With the present volume, the presentation of Peirce’s philosophical thought reaches its metaphysical culmination. It embodies the effort of the founder of Pragmatism to develop a metaphysics which will conform to the canons of scientific method, and at the same time provide for real novelty, objective universal laws of nature, cosmical and biological evolution, feeling, and mind. To his previously published papers on chance, continuity, God, and other metaphysical themes, the editors have added a considerable number of unpublished manuscripts which clarify and develop the implications of Peirce’s fundamental world-view. The volume contains those speculative views of Peirce which so deeply influenced his contemporaries, including his discussions of tychism and synechism and of the religious aspects of metaphysics.

This volume contains the published contributions of one of the founders of modern logic and America’s greatest logical genius. It is not only of historical but of contemporary interest because of its many acute discussions of fundamental logical problems. To assist the general reader, the editors have prefixed to the text a selected list of important topics and have provided many footnotes and an exhaustive index.

The present, the longest volume of the series of Peirce’s Collected Papers, reveals most clearly his stature as a logician and a student of the foundations of mathematics. It includes not only some striking anticipations of recent work in logic and the foundations of mathematics but also a number of vital contributions to these subjects as now understood. In addition there is an entirely original treatment of logical diagrams which makes possible a detailed analysis of the process of reasoning and provides the link between modern logic and Peirce’s conception of pragmatism. It is the most advanced and important of the volumes on exact logic.

Charles Sanders Peirce has been characterized as the greatest American philosophic genius. He is the creator of pragmatism and one of the founders of modern logic. James, Royce, Schroder, and Dewey have acknowledged their great indebtedness to him. A laboratory scientist, he made notable contributions to geodesy, astronomy, psychology, induction, probability, and scientific method. He introduced into modern philosophy the doctrine of scholastic realism, developed the concepts of chance, continuity, and objective law, and showed the philosophical significance of the theory of signs and mathematical logic. The present series is the first published edition of his systematic works.

Considered by many to be one of the greatest philosophers of religion and metaphysicians of the twentieth century, Charles Hartshorne (1897-2000) addressed questions of aesthetics throughout his long career. Yet his efforts in this area are perhaps the most neglected aspect of his extensive and highly nuanced thought. Divine Beauty offers the first detailed explication of Hartshorne's aesthetic theory and its place within his theocentric philosophy.

As Daniel A. Dombrowski explains, Hartshorne advanced a neoclassical or process theism that contrasted with the "classical" theism defended by traditionalist Jews, Christians, and Muslim believers. His conception of God was dipolar, which could attribute to God certain qualities that traditionalists would exclude. For example, in Hartshorne's view, God can embrace excellent aspects of both activity and passivity, or of permanence and change; classical theists, on the other hand, exclude passivity and change from their conceptions.

Dombrowski goes on to explain the ramifications of Hartshorne's view of God for aesthetics, which for him had both broad and narrow meanings: all sensory feeling or sensation, in the broad sense, and a disciplined feeling for beauty, in the narrow sense. Included are discussions on Hartshorne's famous appreciation for the aesthetics of bird song; his view of beauty as a mean between two sets of extremes; his idea of the aesthetic attitude, which concentrates on values that are intrinsic and immediately felt; and the place of death in his aesthetics, in which the value of our lives consists in the beauty or intensity of experience that we contribute to the divine life.

Filling an important gap in our understanding of Hartshorne, Divine Beauty also makes a persuasive case for the superiority of his neoclassical theism over classical theism.