10 ideas
| 20771 | Six parts: dialectic, rhetoric, ethics, politics, physics, theology [Cleanthes, by Diog. Laertius] |
| Full Idea: Cleanthes says there are six parts: dialectic, rhetoric, ethics, politics, physics, and theology. | |
| From: report of Cleanthes (fragments/reports [c.270 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 07.41 | |
| A reaction: This was a minority view, as most stoics agreed with Zeno and Chrysippus that there are three main topics. Nowadays there is little discussion of the 'parts' of philosophy, but the recent revival of meta-philosophy should encourage it. |
| 6028 | Bodies interact with other bodies, and cuts cause pain, and shame causes blushing, so the soul is a body [Cleanthes, by Nemesius] |
| Full Idea: Cleanthes says no incorporeal interacts with a body, but one body interacts with another body; the soul interacts with the body when it is sick and being cut, and the body feels shame and fear, and turns red or pale, so the soul is a body. | |
| From: report of Cleanthes (fragments/reports [c.270 BCE]) by Nemesius - De Natura Hominis 78,7 | |
| A reaction: This is precisely the interaction problem with dualism, or, as we might now say, the problem of mental causation. The standard Stoic view is that the soul is a sort of rarefied fire, which disperses at death. |
| 20831 | The soul suffers when the body hurts, creates redness from shame, and pallor from fear [Cleanthes] |
| Full Idea: Nothing incorporeal shares an experience with a body …but the soul suffers with the body when it is ill and when it is cut, and the body suffers with the soul - when the soul is ashamed the body turns red, and pale when the soul is frightened. | |
| From: Cleanthes (fragments/reports [c.270 BCE]), quoted by Nemesius - De Natura Hominis 2 | |
| A reaction: Aha - my favourite example of the corporeal nature of the mind - blushing! It is the conscious content of the thought which brings blood to the cheeks. |
| 12163 | Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton] |
| Full Idea: We must discover the meanings that emerge when works of literature are experience in relation to each other. ...The importance of tradition is that it denotes - ideally, at least - the class of relevant comparisons. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.27) | |
| A reaction: This is a nice attempt to explain why we all agree that a thorough education in an art is an essential prerequisite for good taste. Some people (e.g. among the young) seem to have natural good taste. How does that happen? |
| 12162 | In literature, word replacement changes literary meaning [Scruton] |
| Full Idea: In literary contexts semantically equivalent words cannot replace each other without loss of literary meaning. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.25) | |
| A reaction: The notion of 'literary meaning' is not a standard one, and is questionable whether 'meaning' is the right word, given that a shift in word in a poem is as much to do with sound as with connotations. |
| 12159 | Without intentions we can't perceive sculpture, but that is not the whole story [Scruton] |
| Full Idea: A person for whom it made no difference whether a sculpture was carved by wind and rain or by human hand would be unable to interpret or perceive sculptures - even though the interpretation of sculpture is not the reading of an intention. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.15) | |
| A reaction: Scruton compares it to the role of intention in language, where there is objective meaning, even though intention is basic to speech. |
| 12160 | In aesthetic interest, even what is true is treated as though it were not [Scruton] |
| Full Idea: In aesthetic interest, even what is true is treated as though it were not. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.18) | |
| A reaction: A nice aphorism. I always feel uncomfortable reading novels about real people, although the historical Macbeth doesn't bother me much. Novels are too close to reality. Macbeth didn't speak blank verse. |
| 12161 | We can be objective about conventions, but love of art is needed to understand its traditions [Scruton] |
| Full Idea: An historian can elucidate convention while having no feeling for the art that exploits it; whereas an understanding of tradition is reserved for those with the critical insight which comes from the love of art, both past and present. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.24) | |
| A reaction: This aesthetic observation is obviously close to Scruton's well-known conservatism in politics. I am doubtful whether the notion of 'tradition' can stand up to close examination, though we all know roughly what he means. |
| 5993 | The ascending scale of living creatures requires a perfect being [Cleanthes, by Tieleman] |
| Full Idea: Cleanthes tried to prove the existence of God, arguing that the ascending scale of living creatures requires there to be a perfect being. | |
| From: report of Cleanthes (fragments/reports [c.270 BCE]) by Teun L. Tieleman - Cleanthes | |
| A reaction: Not a very good argument. Even if you accept its basic claim, it is not clear what has to exist. A perfect tree? If the being transcends the physical (in order to achieve perfection), does it cease to be a 'being'? |
| 3029 | Stilpo said if Athena is a daughter of Zeus, then a statue is only the child of a sculptor, and so is not a god [Stilpo, by Diog. Laertius] |
| Full Idea: Stilpo asked a man whether Athena is the daughter of Zeus, and when he said yes, said,"But this statue of Athena by Phidias is the child of Phidias, so it is not a god." | |
| From: report of Stilpo (fragments/reports [c.330 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.10.5 |