Plain in the doctrinal firmament of every Christian, clear like the sun in the sky, should shine the warning: Unless there is a real man underived fr… - George Holmes Howison

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Plain in the doctrinal firmament of every Christian, clear like the sun in the sky, should shine the warning: Unless there is a real man underived from Nature, unless there is a spiritual or rational man independent of the natural man and legislatively sovereign over entire Nature, then the Eternal is not a person, there is no God, and our faith is vain.

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About George Holmes Howison

George Holmes Howison (29 November 1834 – 31 December 1916) was an American philosopher, who established the philosophy department at the University of California, Berkeley and held the position there of Mills Professor of Intellectual and Moral Philosophy and Civil Polity.He also founded the Philosophical Union, one of the oldest philosophical organizations in the United States. Howison’s philosophy is set forth almost entirely in his volume entitled, The Limits of Evolution, and other essays, illustrating the metaphysical theory of personal idealism. Scrutinizing the idea of evolution that had come to the fore, he proved not only that no Person can be wholly “the product of ‘continuous creation’”, evolution, but went on also to show that, rooted in the very same (a priori) reason, fulfilled philosophy necessarily ends in the “Vision Beatific”, “that universal circle of spirits which, since the time of the stoics, has so pertinently been called the City of God”. Friends and former students of Howison established the Howison Lectures in Philosophy in 1919. Over the years, the lecture series has included talks by distinguished philosophers such as Michel Foucault and Noam Chomsky.

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The proper form of science is explanation and argument, and the proper form of religion and morality is exhortation and command; but that of art is simply the directest embodiment of its theme as the theme itself requires. Assured that the theme is compatible with the ideal nature of art, the artist knows that it will justify itself and work its own work, if it can only find expression in its natural embodiment.

For an induction, despite its formal generality, is always in its own value a particular judgment, always comes short of full universality; whereas, to establish the apriority of an element, we must show it to be strictly universal, or, in other words, necessary.

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Poetry, finally, is the form of art where not only are the unities of time, place, and action freed from the restrictive bounds of the single instant, the single spot, the single simple transaction, but the medium of embodiment is thought itself, with its completely articulate utterance in language. Here the very source of the ideal view of the world, the very origin of the creative artistic impulse, becomes the material and the instrument of its own purpose, the executor of its own will. The scope of the creative faculty is therefore the utmost conceivable, and poetry rightfully takes the highest place as the art of the greatest possibilities — the art, indeed, of an all-inclusive compass, as at length completely self-supplying and self-directing.

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