14 ideas
| 6259 | Why can't a wise man doubt everything? [Montaigne] |
| Full Idea: Why cannot a wise man dare to doubt anything and everything? | |
| From: Michel de Montaigne (Apology for Raymond Sebond [1580], p.0562) | |
| A reaction: This question seems to be the start of the Enlightenment Project, of attempting to prove everything. MacIntyre warns of the dangers of this in ethical theory. The story of modern philosophy is the discovery of its impossibility. E.g. Davidson on truth. |
| 6263 | No wisdom could make us comfortably walk a wide beam if it was high in the air [Montaigne] |
| Full Idea: Take a beam wide enough to walk along: suspend it between two towers: there is no philosophical wisdom, however firm, which could make us walk along it just as we would if we were on the ground. | |
| From: Michel de Montaigne (Apology for Raymond Sebond [1580], p.0672) | |
| A reaction: This proposes great scepticism about the practical application of philosophical wisdom, but if we talk in terms of the wise assessment of risk in any undertaking, our caution on the raised beam makes perfectly good sense. |
| 21959 | Metaphysics is the most general attempt to make sense of things [Moore,AW] |
| Full Idea: Metaphysics is the most general attempt to make sense of things. | |
| From: A.W. Moore (The Evolution of Modern Metaphysics [2012], Intro) | |
| A reaction: This is the first sentence of Moore's book, and a touchstone idea all the way through. It stands up well, because it says enough without committing to too much. I have to agree with it. It implies explanation as the key. I like generality too. |
| 6258 | Virtue is the distinctive mark of truth, and its greatest product [Montaigne] |
| Full Idea: The distinctive mark of the Truth we hold ought to be virtue, which is the most exacting mark of Truth, the closest one to heaven and the most worthy thing that Truth produces. | |
| From: Michel de Montaigne (Apology for Raymond Sebond [1580], p.0493) | |
| A reaction: A long way from Tarski and minimalist theories of truth! But not so far from pragmatism. Personally I think Montaigne is making an important claim, which virtue theorists should be attempting to incorporate into their theory. Aristotle would sympathise. |
| 6262 | We lack some sense or other, and hence objects may have hidden features [Montaigne] |
| Full Idea: We may all lack some sense or other; because of that defect, most of the features of objects may be concealed from us. | |
| From: Michel de Montaigne (Apology for Raymond Sebond [1580], p.0666) | |
| A reaction: This strikes me as simple, straightforward common sense, and right. I cannot make sense of the claim that reality really is just the way it appears. We do not have a built-in neutrino detector, for example. |
| 21958 | Appearances are nothing beyond representations, which is transcendental ideality [Moore,AW] |
| Full Idea: Appearances in general are nothing outside our representations, which is just what we mean by transcendental ideality. | |
| From: A.W. Moore (The Evolution of Modern Metaphysics [2012], B535/A507) |
| 6260 | Sceptics say there is truth, but no means of making or testing lasting judgements [Montaigne] |
| Full Idea: Pyrrhonians say that truth and falsehood exist; within us we have means of looking for them, but not of making any lasting judgements: we have no touchstone. | |
| From: Michel de Montaigne (Apology for Raymond Sebond [1580], p.0564) | |
| A reaction: This states the key difference between sceptics and relativists. The latter are more extreme as they say there is no such thing as truth. The former concede truth, and their scepticism is about the abilities of human beings. I am an anti-relativist. |
| 6261 | The soul is in the brain, as shown by head injuries [Montaigne] |
| Full Idea: The seat of the powers of the soul is in the brain, as is clearly shown by the fact that wounds and accidents affecting the head immediately harm the faculties of the soul. | |
| From: Michel de Montaigne (Apology for Raymond Sebond [1580], p.0614) | |
| A reaction: At last someone has finally got the facts clear. It seems surprising that the Greeks never clearly grasped this piece of irrefutable evidence - even those Greeks who speculated that the brain was the key. Here we have a fixed fact of philosophy of mind. |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| Full Idea: Wimsatt and Beardsley claimed that either the intention succeeded, so one does not need to look outside the work for its meaning, or the intention failed, so external evidence does not help. | |
| From: report of W Wimsatt/W Beardsley (The Intentional Fallacy [1946]) by Stephen Davies - The Philosophy of Art (2nd ed) 5.3 | |
| A reaction: Actually, the external evidence may tell you much more clearly and accurately what the intention was than the work itself does. The best example may be the title of the work, which is presumably outside the work. |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| Full Idea: The design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: This famous proposal may have been misunderstood. Note that it is a comment about judging the work, not about understanding it. The idea allows for a work being much more successful than the author's humble intentions (e.g. Pepys). |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| Full Idea: Poetry differs from practical messages, which are successful if and only if we correctly infer the intention. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: I am not convinced by this claim. It is plausible that a work does much more than it intends (Astaire said he danced "to make a buck"), but it is rather odd to rate very highly a work of which you have missed the point. |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| Full Idea: We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: Wrong. If in Browning's "My Last Duchess" (say), we only inferred the mind of the speaker (and his Duchess), and took no interest in Browning's view of things, we would miss the point. We might end up respecting the Duke, which would be daft. |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| Full Idea: The intentional fallacy is a romantic one. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §II) | |
| A reaction: Wrong. Even with those most famous of anonymous artists, the architects and carvers of medieval cathedrals, without some discernment of the purpose you won't get it. The Taj Mahal is a love letter, not a potential ice cream parlour. |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |
| Full Idea: The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §IV) | |
| A reaction: I am very keen to penetrate the author's intentions, but I have always be doubtful about the use of biography as a means to achieve this. Most of the effort to infer intentions must come from a study of the work itself, not introductions, letters etc. |