A well-constructed, nicely written essay, which for me, however, only showed that older concepts of reason incorporated what we would today class as the creative imagination. The notion of 'intellectus' or intellectual intuition, basically conjectures that the creative imagination is a reliable source of metaphysical and ontological insight. That is what is denied, or at least questioned, by the modern secular mind.
I think this is a pretty major misunderstanding of the concept.
Intellectus has nothing to do with the creative imagination, which is its own faculty in medieval psychology (and roughly parallels what we tend to mean by the term today). Perhaps you meant to say that
you think the faculty of
intellectus is just creative imagination? That would make more sense.
Although, this still has very large difficulties if it is to be a total rejection, because acknowledging nothing but
ratio would essentially commit us to something like eliminitive materialism and behaviorism (i.e.
understanding would be illusory, or at least "theoretically uninteresting" as Dennett put is re Nagel's "What is It Like be a Bat.") For anything more robust,
ratio needs to take on some of the properties of
intellectus vis-a-vis cognitive understanding, else reason would simply be rule following devoid of content.
C.S. Lewis explains this pretty well:
We are enjoying intellectus when we 'just see' a self-evident truth; we are exercising ratio when we proceed step by step to prove a truth which is not self-evident. A cognitive life in which all truth can be simply ' seen' would be the life of an intelligentia, an angel. A life of unmitigated ratio where nothing was simply ' seen' and all had to be proved, would presumably be impossible; for nothing can be proved if nothing is self-evident. Man's mental life is spent in laboriously connecting those frequent, but momentary, flashes of intelligentia which constitute intellectus.
When ratio is used with this precision and distinguished from intellectus, it is, I take it, very much what we mean by 'reason' today; that is, as Johnson defines it, 'The power by which man deduces one proposition from another, or proceeds from premises to consequences'. But, having so defined it, he gives as his first example, from Hooker, 'Reason is the director of man's will, discovering in action what is good'.
There would seem to be a startling discrepancy between the example and the definition. No doubt, if A is good for its own sake, we may discover by reasoning that, since B is the means to A, therefore B would be a good thing to do. But by what sort of deduction, and from what sort of premises, could we reach the proposition 'A is good for its own sake' ?
This must be accepted from some other source before the reasoning can begin; a source which has been variously identified-with 'conscience' (conceived as the Voice of God), with some moral 'sense' or 'taste', with an emotion ('a good heart'), with the standards of one's social group, with the super-ego. Yet nearly all moralists before the eighteenth century regarded Reason as the organ of morality. The moral conflict was depicted as one between Passion and Reason, not between Passion and 'conscience', or ' duty', or ' goodness'. Prospero, in forgiving his enemies, declares that he is siding, not with his charity or mercy, but with 'his nobler reason' (Tempest, v, i, 26). The explanation is that nearly all of them believed the fundamental moral maxims were intellectually grasped.
Lewis focuses on moral reasoning, but the same would hold true for theoretical reasoning.
Ratio alone cannot justify any inference rules without already having decided on some inference rules. There are an infinite number of possible logics and one would have no way to pick between them without some starting point. Likewise, there is a qualitative, first-person experiential element to
understanding, the grasp of the quiddity (whatness) of things, that must be moved over to
ratio if
intellectus is denied (or else one of the more narrow forms of eliminitivism will follow).
These problems have not been missed in contemporary philosophy. They represent some of the most significant theoretical puzzles occupying current thought. The Chinese Room gets at these issues, as does Mary's Room, the question of "what it is like to be a bat," and the Hard Problem, Symbol Grounding Problem, etc. The Chinese Room and Symbol Grounding Problem are more specific to
intellectus, the Hard Problem encompasses a more general problem with first person experience, of which intellectual knowledge is particularly difficult for reductionist theories to explain.
The idea of intellectus cannot stand on its own it seems―it requires the belief in God, the human-inspiring Divine intellect, to support it.
This is not the case even in medieval thought. There are illuminative explanations of
noesis, which Mark Burgess covers well in his
dissertation, but there is also the Aristotlian conception of "natural"
noesis, which is a biological function. It flows from the basic idea that:
1. Things exist as some definite actuality prior to preception.
2. For perception to be "of things" it must involve to communication of
some of this actuality (form) through the senses (even through sensation is "of" the interaction between the sense organ and the surrounding media, form travels through the media in the form of light, sound waves, etc.)
