54 ideas
| 9247 | Life will be lived better if it has no meaning [Camus] |
| Full Idea: Life will be lived all the better if it has no meaning. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs free') | |
| A reaction: One image of the good life is that of a successful wild animal, for which existence is not a problem, merely a constant activity and pursuit. Maybe life begins to acquire meaning once we realise that meaning should not be sought directly. |
| 6707 | Suicide - whether life is worth living - is the one serious philosophical problem [Camus] |
| Full Idea: There is but one truly serious philosophical problem and that is suicide. Judgine whether life is or is not worth living amounts to answering the fundamental question of philosophy. | |
| From: Albert Camus (The Myth of Sisyphus [1942], p.11) | |
| A reaction: What a wonderful thesis for a book. In Idea 2682 there is the possibility of life being worth living, but not worth a huge amount of effort. It is better to call Camus' question the first question, rather than the only question. |
| 9245 | To an absurd mind reason is useless, and there is nothing beyond reason [Camus] |
| Full Idea: To an absurd mind reason is useless, and there is nothing beyond reason. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Phil Suic') | |
| A reaction: But there is, surely, intuition and instinct? Read Keats's Letters. There is good living through upbringing and habit. Read Aristotle. If you like Camus' thought, you will love Chuang Tzu. Personally I am a child of the Enlightenment. |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 9244 | Logic is easy, but what about logic to the point of death? [Camus] |
| Full Idea: It is always easy to be logical. It is almost impossible to be logical to the bitter end. The only problem that interests me is: is there a logic to the point of death? | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs and Suic') | |
| A reaction: This is a lovely hand grenade to lob into an analytical logic class! It is very hard to get logicians to actually ascribe a clear value to their activity. They tend to present it as a marginal private game, and yet it has high status. |
| 9249 | Whether we are free is uninteresting; we can only experience our freedom [Camus] |
| Full Idea: Knowing whether or not a man is free doesn't interest me. I can only experience my own freedom. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs free') | |
| A reaction: Camus has the right idea. Personally I think you could drop the word 'freedom', and just say that I am confronted by the need to make decisions. |
| 9253 | The human heart has a tiresome tendency to label as fate only what crushes it [Camus] |
| Full Idea: The human heart has a tiresome tendency to label as fate only what crushes it. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Appendix') | |
| A reaction: Nice. It might just as much be fate that you live a happy bourgeois life, as that you inadvertently murder your own father at a crossroads. But you can't avoid the powerful awareness of fate when a road accident occurs. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 9250 | Discussing ethics is pointless; moral people behave badly, and integrity doesn't need rules [Camus] |
| Full Idea: There can be no question of holding forth on ethics. I have seen people behave badly with great morality and I note every day that integrity has no need of rules. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs Man') | |
| A reaction: I don't agree. If someone 'behaves badly with great morality' there is something wrong with their morality, and I want to know what it is. The last part is more plausible, and could be a motto for Particularism. Rules dangerously over-simplify life. |
| 9252 | The more one loves the stronger the absurd grows [Camus] |
| Full Idea: The more one loves the stronger the absurd grows. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Don Juan') | |
| A reaction: A penetrating remark, to be placed as a contrary to the remarks of Harry Frankfurt on love. But if the absurd increases the intensity of life, as Camus thinks, then they both make love the great life-affirmation, but in different ways. |
| 9251 | One can be virtuous through a whim [Camus] |
| Full Idea: One can be virtuous through a whim. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs Man') | |
| A reaction: A nice remark. Obviously neither Aristotle nor Kant would be too impressed by someone who did this, and Aristotle would certainly say that it is not really virtue, but merely right behaviour. I agree with Aristotle. |
| 9243 | If we believe existence is absurd, this should dictate our conduct [Camus] |
| Full Idea: What a man believes to be true must determine his action. Belief in the absurdity of existence must then dictate his conduct. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs and Suic') | |
| A reaction: It is intriguing to speculate what the appropriate conduct is. Presumably it is wild existential gestures, like sticking a knife through your hand. Suicide will be an obvious temptation. But bourgeois life might be equally appropriate. |
| 6708 | Happiness and the absurd go together, each leading to the other [Camus] |
| Full Idea: Happiness and the absurd are two sons of the same earth; they are inseparable; it would be a mistake to say that happiness necessarily springs from the absurd discovery; it happens as well that the feeling of the absurd springs from happiness. | |
| From: Albert Camus (The Myth of Sisyphus [1942], p.110) | |
| A reaction: I'm not sure that I understand this, but I understand the experience of absurdity, and I can see that somehow one feels a bit more alive when one acknowledges the absurdity of it all. Meta-meta-thought is the highest form of human life, I say. |
