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Concepts and conceptual fictions.

By distinguishing the concept from representations, we have recognized the legitimate sphere of representation, and have assigned to it in the system of spirit the place of an antecedent and more elementary form of knowledge. By distinguishing the concept from states of the soul, from efforts of the will, from action, it is intended also to recognize the legitimacy of the practical form, although we are not here able to enlarge upon its relations with the cognitive form.[1] But by distinguishing the concept from fictions, it would almost seem that in their case we have not explicitly admitted any legitimate province, that, indeed, we have implicitly denied it, since we have adopted for them a designation which in itself sounds almost like a condemnation. This point must be made clear; because it would be impossible to go further with the treatment of Logic, if we left doubtful and insecure, that is, not sufficiently distinguished, one of the terms, from which the concept must be distinguished. What are conceptual fictions? Are they false and arbitrary concepts, morally reprehensible? Or are they spiritual products, which aid and contribute to the life of the spirit? Are they avoidable evils, or necessary functions?

The pure concept as ultra- and omnirepresentative.

A true and proper concept, precisely because it is not representation, cannot have for content any single representative element, or have reference to any particular representation, or group of representations; but on the other hand, precisely because it is universal in relation to the individuality of the representations, it must refer at the same time to all and to each. Take as an example any concept of universal character, be it of quality, of development, of beauty, or of final cause. Can we conceive that a piece of reality, given us in representation, however ample it may be (let it even be granted that it embraces ages and ages of history, in all the complexity of the latter, and millenniums and millenniums of cosmic life), exhausts in itself quality or development, beauty or final cause, in such a way that we can affirm an equivalence between those concepts and that representative content? On the other hand, if we examine the smallest fragment of representable life, can we ever conceive that, however small and atomic it be, there is lacking to it quality and development, beauty and final cause? Certainly, it may be and has been affirmed, that things are not quality, but pure quantity; that they do not develop, but remain changeless and motionless; that the criterion of beauty is the arbitrary extension which we make to cosmic reality of some of our narrow individual and historical experiences and sentiments; and that final cause is an anthropomorphic conception, since not "end" but "cause" is the law of the real, not teleology but mechanism and determinism. Philosophy has been and is still engrossed in such disputes; and we do not here present them as definitely solved, nor do we intend to base ourselves upon determinate conceptions in the choice of our examples. The point is, that if the theses which we have just mentioned as opposed to the first, were true, they would furnish, in every case, true and proper concepts, superior to every representative determination, and embracing in themselves all representations, that is to say, every possible experience; and our conception of the concept would not thereby be changed, but indeed confirmed. Final cause or mechanism, development or motionless being, beauty or individual pleasure, would always, in so far as they are concepts, be posited as ultrarepresentative and at the same time omnirepresentative. Even if, as often happens, both the opposed concepts were accepted for the same problem, for example, final cause and mechanism, or development and unmoved substance, it is never intended simply to apply either of them to single groups of representations, but to make them elements and component parts of all reality. Thus, every reality would be, on one side, end, and on the other, cause; on one side, motionless, on the other, changeable; man would have in himself something of the mechanical and something of the teleological; nature would be matter, but urged forward by a first cause which was non-material, that is, spiritual and final, or at least unknown—and so on. When it is demonstrated of a concept that it has been suggested by contingent facts, by this very fact we eliminate it from the series of true concepts, and substitute for it another concept, which is given as truly universal. Or again, we suppress it without substituting another for it, that is to say, we reduce the number of true and proper concepts. Such a reduction is a progress of thought, but it is a progress which can never be extended to the abolition of all concepts, because one, at least, will always remain ineliminable; that of thought, which thinks the abolition; and this concept will be ultra- and omnirepresentative.

