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 realm is disclosed by all the untrue propositions which can be predicated significantly of that occasion. It is the realm of alternative suggestions, whose foothold in actuality transcends each actual occasion. The real relevance of untrue propositions for each actual occasion is disclosed by art, romance, and by criticism in reference to ideals. It is the foundation of the metaphysical position which I am maintaining that the understanding of actuality requires a reference to ideality. The two realms are intrinsically inherent in the total metaphysical situation. The truth that some proposition respecting an actual occasion is untrue may express the vital truth as to the aesthetic achievement. It expresses the ‘great refusal’ which is its primary characteristic. An event is decisive in proportion to the importance (for it) of its untrue propositions: their relevance to the event cannot be dissociated from what the event is in itself by way of achievement. These transcendent entities have been termed ‘universals.’ I prefer to use the term ‘eternal objects,’ in order to disengage myself from presuppositions which cling to the former term owing to its prolonged philosophical history. Eternal objects are thus, in their nature, abstract. By ‘abstract’ I mean that what an eternal object is in itself — that is to say, its essence — is comprehensible without reference to some one particular occasion of experience. To be abstract is to transcend particular concrete occasions of actual happening. But to transcend an actual occasion does not mean being disconnected from it. On the contrary, I hold that each eternal object has its own proper connection with each such occasion, which I term its mode of ingression into