There is, however, one point of real difference, at least initially,
between the idealism of M. Bergson and that of his predecessors. The
universal mind, for M. Bergson, is in process of actual
transformation. It is not an omniscient God but a cosmic sensibility.
In this sensibility matter, with all its vibrations felt in detail,
forms one moving panorama together with all minds, which are patterns
visible at will from various points of view in that same woof of
matter; and so the great experiment crawls and shoots on, the dream of
a giant without a body, mindful of the past, uncertain of the future,
shuffling his images, and threading his painful way through a
labyrinth of cross-purposes.
Such at least is the notion which the reader gathers from the
prevailing character of M. Bergson's words; but I am not sure that it
would be his ultimate conclusion. Perhaps it is to be out of sympathy
with his spirit to speak of an ultimate conclusion at all; nothing
comes to a conclusion and nothing is ultimate. Many dilemmas, however,
are inevitable, and if the master does not make a choice himself, his
pupils will divide and trace the alternative consequences for
themselves in each direction. If they care most for a real fluidity,
as William James did, they will stick to something like what I have
just described; but if they care most for immediacy, as we may suspect
that M.
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