| 299 | What is fine is always difficult [Plato] |
| Full Idea: The proverb says 'Anything fine is difficult'. | |
| From: Plato (Hippias Major [c.392 BCE], 304e) | |
| A reaction: attributed (as usual) to Solon |
| 249 | People who value beauty above virtue insult the soul by placing the body above it [Plato] |
| Full Idea: When a man values beauty above virtue, the disrespect he shows his soul is total and fundamental, because he argues that the body is more to be honoured than the soul. | |
| From: Plato (The Laws [c.348 BCE], 727e) |
| 155 | Beauty is the clearest and most lovely of the Forms [Plato] |
| Full Idea: Only beauty has the privilege of being the most clearly discerned and the most lovely of the forms. | |
| From: Plato (Phaedrus [c.366 BCE], 250e) | |
| A reaction: the motivation in Plato's theory |
| 390 | If goodness involves moderation and proportion, then it seems to be found in beauty [Plato] |
| Full Idea: Moderation and proportion seem, in effect, to be beauty and excellence. So now this property we're looking for, goodness, has taken refuge in beauty. | |
| From: Plato (Philebus [c.353 BCE], 64e) |
| 172 | Love of ugliness is impossible [Plato] |
| Full Idea: There cannot be such a thing as love of ugliness. | |
| From: Plato (The Symposium [c.384 BCE], 201a) |
| 173 | Beauty and goodness are the same [Plato] |
| Full Idea: What is good is the same as what is beautiful. | |
| From: Plato (The Symposium [c.384 BCE], 201c) |
| 4026 | Beauty is harmony with what is divine, and ugliness is lack of such harmony [Plato] |
| Full Idea: Ugliness is out of harmony with everything that is godly; beauty, however, is in harmony with the divine. | |
| From: Plato (The Symposium [c.384 BCE], 206d) | |
| A reaction: This remark shows how the concept of 'harmony' is at the centre of Greek thought (and is a potential bridge of the is/ought gap). |
| 52 | We choose things for their fineness, their advantage, or for pleasure [Aristotle] |
| Full Idea: (roughly) Three pairs of factors cause choice or avoidance: fine/base, advantageous/harmful, pleasant/painful. | |
| From: Aristotle (Nicomachean Ethics [c.334 BCE], 1104b29) | |
| A reaction: I love the Greek idea that we choose actions for their 'fineness' [kalos, nobility, beauty]. We sometimes celebrate fine deeds in the media, and even award honours for them, but we don't talk about them much. |
| 514 | Beauty is merely animal without intelligence [Democritus (attr)] |
| Full Idea: Physical beauty is merely animal unless intelligence be present. | |
| From: Democritus (attrib) (reports [c.250 BCE], B105) |
| 18555 | The beautiful is that from which nothing can be subtracted and to which nothing can be added [Alberti] |
| Full Idea: The beautiful is that from which nothing can be taken away and to which nothing can be added but for the worse. | |
| From: Leon Battista Alberti (De Re Aedificatoria [1485]), quoted by Roger Scruton - Beauty: a very short introduction 9 | |
| A reaction: Scruton rejects this Platonic tradition of beauty as organic wholeness, because you can't say how it would be 'worse' without invoking beauty, which makes it circular. Scruton appears to be correct. |
| 12925 | Beauty increases with familiarity [Leibniz] |
| Full Idea: The more one is familiar with things, the more beautiful one finds them. | |
| From: Gottfried Leibniz (Letters to Antoine Arnauld [1686], 1688.01.4/14) | |
| A reaction: This is always the reply given to those who say that science kills our sense of beauty. The first step in aesthetic life is certainly to really really pay attention to things. |
| 8110 | Leibniz identified beauty with intellectual perfection [Leibniz, by Gardner] |
| Full Idea: Leibniz identified beauty with intellectual perfection. | |
| From: report of Gottfried Leibniz (works [1690]) by Sebastian Gardner - Aesthetics 1.2.1 | |
| A reaction: Well he would, wouldn't he? Swots like Leibniz are inclined to value things which only they can fully appreciate. There may be intellectual subject matter in the study of a rose, but I do not believe that it is needed to appreciate the beauty. |
| 19773 | Without love, what use is beauty? [Rousseau] |
| Full Idea: Where there is no love, what use is beauty? | |
| From: Jean-Jacques Rousseau (Discourse on the Origin of Inequality [1754], Part I) | |
| A reaction: Rousseau seems to be thinking of sexual attractiveness, but the aphorism seems to have universal application. |
| 22711 | The beautiful is not conceptualised as moral, but it symbolises or resembles goodness [Kant, by Murdoch] |
| Full Idea: Kant insists that the beautiful must not be tainted with the good (that is, not conceptualised in any way which would bring it into the sphere of moral judgement) yet he says that the beautiful symbolises the good, it is an analogy of the good. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Iris Murdoch - The Sublime and the Good p.209 | |
| A reaction: Kant evidently wanted a very pure view of the aesthetic experience, drained of any overlapping feelings or beliefs. I'm not sure I understand how the beautiful can symbolise or be analogous to the good, while being devoid of it. |
| 4025 | Kant saw beauty as a sort of disinterested pleasure, which has become separate from the good [Kant, by Taylor,C] |
| Full Idea: Kant, in his third critique, defined beauty in terms of a certain kind of disinterested pleasure;….this is the basis for a declaration of independence of the beautiful relative to the good. | |
| From: report of Immanuel Kant (Critique of Judgement I: Aesthetic [1790]) by Charles Taylor - Sources of the Self §23.1 | |
| A reaction: This is a rebellion against the Greeks, especially Plato, and prepares the ground for the idea of 'art for art's sake'. Personally, I'm with Plato. |
| 20412 | Beauty is only judged in pure contemplation, and not with something else at stake [Kant] |
