The Music of Meaning

This paper begins as a methodological musement inspired by a suggestion made by C. S. Peirce to William James (1905: CP 8.263). It takes his intellectual life as a complex affair displaying a creative tension between what, on the surface, appear to be exclusive impulses. On the one hand, there is the drive to attain the highest level of conceptual clarity humanly possible. This is of course evident in his pragmatism. On the other, there is his seeming dalliance with concepts so vague as to be possibly not concepts at all (arguably only “tones or tints upon conceptions” [Peirce 1901: CP 1.353]). His lifelong devotion to articulating a categoreal scheme is the most telling example of this intellectual propensity. In this paper, following Peirce’s example with respect to his interest in his categories, then, the author gives himself over to the intimations of intelligibility conveyed by the expression “the music of meaning”. From this musing, he then claims more solid ground by offering an explication of Peirce’s theory of interpretants as the place where that theorist’s account of meaning is to be found. Ultimately, he tries to draw together what has emerged, first, in his methodological musement and, then, in subsequent discussions—his three main topics: music, that mysterious form of time; time, that mysterious form of Being; and meaning.