Abstract

As the title indicates, this most recent of Hartshorne's works blends doctrinal exposition with analyses of methodological issues. Each of the sixteen chapters can be read as an independent essay, although the entire work is intended as "an essay in systematic metaphysics." The paradox is resolved once we realize that Hartshorne does not separate substantive discussion and the examination of methodological principles--the text exemplifies the principles latent in "creative synthesis" as he understands it. Each chapter takes shape out of a position-matrix in terms of which a number of possible positions on problems of relations, modality, and temporality are exhibited and finally sifted in order to determine the most viable for future philosophic inquiry. Portions of six of the chapters had previously been published, one as early as 1958; the remaining ten appear for the first time in this volume. Although much of the doctrinal content will be familiar to those who have read Hartshorne's earlier works, the clarity and coherence of these essays make it an especially valuable work for students of metaphysics, whether they accept the neoclassical position or not. In the first chapter, "A Philosophy of Shared Creative Experience," Hartshorne presents his case for the inclusive priority of "becoming" over "being"; in the next three chapters, he turns to a more detailed analysis of technical problems in metaphysics--the specification of the domain of metaphysical inquiry, the viability of the notion of inclusive contrast as the heart of "relativity", and the ultimate coincidence of modal and temporal categories as the summit of the analyses of "abstractions". Each of these chapters is an excellent example of Hartshorne's working through "position-matrices"; but for those who are unfamiliar with Hartshorne's work, or for those who desire a less 'naïve' approach to metaphysical inquiry it might be advisable to turn to Chapters V and VI immediately after Chapter I. In these two essays, Hartshorne presents a general exposition of the structure of his system, exposing and defending the conception of relativity which lies at the heart of his system: the triadicity [[sic]] of creative synthesis must be construed relatively, the contrast of relative and absolute being included within the relative member of the contrast. In the succeeding chapters, the difficulties which such a conception must face are explored in detail. Among the difficulties which Hartshorne focuses upon are the possibility of "non-restrictive or necessary existential truths", the psychological reeducation which a conception of the priority of events necessitates, the explanatory power of directed or asymmetrical relations as opposed to non-directed, symmetrical ones, and the critique of the notion of ens realissimum and its substitution by the universal forms of dependence and independence. It is interesting that at various places in this work Hartshorne indicates that the importance of the problem of the relations among contemporaries must be relegated to secondary status in the philosophy of shared creative experience. It becomes increasingly evident that were the author to stress its importance, he should have to turn to a conception of eternal objects functioning relationally or affirm interaction between God and any other individual in strictly simultaneous states. Either move would necessitate a major shift in his methodological principles and substantive doctrines. That he has struggled with the problem of the relations among contemporaries for so long shows his willingness to confront the possibility of such a shift. This is one of the major criteria for evaluating metaphysicians, as Hartshorne notes; in the light of this criterion, Hartshorne's newest work will be judged a significant contribution to metaphysical inquiry.--R. L. C.