Henri Bergson defined metaphysics as the science that dispenses with symbols to grasp the absolute. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 159 to 162. Hence metaphysics involves an inversion of the habitual modes of thought and is in need of its own method, which he identified as intuition. Henri Bergson defined intuition as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The absolute that is grasped is always perfect in the sense that it is perfectly what it is, and infinite in the sense that it can be grasped as a whole through a simple, indivisible act of intuition, yet lends itself to boundless enumeration when analysed. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 159 to 162. For a Whiteheadian use of Bergsonian intuition, see Michel Weber's Whitehead’s Pancreativism. The Basics. Foreword by Nicholas Rescher, Frankfurt / Paris, Ontos Verlag, 2006. Two images Henri Bergson gave in his essay An Introduction to Metaphysics may aid us in comprehending the ideas of intuition, analyses, the absolute and the relative. The first image is a city reconstructed with juxtaposed photographs taken from every viewpoint and angle. The reconstruction can never give us the dimensional value of walking through the actual city. This can only ever be grasped through a simple intuition. The same goes for the experience of reading a single line of Homer. If you wish to explain this experience to someone who cannot speak ancient Greek, you may translate the line and lay commentary upon commentary, but this commentary shall never grasp the dimensional value of experiencing the poem in its original language. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 159 to 162. Bergson responds by saying that the antinomies are the result of analysis, not intuition.Henri Bergson, Matter and Memory, pages 183 to 185. For a Whiteheadian use of Bergsonian intuition, see Michel Weber's Whitehead’s Pancreativism. The Basics. Foreword by Nicholas Rescher, Frankfurt / Paris, Ontos Verlag, 2006. An example of this is Duration itself, which Bergson maintains isn’t a multiplicity or a unity.Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 12 to 17. Depending on the viewpoint from which one begins, he will either reconstruct the absolute Duration as a unity or a multiplicity. Hence the antinomy of substance pluralism and substance monism, which can only be resolved through showing they are two representations of the same thing via a simple act of intuition. Thus real philosophy consists in placing oneself above the fray of oppositional schools of thought. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, page 175 to 176. For a Whiteheadian use of Bergsonian intuition, see Michel Weber's Whitehead’s Pancreativism. The Basics. Foreword by Nicholas Rescher, Frankfurt / Paris, Ontos Verlag, 2006. 
Henri Bergson defined metaphysics as the science that dispenses with symbols to grasp the absolute. Hence metaphysics involves an inversion of the habitual modes of thought and is in need of its own method, which he identified as intuition. Henri Bergson defined intuition as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The absolute that is grasped is always perfect in the sense that it is perfectly what it is, and infinite in the sense that it can be grasped as a whole through a simple, indivisible act of intuition, yet lends itself to boundless enumeration when analysed. For a Whiteheadian use of Bergsonian intuition, see Michel Weber's Whitehead’s Pancreativism. The Basics. Foreword by Nicholas Rescher, Frankfurt / Paris, Ontos Verlag, 2006. Two images Henri Bergson gave in his essay An Introduction to Metaphysics may aid us in comprehending the ideas of intuition, analyses, the absolute and the relative. The first image is a city reconstructed with juxtaposed photographs taken from every viewpoint and angle. The reconstruction can never give us the dimensional value of walking through the actual city. This can only ever be grasped through a simple intuition. The same goes for the experience of reading a single line of Homer. If you wish to explain this experience to someone who cannot speak ancient Greek, you may translate the line and lay commentary upon commentary, but this commentary shall never grasp the dimensional value of experiencing the poem in its original language. Bergson responds by saying that the antinomies are the result of analysis, not intuition.Henri Bergson, Matter and Memory, pages 183 to 185. For a Whiteheadian use of Bergsonian intuition, see Michel Weber's Whitehead’s Pancreativism. The Basics. Foreword by Nicholas Rescher, Frankfurt / Paris, Ontos Verlag, 2006. An example of this is Duration itself, which Bergson maintains isn’t a multiplicity or a unity.Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 12 to 17. Depending on the viewpoint from which one begins, he will either reconstruct the absolute Duration as a unity or a multiplicity. Hence the antinomy of substance pluralism and substance monism, which can only be resolved through showing they are two representations of the same thing via a simple act of intuition. Thus real philosophy consists in placing oneself above the fray of oppositional schools of thought. For a Whiteheadian use of Bergsonian intuition, see Michel Weber's Whitehead’s Pancreativism. The Basics. Foreword by Nicholas Rescher, Frankfurt / Paris, Ontos Verlag, 2006. Notes
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Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 159 to 162.
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Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 159 to 162.
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Henri Bergson, The Creative Mind: An Introduction to Metaphysics, pages 159 to 162.
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Henri Bergson, The Creative Mind: An Introduction to Metaphysics, page 175 to 176.
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Notes