, to previse and to form its character and to map out the way of life within it. Its aim is the liberation and enlargement of human capacities, the enfranchisement of man by the actual realization of values. In its integrate character therefore, it envisages the life of reason and realizes it as the art of life. Where it is successful, beauty and use are confluent and identical in it. It converts sight into insight. It infuses existence with value, making them one. It is the concrete incarnation of Creative Intelligence.