existent beyond itself. But the primary character, which makes it an idea, is not this its representative character, is not its vicarious assumption of the responsibility of standing for a being beyond itself, but is its inner character as relatively fulfilling the purpose (that is, as presenting the partial fulfilment of the purpose), which is in the consciousness of the moment wherein the idea takes place. It is in this sense that we speak of any artistic idea, as present in the creative mind of the artist. I propose, in stating my own view hereafter, to use the word “idea” in this general sense.
Well, this definition of the primary character of an idea, enables me at once to deal with a conception which will play no small part in our later discussions. I refer to the very conception of the Meaning of an idea. One very fair way to define an idea, had we chosen to use that way, might have been to say: An Idea is any state of mind that has a conscious meaning. Thus, according to my present usage of the word “idea,” a color, when merely seen, is in so far, for consciousness, no idea. A brute noise, merely heard, is no idea. But a melody, when sung, a picture, when in its wholeness actively appreciated, or the inner memory of your friend now in your mind, is an idea. For each of these latter states means something to you at the instant when you get it present to consciousness. But now, what is this meaning of any idea? What does one mean by a meaning? To this question, I give, for the instant, an intentionally partial answer. I have just said that an idea is any state of mind, or complex of states, that, when present, is consciously viewed as the relatively completed embodiment,