3. The senses inform memory and intellect.
4. The active intellect is able to abstract the form communicated through the senses, and thus the form of what is known is partially in the knower.
This is given more semiotic explanations as well. Many medieval theorists subscribe to both these conceptions, and Aquinas and Dante would fall under this category. Now, God is involved in
everything for them, but that does not mean all intellection is illumination.
It's fun to approach Dante as a philosopher instead of just a Poet. At the same time, the Divine Comedy is not a systematic treatise. Is the author over interpreting what he/she sees as philosophical claims rather than poetic symbolism that have varying interpretations? I'm not knowledgeable enough to tell but I do wonder.
Dante is most explicit about the philosophy in the
Paradiso, but he has other texts and letters that give us a pretty good idea about his personal philosophy. He is not particularly innovative, but he is extremely well-educated on the philosophy and science of his era, and brings them in quite a bit. For instance, he has Virgil citing Aristotle to him in a number of places.
After dealing with Hume; shouldn't the writer have spent some time on Kant's practical reason that seems to be a reformist model of reason? There may be other more modern writers who made similar attempts.
The longer version does address Kant a bit more in the section on Limbo at the end.
Those in Limbo are different. It seems that they might even have attained what Dante has as he reaches the summit of Mount Purgatory. If we were to look for a parallel to their case in modern thought it might lie in paired back, “secular” versions of ancient ethics, or perhaps in the deontological ethics of the “good will that wills itself.” Such a conception of reason and its role in human life allows that we may pursue knowledge of the Good for its own sake. However, it denies the possibility of any true union with this Good. Indeed, the deontological focus on duty, and on a sui generis “moral good” that is divorced from the sensuous goods that dominate everyday experience, seems to suggest that this knowledge is always at arm’s length. It is in some sense sterile. An isolated “moral goodness” of sheer duty lacks the fecundity of the pre-modern Good, which brings forth all finite goods through its very infinite nature, a sort of overflowing abundance.
This difference should not be surprising, given the different conception of knowing at work in theories subject to the deflation of reason. On these views, ever if we attain proper knowledge of our duties, it is often not clear that this will be “good for us,” or enjoyable, let alone that it will result in beatitude. Such “knowledge of our duties” remains in the realm of ratio, it is not thenuptial union and knowing through becoming of Dante’s vision. Dante’s vision ultimately rests on the hope of a beatific union after death, but it’s important to note that he also thinks this union and “knowing by becoming” is possible for us to some degree in this life. Indeed, this is why those who were contemplatives in life occupy the highest sphere of any mortals in the Paradiso. The erotic ascent is not something that must wait until after death, with only the cold comfort of duty to guide us until then.
To be sure, in a philosophy centered on the pursuit of an infinite Good that we shall never attain (symbolized by Limbo) we are still able to transcend current belief and desire, and so to attain some degree of self-determining freedom. Yet this is a motion that never ends in rest. It is ultimately futile. To that extent, it is a movement that is every bit vain as Satan’s kicking, and so, in some sense, less than fully rational. T
This is why Limbo is a place of “sighs of untormented grief.” This is the state of of human reason (Dante’s ascent led by Virgil) if it cannot be joined to its love (the hand-off to Beatrice, divine illumination). Finite, discursive human reason can never attain to an infinite Good or Truth for the same reason that one can never traverse an infinite distance at a finite speed, in a finite amount of time. Indeed, this mathematical analogy is apt, for, no matter how rapid one’s pace, and how long one continues one’s journey, the share of an infinite distance covered by such a traverse will always be infinitesimal.62 Dante’s final vision must culminate in a “great flash of understanding str[iking] [his] mind, suddenly [granting his] wish” to know.63
And yes, I know that isn't much. I didn't have room for Kant, except in a longer end note. IMO, this captures the main essence though. Knowing by becoming is essential for Dante. It's why the saint also has the greatest and most secure happiness (e.g. St. Francis happy in a hovel with nothing, St. Ireneus sublime facing a gruesome death; Socrates as well). Kant at least represents a move that is far from this sort of 'knowing as union.' Indeed, the mind seems to become a sort of barrier between the soul and being, like Aristophanes' myth in Plato's
Symposium, we are forever separated from our other half by the mind, or more recently, "language." And he also represents the cleavage between a "moral good" of duty and all other goods, and a practical reason that is forever separated from aesthetic and theoretical reason, rather than ultimately being oriented towards one thing, like a light that has passed through a prism.