Conceptual fictions as representative without universality,

Fictional concepts or conceptual fictions are something altogether different. In these, either the content is furnished by a group of representations, even by a single representation, so that they are not ultrarepresentative; or there is no representable content, so that they are not omnirepresentative. Examples of the first type are afforded by the concepts of house, cat, rose; of the second, those of triangle, or of free motion. If we think of the house, we refer to an artificial structure of stone or masonry or wood, or iron or straw, where beings, whom we call men, are wont to abide for some hours, or for entire days and entire years. Now, however great may be the number of objects denoted by that concept, it is always a finite number; there was a time when man did not exist, when, therefore, neither did his house; and there was another time when man existed without his house, living in caverns and under the open sky. Of course, undoubtedly, we shall be able to extend the concept of house, so as to include also the places inhabited by animals; but it will never be possible to follow with absolute clearness the distinction between artificial and natural (the act of inhabiting itself makes the place more or less artificial, by changing, for instance, the temperature); or between the animals which are inhabitants and the non-animals, which nevertheless are inhabitants, such as plants, which, as well as animals, often seek a roof; admitting that certain plants and animals have other plants and animals as their houses. Hence, in view of the impossibility of a clear and universal distinctive character, it is advisable to have recourse at once to enumeration and to give the name house to certain particular objects, which, however numerous they are, are also finite in number, and which, with the enumeration complete, or capable of completion, exclude other objects from themselves. If it is desired to prevent this exclusion, no other course remains than that of understanding by house any mode of life between different beings; but in that case, the conceptual fiction becomes changed into a universal, lacking particular representations, applicable alike to a house and to any other manifestation of the real. The same may be said of the cat and of the rose, since it is evident that cats and roses have appeared on the earth at a definite time and will disappear at another, and that while they endure, they can be looked upon as something fixed and precise, only when we have regard to some particular group of cats and of roses, indeed to one particular cat or rose at a definite moment of its existence (a gray cat or a black cat, a cat or a kitten; a white rose or a red rose, flowering or withered, etc.), elevated into a symbol and representative of the others. There is not, and there cannot be, a rigorous characteristic, which should avail to distinguish the cat from other animals, or the rose from other flowers, or indeed a cat from other cats and a rose from another rose. These and other fictional concepts are, therefore, representative, but not ultrarepresentative; they contain some objects or fragments of reality, they do not contain it all.

or universals void of representations

The conceptual fictions of the triangle and of free motion have an analogous but opposite defect. With them, it appears, we emerge from the difficulties of representations. The triangle and free motion are not something which begins and ends in time and of which we are not able to state exactly the character and limits. So long as thought, that is to say, thinkable reality, exists, the concept of the triangle and of free motion will have validity. The triangle is formed by the intersection of three straight lines enclosing a space and forming three angles, the sum of which, though they 'vary from triangle to triangle, is equal to that of two right angles. It is impossible to confuse the triangle with the quadrilateral or the circle. Free motion is a motion, which we think of as taking place without obstacles of any sort. It is impossible to confuse it with a motion to which there is any particular obstacle. So far so good. But if those conceptual fictions let fall the ballast of representations, they ascend to a zone without air, where life is impossible; or, to speak without metaphor, they gain universality by losing reality. There is no geometric triangle in reality because in reality there are no straight lines, nor right angles nor sums of right angles, nor sums of angles equal to that of two right angles. There is no free motion in reality, because every real motion takes place in definite conditions and therefore among obstacles. A thought, which has as its object nothing real, is not thought; and those concepts are not concepts but conceptual fictions.

Critique of the doctrine which considers them to be erroneous concepts,

Having made clear, by means of these examples, the character of concepts and of fictional concepts, we are prepared to solve the question as to whether the second are legitimate or illegitimate products, and if they merit the reproach which seems to attach to their name. And certainly, a view which has had and still has force does not hesitate to consider those fictions as nothing but erroneous concepts, and declares a war of extermination against them, in the name of rigorous thought and of truth. If it follows from what we have said, that the cat or the house or the rose are not concepts, and that the geometrical triangle or free motion are not so either, the conclusion seems inevitable that we must free ourselves from these errors or misconceptions, and affirm that there is neither the cat nor the rose nor the house, but a reality all compact (although it is continuously changing) which develops and is new at every instant; nor is there either the triangle or free motion, but the eternal forms of this reality, which cannot be abstracted and fixed by themselves, and deprived of the conditions which are an integral part of them. But a single fact suffices to invalidate this conclusion and to confute the premiss upon which it rests, that conceptual fictions are erroneous concepts. An error once discovered cannot reappear, at least until the discovery is forgotten, and there is a falling back into the conditions of mental obscurity similar to those antecedent to the discovery. When, for example, the position has been attained that morality is not a phenomenon of egoism and that it has value in itself, or one has become certain that Hannibal was ignorant of the disaster that befell his brother Hasdrubal on the Metaurus, it is impossible to continue believing that morality is egoism, or that Hannibal has been informed of the arrival of Hasdrubal and had voluntarily allowed him to be surprised by the two Consuls. But with conceptual fictions similar to those in the example the case is otherwise. Even when we are persuaded that the triangle and free motion correspond to nothing real, and that the rose, the cat, and the house have nothing precise and universal in them, we must yet continue to make use of the fictions of triangles, of free motion; of houses, cats, and roses. We can criticise them, and we cannot renounce them; therefore, it is not true that they are, at least altogether and in every sense, errors.

or imperfect concepts preparatory to perfect concepts.

