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The general thesis which I should wish to sustain on this topic is by no means new. It is, briefly, that even in the Republic, where the views on art which Plato propounds are notoriously unsatisfactory to the modern mind, this unsatisfactoriness is not due to any lack of aesthetic sympathy on Plato's part, but on the contrary to what is almost an excess of it. The position as far as I can understand it is this: the true artist (at least for the period of Platonic thought of which the Republic marks the culmination) is the philosopher, and true artistic insight is episteme. The work of art par excellence is primarily the philosopher's own life-that is, the philosopher himself.
Mr. T. H. Mcpherson has given, in a recent article in PHILOSOPHY (Vols. XXIII, 1948, and XXIV, 1949), various reasons for supposing that there was a development in Butler's ethics from the Sermons to the Analogy. He argues that Butler was in the Sermons a “rational egoist” or “Ethical Eudaemonist,” and in the Analogy an Intuitionist. By “Ethical Eudaemonism” he seems1 to mean that “the ground or criterion of rightness is conduciveness to the agent's interest” (XXIII, pp. 327, 330, 331; XXIV, p. 18, etc.) or that “it is the happiness-producing character of acts that makes them right” (XXIII, p. 327). I shall use the phrase “McPherson's view” to denote the theory that this was Butler's view in the Sermons.
In this article I want to consider a short passage from R. G. Collingwood's The Idea of History. I have chosen the passage in question both because it seems to me, for reasons which will become clear later, to contain the kernel of much that Collingwood himself wished to say on the subject of historical knowledge, and also because it implies a still widely held (and, I shall maintain, incorrect) conception of the nature of such knowledge.
