display all the ideas for this combination of philosophers
7 ideas
| 23848 | The aesthete's treatment of beauty as amusement is sacreligious; beauty should nourish [Weil] |
| Full Idea: The aesthete's point of view is sacreligious, not only in matters of religion but even in those of art. It consists in amusing oneself with beauty by handling it and looking at it. Beauty is something to be eaten: it is a food. | |
| From: Simone Weil (The Need for Roots [1943], II 'Country') | |
| A reaction: She is endorsing the 'food' view against the 'handling' view. Beauty should nourish, she says. |
| 23899 | The secret of art is that beauty is a just blend of unity and its opposite [Weil] |
| Full Idea: A just blend of unity and that which opposes it is the condition of the beautiful, and it is the secret of art. | |
| From: Simone Weil (The Scientific Image [1941], p.169) | |
| A reaction: Rather sweeping, but the observation strikes me as fairly accurate. It seems to work for most novels, paintings and music, though more recent art may provide counterexamples. |
| 23832 | We both desire what is beautiful, and want it to remain as it is [Weil] |
| Full Idea: Everything beautiful is the object of desire but one desires that it be not otherwise, that it be unchanged, that it be exactly what it is. | |
| From: Simone Weil (Prerequisite to Dignity of Labour [1941], p.268) | |
| A reaction: This seems to be mostly true, though I don't think it reveals the essence of beauty. I might love a particular landscape, but want to plant a carefully place tree within it. Or change one or two words in a great poem. |
| 23758 | Beauty is an attractive mystery, leaving nothing to be desired [Weil] |
| Full Idea: Beauty is the supreme mystery of the world. It is a gleam which attracts the attention and yet does nothing to sustain it. …While exciting desire, it makes clear that there is nothing in it to be desired, because what we want is that it should not change. | |
| From: Simone Weil (Human Personality [1943], p.92) | |
| A reaction: She attributes beauty to a supernatural source. I catalogue this idea under 'the sublime', rather than 'beauty'. It may be better to say that beauty inspires love, rather than desire. |
| 23887 | Art (like philosophy) establishes a relation between world and self, and between oneself and others [Weil] |
| Full Idea: Isn't true art a method for establishing a certain relation between the world and the self, and between oneself and others, and isn't that the equivalent of philosophy? | |
| From: Simone Weil (Philosophy [1941], p.38) | |
| A reaction: I hope the definition of 'true' art doesn't have to conform to achieving this relation. I suppose each good work of art shows you a distinctive way of relating to the world. An interesting thought (as so often with this thinker). |
| 23903 | When we admire a work, we see ourselves as its creator [Weil] |
| Full Idea: It is impossible to admire a work of art without thinking oneself, in a way, its creator and without, in a sense, becoming so. | |
| From: Simone Weil (Letters [1940], 1940-03c) | |
| A reaction: This rings true for me. You almost see yourself making the brush strokes, or writing the phrase, or penning the chords. It is engagment which is essential for artistic experience. So all art lovers want to be artists? |
| 23898 | Those who say immorality is not an aesthetic criterion must show that all criteria are aesthetic [Weil] |
| Full Idea: Writers and readers who cry out that immorality is not an aesthetic criterion need to prove, which they have never done, that one should apply only aesthetic criteria to literature. | |
| From: Simone Weil (Literature and Morals [1941], p.146) | |
| A reaction: I take the first criterion of literature that it not be boring, and I don't think that is an aesthetic matter. A lot must be achieved before a work can even be considered for aesthetic judgment. Being deeply offensive might rule it out. |