This indispensability of conceptual fictions to the life of the spirit, finds acknowledgment in a more temperate form of the doctrine which considers them as erroneous concepts; that is, in the thesis that they are erroneous, but at the same time preparatory to, and almost a first step towards, the formation of true and proper concepts. The spirit does not issue all at once from representations and attain to the universal; it issues from them little by little, and prior to the rigorous universal, it constructs others less rigorous, which have the advantage of replacing the infinite representations with their infinite shades, through which reality presents itself in æsthetic contemplation. Conceptual fictions, then, would be sketches of concepts, and therefore, like all sketches, capable of revision and annulment, but useful. Thus it would be explained how they are errors, and errors made for a good reason. But this moderate theory also clashes noisily with the most evident facts. Above all, it is not true that the spirit issues little by little from the representations, passing through a series of grades; the procedure of the spirit, in this regard, is altogether different, and when philosophers have wanted to find a comparison for it, they have been obliged to come back to that very 'leap' which they wanted to avoid: "Spirit (said Schelling, for example,) is an eternal island, which is not to be reached from matter, without a leap, whatever turns and twists be made." And, for this very reason, conceptual fictions are not good passages to rigorous concepts: to think rigorously, we must plunge ourselves again into the flood of representations and think immediate reality, clearing away the obstacles that proceed from conceptual fictions. And always for the same reason, rigorous concepts, when they find themselves confronted with conceptual fictions as rivals in the same problem, do not claim their assistance, nor correct, nor refine upon them, in order partially to preserve them, but combat and destroy them. What the rigorous concepts are unable to do, is to prevent the others from reappearing; because the spirit, as has been seen, preserves, without correcting them, although it has recognized their falsity: it preserves them, that is to say, not fused and rendered true in the rigorous concepts, but outside and after these.

Posteriority of conceptual fictions to true and proper concepts.

In short, we have to abandon entirely the idea that conceptual fictions are errors, or sketches and aids, and that they precede rigorous concepts. Quite the opposite is true: conceptual fictions do not precede rigorous concepts, but follow them, and presuppose them as their own foundation. Were this not so, of what could they ever be fictions? To counterfeit or imitate something implies first knowledge of the thing which it is desired to counterfeit or to imitate. To falsify means to have knowledge of the genuine model: false money implies good money, not vice versa. It is possible to think that man, from being the ingenuous poet that he first was, raised himself, immediately, to the thought of the eternal; but it is not possible to think that he constructed the smallest conceptual fiction, without having previously imagined and thought. The house, the rose, the cat, the triangle, free motion presuppose quantity, quality, existence, and we know not how many other rigorous concepts: they are made with iron instruments great and small, which logical thought has created, and which come to be used with such rapidity and naturalness that we usually end by believing that we have proceeded without them. Whoever makes conceptual fictions, has already taken his logical bearings in the world: he knows what he is doing and reasons about it; progress with his conceptual fictions depending upon progress with his rigorous concepts, and being continuously remade, according to the new needs and the new conditions which are formed. Now that the concept of miracle or witchcraft has been destroyed, the conceptual fictions relating to the various classes and modes of miraculous facts and acts of witchcraft are no longer constructed; and since the destruction of the belief in the direct influence of the stars upon human destinies, the astrological and mathematical fictions, which arose upon those conceptual presuppositions, have also disappeared.

Those who have seen errors or sketches of truth in conceptual fictions have certainly seen something: because (without incidentally anticipating at this point the theory of errors, or that of sketches or aids to the search for truth) it may at once be admitted, that conceptual fictions also sometimes become both errors and obstacles, and suggestions and aids to truth. But because a given spiritual product is adopted for an end different from that which rightly belongs to it (thereby becoming itself different and giving rise to a new spiritual product), we must not omit to search for the intrinsic end, which constitutes the genuine nature of this product. The portrait of a fair lady, white as milk and red as blood, which the prince of the story finds beneath a cushion by the help of the fairy, may serve as an incentive to make him undertake the journey round the world in search of the woman in flesh and blood, who is like the portrait and whom he will make his wife; but that portrait, before it is an instrument in the hands of the fairy, is a picture, that is to say, a work of art, which has come from the hands, or rather from the fancy, of the painter; and must be appreciated as such. Thus conceptual fictions, before they are transmuted into errors or into expedients, into obstacles or into aids to the search for truth, have, before them, a truth already constructed, toward the construction of which, therefore, they cannot serve; whereas that truth has served them, for they would not otherwise have been able to arise. They are, therefore, intrinsically neither obstacles nor aids to truth, but something else, that is, themselves; and what they are in themselves it is still necessary to determine.

Practical character of conceptual fictions.

