Abstract

It is tempting to locate R. G. Collingwood among twentieth-century “free-spirited” philosophers and to classify him with Dewey, Heidegger, and Wittgenstein as a Rortyian “edifying” thinker. The position developed in Collingwood’s later works exhibits most of the features that distinguish “free-spirited” from “serious” philosophy. His relativism, most plainly manifested in The Idea of Nature, The Principles of Art, and the Essay on Metaphysics; his historicism, which is of a piece with his relativism—is indeed the principal form his relativism takes—articulated in The Idea of History; and his anti-realism, most boldly stated in the Autobiography are, with his idealism, the most distinctive features of his work. Hence that work is characterized by three of the four sets of views which Ernest Sosa designates “free-spirited.” Indeed, aspects of the fourth set—subjectivism—are discernible, too, implicitly and sometimes explicitly, in Collingwood’s idealism which, from time to time, comes across as a thoroughgoing subjective idealism. Those very features for which he has been neglected and/or denigrated during the ascendency of analytic and positivistic philosophy might seem to confer a new credibility upon Collingwood’s work in the philosophical climate of the late twentieth century, where free-spirited philosophers are playing the gadfly to the ‘serious’ philosophical establishment.