10 ideas
| 13083 | The essence is the necessary properties, and the concept includes what is contingent [Leibniz] |
| Full Idea: Of the essence of a particular thing is what pertains to it necessarily and perpetually; of the concept of an individual thing on the other hand is what pertains to it contingently or per accidens. | |
| From: Gottfried Leibniz (Human Freedom and Divine choice [1690], Grua 383), quoted by Cover,J/O'Leary-Hawthorne,J - Substance and Individuation in Leibniz 3.3.1 | |
| A reaction: This arbitrates on the apparent conflict between his remarks in Idea 13077 and Idea 10382. There seems to be a distinction between the 'concept' of a thing, and the 'complete concept', the latter including the contingent properties. |
| 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. |
| 5049 | Intelligent pleasure is the perception of beauty, order and perfection [Leibniz] |
| Full Idea: An intelligent being's pleasure is simply the perception of beauty, order and perfection. | |
| From: Gottfried Leibniz (A Résumé of Metaphysics [1697], §18) | |
| A reaction: Leibniz seems to have inherited this from the Greeks, especially Pythagoras and Plato. Buried in Leibniz's remark I see the Christian fear of physical pleasure. He should have got out more. Must an intelligent being always be intelligent? |
| 5048 | Perfection is simply quantity of reality [Leibniz] |
| Full Idea: Perfection is simply quantity of reality. | |
| From: Gottfried Leibniz (A Résumé of Metaphysics [1697], §11) | |
| A reaction: An interesting claim, but totally beyond my personal comprehension. I presume he inherited 'quantity of reality' from Plato, e.g. as you move up the Line from shadows to Forms you increase the degree of reality. I see 'real' as all-or-nothing. |
| 5050 | Evil serves a greater good, and pain is necessary for higher pleasure [Leibniz] |
| Full Idea: Evils themselves serve a greater good, and the fact that pains are found in minds is necessary if they are to reach greater pleasures. | |
| From: Gottfried Leibniz (A Résumé of Metaphysics [1697], §23) | |
| A reaction: How much pain is needed to qualify for the 'greater pleasures'? Some people receive an awful lot. I am not sure exactly how an evil can 'serve' a greater good. Is he recommending evil? |