F. H. Bradley (1846–1924)

[From the short story “Appearance and Reality”, reprinted in the collection Creatures of Circumstance, Heinemann/Doubleday, 1947:]

I have called it Appearance and Reality. This is the title of what I suppose may be looked upon as the most important philosophical work that my country (right or wrong) produced in the nineteenth century. It is stiff but stimulating reading. It is written in excellent English, with considerable humour, and even though the lay reader is unlikely to follow with understanding some of its very subtle arguments he has nevertheless the thrilling sensation of walking a spiritual tightrope over a metaphysical abyss, and he ends the book with a comfortable feeling that nothing matters a hang anyway. There is no excuse for my making use of the title of so celebrated a book except that it so admirably suits my story. Though Lisette was a philosopher only in the sense in which we are all philosophers that she exercised thought in dealing with the problems of existence her feeling for reality was so strong and her sympathy for appearance so genuine that she might almost claim to have established that reconciliation of irreconcilables at which the philosophers have for so many centuries been aiming.

[From The Gentleman in the Parlour, Heinemann, 1930; Vintage Classics, 2001, XXX, 124-6:]

Now it happened that one of the books I had brought to read on the way was Bradley’s Appearance and Reality. I had read it before, but had found it difficult and wanted to read it again, but since it was an unwieldy volume I tore off the binding and divided it into sections that I could conveniently put in my pocket when, having read enough, I mounted my pony and rode off from the bungalow in which I had passed the night. It is good reading, and though it scarcely convinces you it is often caustic, and the author has a pleasant gift of irony. He is never pompous. He handles the abstract with a light touch. But it is like one of those cubist houses in an exhibition, very light and trim and airy, but so severe in line and furnished with such austere taste, that you cannot imagine yourself toasting your toes by the fire and lounging in an easy chair with a comfortable book. But when I came upon his treatment of the problem of evil I found myself as honestly scandalised as the Pope at the sight of a young woman’s shapely calves. The Absolute, I read, is perfect, and evil, being but an appearance, cannot but subserve to the perfection of the whole. Error contributes to greater energy of life. Evil plays a part in a higher end and in this sense unknowingly is good. The absolute is richer for every discord. And my memory brought back to me, I know not why, a scene at the beginning of the war. It was in October and our sensibilities were not yet blunted. A cold raw night. There had been what those who took part in it thought a battle, but which was so insignificant a skirmish that the papers did not so much as refer to it, and about a thousand men had been killed and wounded. They lay on straw on the floor of a country church, and the only light came from the candles on the altar. The Germans were advancing and it was necessary to evacuate them as quickly as possible. All through the night the ambulance cars, without lights, drove back and forth, and the wounded cried out to be taken, and some died as they were being lifted on to the stretchers and were thrown on the heap of dead outside the door, and they were dirty and gory, and the church stank of blood and the rankness of humanity. And there was one boy who was so shattered that it was not worth while to move him and as he lay there, seeing men on either side of him being taken out, he screamed at the top of his voice: je ne veux pas mourir. Je suis trop jeune. Je ne veux pas mourir. And he went on screaming that he did not want to die till he died. Of course this is no argument. It was but an inconsiderable incident the only significance of which was that I saw it with my own eyes and in my ears for days afterwards rang that despairing cry; but a greater than I, a philosopher and a mathematician into the bargain if you please, said that the heart had its reasons which the head did not know, and (in the grip of compound things, to use the Buddhist phrase, as I am) this scene is to me a sufficient refutation of the metaphysician’s fine-spun theories.

[From The Summing Up, The Literary Guild of America, 1938, lxviii, 262-63:]

If the subject were not of such pressing moment it would be difficult to read the chapter on evil in Appearance and Reality without ironic amusement. It is appallingly gentlemanlike. It leaves you with the impression that it is really rather bad form to attach any great importance to evil, and though its existence must be admitted it is unreasonable to make a fuss about it. In any case it is much exaggerated and it is evident that there is a lot of good in it. Bradley held that there was no pain on the whole. The Absolute is the richer for every discord and for all diversity which it embraces. Just as in a machine, he tells us, the resistance and pressure of the parts subserve an end beyond any of them, so at a much higher level it may be with the Absolute; and if this is possible it is indubitably real. Evil and error subserve a wider scheme and in this are realized. They play a part in a higher good and in this sense unknowingly are good. Evil in short is a deception of our senses and nothing more.… (plus d'informations)