In “nature”, man is of course a simple animal endowed with the greatest intelligence, but this sentence seems to us to be so irrelevant as if we were to say that in its “nature” and perspective, a statue is a simple chiseled block of stone.
The comparasion highlights enough the sin that biology is guilty of when it attacks the human problem, accepting to look at things from a slightly pointed and irremediably narrow perspective. From the biological-naturalistic angle, the problem of the differences between man and animal can not find the ample solution that characterizes it. And it is a surprise that Bergson did not know how to find other prespectives from the fog he was in, when the theoretical situation of the century he lived invited him to turn to the mystery of man.
Surley the animal, as a being in which a consciousness flashes, exists in a visible way linked to “imediately”. Animal consciousness does not leave the realms and the contours of the concrete. From this perspective, human intelligence is characterized by accentuated complexity, being a gradual difference between man and animal, because the animal is alien to the mistery and revelation.
Existence in mistery and revelation is an eminently human way of life. Specific human beings will therefore be all the consequences that result from this way of life, that is man’s creative destiny, its impulses, accsessories and barriers.
Man is captured by a creative destiny in a truly wonderful sense, being able to give up, sometimes sacrificing himself, the advantages of his stability and security.
With the man appeared in cosmos the “creative subject”, in the full sense of term. This situation, due to a decisive ontological mutation, could have the very meaning that man has completed the evolution that works with biological mutations, and that beyond man no longer a superior species is possible. However, Nietzsche’s philosophical conception of the ubermensch (superman) as a future evolutionary possibility was too rushed built, without taking into account the qualitative singularity of man and his exceptional position in the nature.
Man is a terminus; in man the potentials of biological mutations have been extinguished because they had been fully realized and because in man a decisive ontological mutation was made.
Man’s creative destiny appears as a complicated way, like a paradoxical intersection with the finality. Man’s creative destiny is a warp whose are shaped in various ways. This creative destiny is, beneath its positive side, the expression of a native deepening of the very existance of man.
The creative destiny of man is through its acts a magnificent fulfilment of a promise that man makes himself when he becomes a “man” and which lasts as long as man remains “man”.
from Lucian Blaga, Geneza metaforei si sensul culturii