10 ideas
| 20947 | Thoughts are learnt through words, so language shows the limits and shape of our knowledge [Herder] |
| Full Idea: If it is true that we cannot think without thoughts, and that we learn to think through words: then language gives the whole of human knowledge its limits and outline. | |
| From: Johann Gottfried Herder (On Recent German Literature. Fragments [1767], p.373), quoted by Andrew Bowie - Introduction to German Philosophy | |
| A reaction: Deomonstrating that Frege's famous 1884 'linguistic turn', immortalised by Dummett, was actually the continuation of a long focus on language in German philosophy. Non-verbal animals very obviously think. |
| 15990 | Every individual thing which exists has an essence, which is its internal constitution [Locke] |
| Full Idea: I take essences to be in everything that internal constitution or frame for the modification of substance, which God in his wisdom gives to every particular creature, when he gives it a being; and such essences I grant there are in all things that exist. | |
| From: John Locke (Letters to Edward Stillingfleet [1695], Letter 1), quoted by Simon Blackburn - Quasi-Realism no Fictionalism | |
| A reaction: This is the clearest statement I have found of Locke's commitment to essences, for all his doubts about whether we can know such things. Alexander says (ch.13) Locke was reacting against scholastic essence, as pertaining to species. |
| 15994 | If it is knowledge, it is certain; if it isn't certain, it isn't knowledge [Locke] |
| Full Idea: What reaches to knowledge, I think may be called certainty; and what comes short of certainty, I think cannot be knowledge. | |
| From: John Locke (Letters to Edward Stillingfleet [1695], Letter 2), quoted by Simon Blackburn - Quasi-Realism no Fictionalism | |
| A reaction: I much prefer that fallibilist approach offered by the pragmatists. Knowledge is well-supported belief which seems (and is agreed) to be true, but there is a small shadow of doubt hanging over all of it. |
| 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!). |
| 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. |