Creative Intelligence: Essays in the Pragmatic AttitudeDewey, John
Philosophy
Creative Intelligence: Essays in the Pragmatic Attitude
Dewey, John
Philosophy; Pragmatism
If, then, we choose to say in such a case that the individual carries
his expenditure along each line to the precise point at which the last
or marginal utility enjoyed is precisely equal to the marginal utility
on every other line, it seems not difficult to grasp what such a
statement means. Quite harmlessly, all that it can mean is that the
individual has planned precisely what he has planned and is not sorry
for it, and for the time being does not think he can improve upon it. As
there is one earth drawing toward its center each billiard ball of the
dozen in equilibrium in a bowl, so there is behind the budget of the
individual one complex personal conception of a way of life that fixes
more or less certainly and clearly the kinds and intensities of his
wants and assigns to each its share of purchasing power. That the units
or elements in equilibrium hold their positions with reference to each
other for reasons capable of separate statement for each unit seems a
supposition no less impossible in the one case than in the other. To
think of each kind of want in the individual's nature as holding
separately in fee simple and clamoring for full and separate
"satisfaction" in its separate kind, is the characteristic illusion of a
purely formal type of analysis. The permanence of a budget and its
carrying out no doubt require the due and precise realization of each
plotted marginal utility--to go further than this along any one line
would inevitably mean getting not so far along certain others, and thus
a distorted and disappointing total attainment in the end. But to say
that one actually plans and controls his expenditures along various
lines by the ultimate aim of attaining equivalent terminal utilities on
each is quite another story. It is much like saying that the square
inches of canvas assigned in a picture to sky and sea and crannied wall
are arranged upon the principle of identical and equal effects for
artist or beholder from the last inches painted of each kind. The
formula of the equality of marginal effects is no constructive
principle; it is only a concise if indeed somewhat grotesque way of
phrasing the essential fact that no change of the qualitative whole is
going to be made, because no imperfection in it as a whole is felt.[52]
Public-domain text, read in full here on John Shaqi.
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