| 9242 | Essential problems either risk death, or intensify the passion of life [Camus] |
| Full Idea: The essential problems are those that run the risk of leading to death, or those that intensify the passion of living. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs and Suic') | |
| A reaction: This seems to be distinctively existentialist, in a way that a cool concern for great truths are not ranked as so important. Ranking dangerous problems as crucial seems somehow trivial for a philosopher. Intensity of life is more impressive. |
| 9246 | Danger and integrity are not in the leap of faith, but in remaining poised just before the leap [Camus] |
| Full Idea: The leap of faith does not represent an extreme danger as Kierkegaard would like it to do. The danger, on the contrary, lies in the subtle instant that precedes the leap. Being able to remain on the dizzying crest - that is integrity. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Phil Suic') | |
| A reaction: I have always found that a thrilling thought. It perfectly distinguishes atheist existentialism from religious existentialism. It is Camus' best image for how the Absurd can be a life affirming idea, rather than a sort of nihilism. Life gains intensity. |
| 7337 | In Mosaic legal theory, crimes are sins and sins are crimes [Johnson,P] |
| Full Idea: In Mosaic legal theory, all breaches of the law offend God. All crimes are sins, just as all sins are crimes. | |
| From: Paul Johnson (The History of the Jews [1987], Pt I) | |
| A reaction: This would seem to define Josephus called a 'theocracy'. Not just rule by a priesthood, but also an attempt to make civil law coincide with the teachings of sacred texts. But doing 80 m.p.h. on a motorway at 2 a.m. hardly seems like a sin. |
| 7339 | Because human life is what is sacred, Mosaic law has no death penalty for property violations [Johnson,P] |
| Full Idea: Where other codes provided the death penalty for offences against property, in Mosaic law no property offence is capital; human life is too sacred, where the rights of property alone are violated. | |
| From: Paul Johnson (The History of the Jews [1987], Pt I) | |
| A reaction: We still preserve this idea in our law, and also in our culture, where we are keen to insist that catastrophes like earthquakes or major fires are measured almost entirely by the loss of life, not the loss of property. I approve. |
| 7353 | The Pharisees undermined slavery, by giving slaves responsibility and status in law courts [Johnson,P] |
| Full Idea: It is no accident that slavery among Jews disappeared with the rise of the Pharisees, as they insisted that all were equal before God in a court. Masters were no longer responsible for actions of slaves, so a slave had status, and slavery could not work. | |
| From: Paul Johnson (The History of the Jews [1987], Pt II) | |
| A reaction: As in seventeenth century England, the rise of social freedom comes from religious sources, not social sources. A slave has status in the transcendent world of souls, despite being a nobody in the physical world. |
| 7340 | Mosaic law was the first to embody the rule of law, and equality before the law [Johnson,P] |
| Full Idea: Mosaic law meant that God ruled through his laws, and since all were equally subject to the law, the system was the first to embody the double merits of the rule of law and equality before the law. | |
| From: Paul Johnson (The History of the Jews [1987], Pt I) | |
| A reaction: If this is correct, it seems to be a hugely important step, combined with Idea 1659, that revenge should be the action of a the state, not of the individual. They are the few simple and essential keys to civilization. |
| 7338 | Man's life is sacred, because it is made in God's image [Johnson,P] |
| Full Idea: In Mosaic theology, man is made in God's image, and so his life is not just valuable, it is sacred. | |
| From: Paul Johnson (The History of the Jews [1987], Pt I) | |
| A reaction: The obvious question is what exactly is meant by "in God's image". Physically, spiritually, intellectually, morally? I am guessing that the original idea was intellectual, because we are the only rational animal. The others seem unlikely, or arrogant. |
| 9248 | It is essential to die unreconciled and not of one's own free will [Camus] |
| Full Idea: It is essential to die unreconciled and not of one's own free will. Suicide is a repudiation. | |
| From: Albert Camus (The Myth of Sisyphus [1942], 'Abs free') | |
| A reaction: Camus' whole book addresses the question of suicide. He suggests that life can be redeemed and become livable if you squarely face up to the absurdity of it, and the gap between what we hope for and what we get. |
| 7348 | The Jews sharply distinguish human and divine, but the Greeks pull them closer together [Johnson,P] |
| Full Idea: The Jews drew an absolute distinction between the human and the divine; the Greeks constantly elevated the human - they were Promethean - and lowered the divine. | |
| From: Paul Johnson (The History of the Jews [1987], Pt II) | |
| A reaction: An intriguing observation. The Greek idea runs right through European culture, surfacing (for example) in 'Faust', or 'Frankenstein', or the films of James Cameron. I'm with the Greeks; I want to see how far humanity can be elevated. |
| 7355 | The Torah pre-existed creation, and was its blueprint [Johnson,P] |
| Full Idea: The Torah was not just a book about God. It pre-existed creation, in the same way as God did. In fact, it was the blueprint of creation. | |
| From: Paul Johnson (The History of the Jews [1987], Pt III) | |