For this purpose it is needful to direct our attention to the moment of their formation, which, as has been said, is not at all theoretical, but practical; and to ask ourselves in what way and with what end the practical spirit can intervene in representations and concepts previously produced, manipulate them and make of them conceptual fictions. The view that the work of the practical spirit can give rise to new knowledge, not previously attained, must be resolutely excluded: the practical spirit is such, precisely because it is non-cognitive; as regards knowledge it is altogether sterile. If, then, it accomplishes those manipulations, and says to a cat: "You will represent for me all cats"; or to a rose: "See, I draw you in my treatise on botany, and you will represent all roses"; and to the triangle: "It is true I cannot think you, nor represent you; but I suppose that you are the same as what I draw with rule and compass, and I make use of you to measure the approximate triangles of reality";—in so doing, it recognizes that it does not accomplish any act of knowledge. But does it, in that case, accomplish an act of anti-knowledge—that is, does it make these manipulations and fictions in order to place obstacles in the way of knowledge and to simulate its products, so that it leads astray the seeker for truth? If this were so, the "practical spirit" would be synonymous with the spirit of confusion; and the contriver of conceptual fictions would deserve the reprobation that attaches to forgers of documents, sophists, rhetoricians, and charlatans; whereas, on the contrary, he receives the applause and gratitude of every one. Each one of us, at every instant, would be guilty of a plot against the truth, because at every instant each of us forms and employs those fictions; whereas the moral consciousness, delicate and intolerant though it be, makes no reproof, but indeed offers encouragement. Therefore, the act of forming intellectual fictions is an act neither of knowledge nor of anti-knowledge; it is not logically rational, but neither is it logically irrational; it is rational, indeed, but practically rational.

The practical end and mnemonic utility.

In this case the practical end in view can be but one. We know in order to act; and he who acts is interested only in that knowledge, which is the necessary precedent of his doing. But since our knowledge is all destined to be recalled as occasion serves for action, or to aid us in the search for new knowledge (which in this case is a form of acting), the practical spirit is impelled to provide for the preservation of the patrimony of acquired knowledge. Without doubt, speaking absolutely, everything is preserved in reality, and nothing that has once been done or thought, disappears from the bosom of the cosmos. But the preservation of which we speak, is properly the making easily available to memory, knowledge that has once been possessed, and providing for its ready recall from the bosom of the cosmos or from the apparently unconscious and forgotten. For this purpose there are constructed those instruments, which are conceptual fictions, by means of which armies of representations are evoked with a single word, or by which a single word approximately indicates what form of operation must be resorted to, in order that certain representations may be recovered. The cat of the appropriate conceptual fiction does not enable us to know any single cat, as a painter or a historian of cats makes us know it; but by means of it, many images of animals, which would have remained separate before the memory, or each one dispersed and fused in the complete picture in which it had been imagined and perceived, are arranged in a series and recorded as a whole. This matters little or nothing to one who dreams as a poet or who seeks absolute truth; but it matters a great deal to one whose house is infested by rats, and who must employ some one to obtain a cat; and it matters not less to the seeker for the cat, in that he has to study a new animal, and that he must proceed in that study with some order, though it be artificial, and though he reject the artifice in the final synthesis. Again, the geometrical triangle is of no service either to imagination or to thought, which are developed without it; but it is indispensable to any one measuring a field, in the same way as it may possibly be of service to a painter in his preparatory studies for a picture, or to a historian, who wishes to know well the configuration of a piece of ground where a battle was fought.

Persistence of conceptual fictions side by side with concepts.

This is the real reason why, however perfect rigorous concepts become, conceptual fictions remain ineliminable, and indeed obtain from these fresh nourishment. They cannot be criticized and resolved by means of rigorous concepts, because they are of a different order from them: they cannot act as inferior degrees of the rigorous concept, because they presuppose it. The reason, which we were pledged to give, is given; and henceforward there can no longer arise any misunderstanding as to the relation of the concept to conceptual fictions. It is a relation not of identity, nor of contrariety, but simply of diversity.

Pure concepts and pseudoconcepts.

The terminological question remains, and this, as always, has but slight importance. "Conceptual fictions" is a manner of speech; and no one would wish to combat manners of speech. For brevity's sake we shall call them pseudoconcepts, and for the sake of clearness we shall call the true and proper concepts pure concepts. This term seems to us more suitable than that of ideas (pure concepts), as opposed to logical concepts (pseudoconcepts), as they were at one time called in the schools. It must further be noted, that the pseudoconcepts, although the word "concept" forms part of their name, are not concepts, they do not form a species of, nor do they compete with, concepts (save when forcibly made to do so); and that the pure concepts have not got the impure concepts at their side, for these are not truly concepts. Every word offers, in some degree, a hold for misunderstanding, because it circulates in this base world, which is full of snares; the search for words which should absolutely prevent misunderstandings is vain, for it would be necessary first of all to clip the wings of the human spirit. We may prefer one word to another, according to historical contingencies; and for our part we prefer the words pseudoconcept and pure concept, if for no other reason than to remind the makers of fictional concepts to be modest, and to flash above their heads the light of the only true form of concept, which is logical nature itself in its universality and in its severity. How can we fail to think that the choice has been well made if this title of pure concept please the few, but terrify the many and irritate the most, more than the red cloth shaken before the eyes of the bull; and if, like every efficacious medicine, it provoke a reaction in the organism of the patient?