16 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. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 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! |