| A reaction: You can only become a 'people of the book' (which Moslems resented in Judaism, and then emulated) if you give this stupendously high status to your book. Hence Christian fundamentalism makes sense, with its emphasis on the divinity of the Bible. |
| 7336 | A key moment is the idea of a single moral God, who imposes his morality on humanity [Johnson,P] |
| Full Idea: The discovery of monotheism, and not just of monotheism but of a sole, omnipotent God actuated by ethical principles and seeking methodically to impose them on human beings, is one of the greatest turning-points in history, perhaps the greatest of all. | |
| From: Paul Johnson (The History of the Jews [1987], Pt I) | |
| A reaction: 'Discovery' begs some questions, but when put like this you realise what a remarkable event it was. It is a good candidate for the most influential idea ever, even if large chunks of humanity, especially in the orient, never took to monotheism. |
| 7341 | Sampson illustrates the idea that religious heroes often begin as outlaws and semi-criminals [Johnson,P] |
| Full Idea: Sampson is the outstanding example of the point which the Book of Judges makes again and again, that the Lord and society are often served by semi-criminal types, outlaws and misfits, who become folk-heroes and then religious heroes. | |
| From: Paul Johnson (The History of the Jews [1987], Pt I) | |
| A reaction: This illustrates nicely Nietzsche's claim, that the jews were responsible for his 'inversion of values', in which aristocratic virtues are downgraded, and the virtues of a good slave are elevated (though Sampson may not show that point so well!). |
| 7342 | Isaiah moved Israelite religion away from the local, onto a more universal plane [Johnson,P] |
| Full Idea: The works of Isaiah (740-700 BCE) mark the point at which the Israelite religion began to spiritualize itself, to move from a specific location in space and time on to the universalist plane. | |
| From: Paul Johnson (The History of the Jews [1987], Pt I) | |
| A reaction: This is necessary if any religion is going to make converts outside the local culture. The crucial step would be to disembody God, so that He cannot be represented by a statue. The difficulty is for him to be universal, but retain a 'chosen people'. |
| 7344 | Judaism involves circumcision, Sabbath, Passover, Pentecost, Tabernacles, New Year, and Atonement [Johnson,P] |
| Full Idea: The practices of Judaism developed during their Exile: circumcision, the Sabbath, the Passover (founding of the nation), Pentecost (giving of the laws), the Tabernacles, the New Year, and the Day of Atonement. | |
| From: Paul Johnson (The History of the Jews [1987], Pt II) | |
| A reaction: These were the elements of ritual created to replace the existence of a physically located state. An astonishing achievement, not even remotely achieved by any other state that was driven off its lands. A culture is an idea, not a country. |
| 7345 | In exile the Jews became a nomocracy [Johnson,P] |
| Full Idea: In exile the Jews, deprived of a state, became a nomocracy - voluntarily submitting to rule by a Law which could only be enforced by consent. Nothing like this had occurred before in history. | |
| From: Paul Johnson (The History of the Jews [1987], Pt II) | |
| A reaction: It is the most remarkable case in history of a people united and strengthened by adversity, and it became an important experiment in the building of human cultures. But what is the point of preserving a culture, with no land? Why not just integrate? |
| 7347 | Zoroastrians believed in one eternal beneficent being, Creator through the holy spirit [Johnson,P] |
| Full Idea: Cyrus the Great was a Zoroastrian, believing in one, eternal, beneficent being, 'Creator of all things through the holy spirit'. | |
| From: Paul Johnson (The History of the Jews [1987], Pt II) | |
| A reaction: Is this the actual origin of monotheism, or did they absorb this idea from the Jews? The interesting bit is the fact that the supreme being (called Marduk) is 'beneficent', which one doesn't associate with these remote and supposed pagans. |
| 7349 | Immortality based on judgement of merit was developed by the Egyptians (not the Jews) [Johnson,P] |
| Full Idea: The idea of judgement at death and immortality on the basis of merit were developed in Egypt before 1000 BCE. It is not Jewish because it was not in the Torah, and the Sadducees, who stuck to their texts, seemed to have denied the afterlife completely. | |
| From: Paul Johnson (The History of the Jews [1987], Pt II) | |
| A reaction: This is the idea considered crucial to religion by Immanuel Kant (Idea 1455), who should be declared an honorary Egyptian. To me the idea that only the good go to heaven sounds like sadly wishful thinking - a fictional consolation for an unhappy life. |
| 7354 | The main doctrine of the Pharisees was belief in resurrection and the afterlife [Johnson,P] |
| Full Idea: Belief in resurrection and the afterlife was the main distinguishing mark of Pharisaism, and thus fundamental of rabbinic Judaism. | |
| From: Paul Johnson (The History of the Jews [1987], Pt II) | |
| A reaction: Belief in an afterlife seems to go back to the Egyptians, but this development in Judaism was obviously very influential, even among early Christians, who initially seem to have only believed in resurrection of the body. |
| 7356 | Pious Jews saw heaven as a vast library [Johnson,P] |
| Full Idea: Pious Jews saw heaven as a vast library, with the Archangel Metatron as the librarian: the books in the shelves there pressed themselves together to make room for a newcomer. | |
| From: Paul Johnson (The History of the Jews [1987], Pt III) | |
| A reaction: I'm tempted to convert to Judaism. |