20 ideas
| 22396 | We take courage, temperance, wisdom and justice as moral, but Aristotle takes wisdom as intellectual [Foot] |
| Full Idea: For us there are four cardinal moral virtues: courage, temperance, wisdom and justice. But Aristotle and Aquinas call only three of these virtues moral virtues; practical wisdom (phronesis, prudentia) they class with the intellectual virtues. | |
| From: Philippa Foot (Virtues and Vices [1978], p.2) | |
| A reaction: I'm not sure about 'for us'. How many of us rank temperance as a supreme virtue? Aristotle ranks phronesis (which I think of as 'common sense') as the key enabler of the moral virtues, making it unlike the other intellectual virtues. |
| 22397 | Wisdom is open to all, and not just to the clever or well trained [Foot] |
| Full Idea: Knowledge that can be acquired only by someone who is clever or who has access to special training is not counted as part of wisdom. | |
| From: Philippa Foot (Virtues and Vices [1978], p.6) | |
| A reaction: Consider Pierre's peasant friend Platon Karatayev in 'War and Peace'. I assume 'special training' rules out anyone with a philosophy degree. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 4871 | A thing is free if it acts only by the necessity of its own nature [Spinoza] |
| Full Idea: I say that a thing is free, which exists and acts solely by the necessity of its own nature. | |
| From: Baruch de Spinoza (Letter to G.H. Schaller [1674], 1674.10) | |
| A reaction: Of course, this isn't 'freedom' at all, but it seems to exactly right as an account of so-called freedom. In the case of a human being the 'necessity of our own nature' is character, and virtue and vice are the expressions of the necessities of character. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 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'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 22402 | Most people think virtues can be displayed in bad actions [Foot] |
| Full Idea: Hardly anyone sees any difficulty in the thought that virtues may sometimes be displayed in bad actions. The courage of the villain can be spoken of as quite unproblematic. | |
| From: Philippa Foot (Virtues and Vices [1978], III) | |
| A reaction: She cites Peter Geach as a sole opponent of this view. The courage of the entire German army in WWII seems to fall into this category. The boldness of villains has to impress the virtuous but timid. |
| 23145 | Virtues are intended to correct design flaws in human beings [Foot, by Driver] |
| Full Idea: A popular view (expressed by Philippa Foot) is that the virtues work to 'correct' for the baser human impulses and motives. …Virtues are solutions to design flaws in human beings. | |
| From: report of Philippa Foot (Virtues and Vices [1978]) by Julia Driver - The Virtues and Human Nature 1 | |
| A reaction: Quite a plausible thought. Not so much design flaws, though, as natural traits of character that suited hunter gatherers but not modern cosmopolitan capitalists. Driver disagrees. |
| 22401 | Actions can be in accordance with virtue, but without actually being virtuous [Foot] |
| Full Idea: Some actions are in accordance with virtue without requiring virtue for their performance, whereas others are both in accordance with virtue and such as to show possession of a virtue. | |
| From: Philippa Foot (Virtues and Vices [1978], p.13) | |
| A reaction: She cites the case of an honest trader, who is honest because of self-interest. She is disentangling Kant from his daft idea that only dutiful (and reluctant) actions are virtuous. Kant was only thinking of 'in accordance' cases. |
| 22398 | Virtues are corrective, to resist temptation or strengthen motivation [Foot] |
| Full Idea: The virtues are corrective, each one standing at a point at which there is some temptation to be resisted or deficiency of motivation to be made good. | |
| From: Philippa Foot (Virtues and Vices [1978], II) | |
| A reaction: A beautifully simple and accurate observation, which I don't remember meeting in Aristotle (...though she cites him as saying that virtues concern what is difficult for us). Justice and charity are given as examples of inadequate motivation. |
| 22403 | Temperance is not a virtue if it results from timidity or excessive puritanism [Foot] |
| Full Idea: In some people temperance is not a virtue, but is rather connected with timidity or with a grudging attitude to the acceptance of good things. | |
| From: Philippa Foot (Virtues and Vices [1978], III) | |
| A reaction: Timidity seems right. The grudging attitude may result from some larger doubts about pleasure, which could be plausible. |
| 22400 | Courage overcomes the fears which should be overcome, and doesn't overvalue personal safety [Foot] |
| Full Idea: The fears that count against a man's courage are those that we think he should overcome, and among them, in a special class, those that reflect the fact that he values his safety too much. | |
| From: Philippa Foot (Virtues and Vices [1978], II) | |
| A reaction: I think that sentence tells us more accurately what courage is than anything in Aristotle's discussion. Ask yourself which of your fears really ought to be overcome, and particularly beware of over-valuing your own safety. But stay safe if you can! |