| Full Idea: If the question is whether something is beautiful, one does not want to know whether there is something that is or that could be at stake, for us or for someone else, in the existence of the thing, but rather how we judge it in mere contemplation. | |
| From: Immanuel Kant (Critique of Judgement I: Aesthetic [1790], CUP 2 5:204), quoted by Elizabeth Schellekens - Immanuel Kant (aesthetics) 2.3 | |
| A reaction: This evidently denies that function has anything to do with beauty, and seems to be a prelude to 'art for art's sake'. But a running cheetah cannot be separated from the sheer efficiencey and focus of the performance. |
| 21488 | The beautiful is a perception of Plato's Forms, which eliminates the will [Schopenhauer] |
| Full Idea: In the beautiful we always perceive the intrinsic and primary form of animate and inanimate nature, that is to say Plato's Ideas thereof. …When an aesthetic perception occurs the will completely vanishes from consciousness. | |
| From: Arthur Schopenhauer (Parerga and Paralipomena [1851], XIX:205) | |
| A reaction: An essential Schopenauer idea. Iris Murdoch said something similar. |
| 4182 | A principal pleasure of the beautiful is that it momentarily silences the will [Schopenhauer] |
| Full Idea: The momentary silencing of all volition …is one of the principal elements in our pleasure in the beautiful. | |
| From: Arthur Schopenhauer (The World as Will and Idea [1819], IV.65) | |
| A reaction: Iris Murdoch sees moral value in beauty, because it overrides selfishness. The perception of beauty is certainly something deeper than just another nice feeling. There is a cognitive element to it. |
| 20271 | Beauty in art is the imitation of happiness [Nietzsche] |
| Full Idea: By beauty in art one always understands imitation of happiness. | |
| From: Friedrich Nietzsche (Dawn (Daybreak) [1881], 433) | |
| A reaction: I'm not sure how one goes about imitating happiness. One can replicate things that make us happy, like a nice landscape. But some beauty in art is also novel, and produces a new sort of happiness. Kandinsky. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 21233 | The beautiful is whatever it is intrinsically good to admire [Moore,GE] |
| Full Idea: The beautiful should be defined as that of which the admiring contemplation is good in itself. | |
| From: G.E. Moore (Principia Ethica [1903], p.210), quoted by Graham Farmelo - The Strangest Man | |
| A reaction: To work, this definition must exclude anything else which it is intrinsically good to admire. Good deeds obviously qualify for that, so good deeds must be intrinsically beautiful (which would be agreed by ancient Greeks). We can't ask WHY it is good! |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 5928 | Beauty is neither objective nor subjective, but a power of producing certain mental events [Ross] |
| Full Idea: In order to avoid the difficulties that beset both a purely objective and a purely subjective view of beauty, I find myself driven to one which identifies beauty with the power of producing a certain sort of experience in minds. | |
| From: W. David Ross (The Right and the Good [1930], §IV) | |
| A reaction: This makes beauty a relational quality, rather than an intrinsic one. Ross's theory won't avoid the many usual problems about relativism. Do we define colour similarly, as a power in objects to produce certain sensations? |
| 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. |
| 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. |
| 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. |
| 18544 | Maybe 'beauty' is too loaded, and we should talk of fittingness or harmony [Scruton] |
| Full Idea: Maybe we can understand the 'beauty' of a building better if we describe it in another and less loaded way, as a form of fittingness or harmony. | |
| From: Roger Scruton (Beauty: a very short introduction [2011], 1) | |
| A reaction: Almost everyone accepts the word 'beauty' for some things, such as a beautiful face, or goal, or steak. I remember a female interviewer writing that, reluctantly, the only appropriate word she could find for Nureyev's face was 'beautiful'. |
| 18553 | Beauty shows us what we should want in order to achieve human fulfilment [Scruton] |
| Full Idea: Beauty speaks to us of human fulfilment: not of things that we want, but of things that we ought to want, because human nature requires them. Such, at least, is my belief. | |
| From: Roger Scruton (Beauty: a very short introduction [2011], 7) | |
| A reaction: I'm not sure how this works with a beautiful natural landscape. And what should I see that I ought to desire after viewing a great Rembrandt self-portrait? That I don't want to end up looking as bleak as that? Hm. Lofty words. |
| 18556 | Beauty is rationally founded, inviting meaning, comparison and self-reflection [Scruton] |
| Full Idea: Beauty is rationally founded; it challenges us to find meaning in its object, to make critical comparisons, and to examine our own lives and emotions in the light of what we find. | |
| From: Roger Scruton (Beauty: a very short introduction [2011], 9) | |
| A reaction: This is the Kantian tradition, and I'm not finding it very persuasive. It seems to place the value of beauty in what we do with it afterwards, and he seems to make beauty a necessary stepping stone to virtue. I see beauty as more sui generis. |
| 6607 | The word 'beautiful', when deprived of context, is nearly contentless [Fogelin] |
| Full Idea: Like the word 'good', the word 'beautiful', when deprived of contextual support, is nearly contentless. | |
| From: Robert Fogelin (Walking the Tightrope of Reason [2003], Ch.6) | |
| A reaction: If I say with, for example, Oscar Wilde that beauty is the highest ideal in life, this doesn't strike me as contentless, but I still sympathise with Fogelin's notion that beauty is rooted in particulars. |