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Its independence with respect to intellectual knowledge.
companion outright, yet yields to her but grudgingly
(Doubtless it is possible to find concepts mingled with - jo.
But in many other intuitions there is no trace of Such a mixture, which proves that it is not o The impression of a moonlight scene by a painter; the outline of a country drawn by a cartographer; a musical motive, tender or energetic ; the words of a sighing lyric, or those with which we ask, command and lament in ordinary life, may well all be intuitive facts without a shadow of intellectual relation. But, think what one may of these instances, and admitting further the contention that the greater part of the intuitions of civilized man are impregnated with concepts, there yet remains to be observed something more important and more conclusive. Those concepts which are found mingled and fused with the intuitions are no longer concepts, in so far as they are really mingled and fused, for they have lost all independence and autonomy. They have been concepts, but have now become simple elements of intuition. The philosophical maxims placed in the mouth of a personage of tragedy or of comedy, perform there the function, not of concepts, but of characteristics of such personage ; in the same way as the red in a painted face does not there represent the red colour of the physicists, but is a characteristic element of the portrait. The whole is that which determines the quality of the parts. (A work of art may be full of philosophical concepts; it may contain them in greater abundance and they may there be even more profound than in a philosophical dissertation, which in its turn may be rich to overflowing with descriptions and intuitions. (But notwithstanding all these concepts the total effect of the work of art is an intuition; and notwithstanding all those intuitions, the total effect of the philosophical dissertation is a concept.) The Promessi Spost contains copious ethical observations and distinctions, but does not for that reason lose as a whole its character of simple story or intuition. In like manner the anecdotes and satirical effusions to be found in the works of a philosopher like Schopenhauer do not deprive those works of their character of intellectual treatises. The difference between a scientific work and a work of art, that is, between an intellectual fact and an intuitive fact, lies in the difference of the total effect aimed at by
their respective authors. This it is that determines and .
rules over the several parts of each, not these parts separated and considered abstractly in themselves) But to admit the independence of intuition as regards concept does not suffice to give a true and precise idea of intuition. Another error arises among those who recognize this, or who at any rate do not explicitly make intuition dependent upon the intellect, to obscure and confuse the real nature of intuition.U. By intuition is frequently understood perception, or the knowledge of actual reality, the apprehension of something as real. Certainly perception is intuition : the perceptions of the room in which I am writing, of the ink-bottle and paper that are before me, of the pen I am using, of the objects that I touch and make use of as instruments of my person, which, if it write, therefore exists;–these are all intuitions. But the image that is now passing through my brain of a me writing in another room, in another town, with different paper, pen and ink, is also arl intuitions This means that the distinction between reality and non-reality is extraneous, secondary, to the true nature of intuition) If we imagine a human mind having intuitions for the first time, it would seem that
it could have intuitions of actual reality only, that is
in upon his contemplation, can think of space while looking at a drawing or a view 2 Who is conscious of temporal sequence while listening to a story or a piece of music without breaking into it with a similar act of reflexion ? W What intuition reveals in a work of art is not space and time, but character, individual physiognomy. The view here maintained is confirmed in several quarters of modern philosophy.) Space and time, far from being simple and primitive functions, are nowadays conceived as intellectual constructions of great complexity. And further, even in some of those who do not altogether deny to space and time the quality of formative principles, categories and functions, one observes an effort to unite them and to regard them in a different manner from that in which these categories are generally conceived. Some limit intuition to the sole category of spatiality, maintaining that even time can only be intuited in terms of space. Others abandon the three dimensions of space as not philosophically necessary, and conceive the function of spatiality as void of all particular spatial determination. But what could such a spatial function be, a simple arrangement that should arrange even time 2 It represents, surely, all that criticism and refutation have left standing—the bare demand for the affirmation of some intuitive activity in general. And is not this activity truly determined, when one single function is attributed to it, not spatializing nor temporalizing, but characterizing 2 Or rather, when it is conceived as itself a category or function which gives us knowledge of ings in their concreteness and individuality ?
Having thus freed intuitive knowledge from any suggestion of intellectualism and from every later and external addition, we must now explain it and determine its limits from another side and defend it from a different kind of invasion and confusion.) On the hither side of the lower limit is sensation, formless matter, which the spirit can never apprehend in itself as simple matter. This it can only possess with form and in form, but postulates the notion of it as a mere limit. Matter, in its
Intuition and sensation.
abstraction, is mechanism, passivity; it is what the spirit of man suffers, but does not produce. Without it no human knowledge or activity is possible ; but mere matter produces animality, whatever is brutal and impulsive in man, not the spiritual dominion, which is humanity. How often we strive to understand clearly what is passing within us ! We do catch a glimpse of something, but this does not appear to the mind as objectified and formed. It is in such moments as these that we best perceive the profound difference between matter and form. These are not two acts of ours, opposed to one another; but the one is outside us and assaults and sweeps us off our feet, while the other inside us tends to absorb and identify itself with that which is outside. Matter, clothed and conquered by form, produces concrete form. It is the matter, the content, which differentiates one of our intuitions from another : the form is constant : it is spiritual activity, while matter is changeable. Without matter spiritual activity would not forsake its abstractness to become concrete and real activity, this or that spiritual content, this or that definite intuition. It is a curious fact, characteristic of our times, that this very form, this very activity of the spirit, which is essentially ourselves, is so often ignored or denied. Some confound the spiritual activity of man with the metaphorical and mythological activity of what is called nature, which is mechanism and has no resemblance to human activity, save when we imagine, with Æsop, that “arbores loquuntur non tantum ferae.” Some affirm that they have never observed in themselves this “miraculous ” activity, as though there were no difference, or only one of quantity, between sweating and thinking, feeling cold and the energy of the will. Others, certainly with greater reason, would unify activity and mechanism in a more general concept, though they are specifically distinct. Let us, however, refrain for the moment from examining if such a final unification be possible, and in what sense, but admitting that the attempt may be