10 ideas
| 22098 | Socrates neglects the gap between knowing what is good and doing good [Kierkegaard, by Carlisle] |
| Full Idea: There is a fundamental weakness in Socrates, that he does not take into account the gap between knowing what is good and actually putting this into action. | |
| From: report of Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: This rejects Socrates's intellectualism about weakness of will. It is perhaps a better criticism that Aristotle's view that desires sometimes overcome the will. It is also the problem of motivation in Kantian deontology. Or utilitarianism. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 22096 | Anxiety is not a passing mood, but a response to human freedom [Kierkegaard, by Carlisle] |
| Full Idea: For Kierkegaard anxiety is not simply a mood or an emotion that certain people experience at certain times, but a basic response to freedom that is part of the human condition. | |
| From: report of Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: Outside of Christianity, this may be Kierkegaard's most influential idea - since existential individualism is floating around in the romantic movement. But the Byronic hero experiences a sort of anxiety. If you can't face anxiety, become a monk or nun. |
| 22097 | The ultimate in life is learning to be anxious in the right way [Kierkegaard] |
| Full Idea: Every human being must learn to be anxious in order that he might not perish either by never having been in anxiety or by succumbing in anxiety. Whoever has learned to be anxious in the right way has learnt the ultimate. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.154), quoted by Clare Carlisle - Kierkegaard: a guide for the perplexed 5 | |
| A reaction: I think this is the most existentialist quotation I have found in Kierkegaard. It sounds circular. You must be in anxiety because otherwise you won't be able to cope with anxiety? I suppose anxiety is facing up to his concept of truth. |
| 21909 | Ultimate knowledge is being anxious in the right way [Kierkegaard] |
| Full Idea: Whoever learns to be anxious in the right way has learned the ultimate. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.187), quoted by Alastair Hannay - Kierkegaard 06 | |
| A reaction: This shows us that Kierkegaard had a rather bizarre mental life which the rest of us have little chance of penetrating. I'll have a go at cataloguing my types of anxiety, but I'm not hopeful. |
| 20758 | Anxiety is staring into the yawning abyss of freedom [Kierkegaard] |
| Full Idea: One may liken anxiety to dizziness. He whose eyes chance to look down into a yawning abyss becomes dizzy. Anxiety is the dizziness of freedom which is when freedom gazes down into its own possibility, grasping at finiteness to sustain itself. | |
| From: Søren Kierkegaard (The Concept of Dread (/Anxiety) [1844], p.55), quoted by Kevin Aho - Existentialism: an introduction 6 'Moods' | |
| A reaction: Most of us rapidly retreat from the thought of the infinity of things we might choose. Choosing bizarrely merely to assert one's freedom is simple stupidity. |