25 ideas
| 22338 | An unexamined life can be virtuous [Murdoch] |
| Full Idea: An unexamined life can be virtuous. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], I) | |
| A reaction: Nice. A firm rejection of the intellectualist view of virtue, to which most Greeks subscribed. Jesus would have liked this one. |
| 22337 | Philosophy must keep returning to the beginning [Murdoch] |
| Full Idea: Philosophy has in a sense to keep trying to return to the beginning. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], I) | |
| A reaction: This is a sign that philosophy is not like other subjects, and indicates that although the puzzles are not solved, they won't go away. Also that, unlike most other subjects, the pre-suppositions are not part of the subject. |
| 23563 | Philosophy moves continually between elaborate theories and the obvious facts [Murdoch] |
| Full Idea: There is a two-way movement in philosophy, a movement towards the building of elaborate theories, and a move back again towards the consideration of simple and obvious facts. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], I) | |
| A reaction: Nice. Without the theories there is no philosophy, but without continual reference back to the obvious facts the theories are worthless. |
| 21793 | Genuine truth is the resolution of the highest contradiction [Hegel] |
| Full Idea: The highest truth, truth as such, is the resolution of the highest opposition and contradiction. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 99), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Art' | |
| A reaction: Uneasy about the word 'highest', and the general Hegelian dream of 'resolving' contradictions, rather than just eliminating at least one component of them. No one else uses the word 'truth' like this. I suppose this Truth has a capital 'T'. |
| 21795 | What I hold true must also be part of my feelings and character [Hegel] |
| Full Idea: Whatever I hold as true, whatever ought to be valid for me, must also be in my feeling, must belong to my being and character. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 97), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Philosophy' | |
| A reaction: I can see that truths do tend to become part of our character, but not that they ought to do so. I suppose I try to live my life enmeshed in the many truths which I have personally selected from the maelstrom of possibilities that engulf us. |
| 18549 | Nineteenth century aesthetics focused on art rather than nature (thanks to Hegel) [Hegel, by Scruton] |
| Full Idea: Only In the course of the nineteenth century, and in the wake of Hegel's posthumously published lectures on aesthetics, did the topic of art come to replace that of natural beauty as the core subject-matter of aesthetics. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826], 5) by Roger Scruton - Beauty: a very short introduction |
| 22043 | Hegel largely ignores aesthetic pleasure, taste and beauty, and focuses on the meaning of artworks [Hegel, by Pinkard] |
| Full Idea: Unlike his predecessors (including Kant), Hegel does not focus on aesthetic pleasure, nor on good taste, nor even on the nature and criteria for beauty. Instead he focuses on the meaning of artworks and their role in forming mankind's self-consciousness. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Personally I dislike over-intellectualising art. The aim of a work of art is to give a certain experience, not to generate an ensuing sequence of theorising. I doubt whether Vermeer had any 'meaning' in mind in his obsessive work. |
| 22042 | Natural beauty is unimportant, because it doesn't show human freedom [Hegel, by Pinkard] |
| Full Idea: Hegel thinks that natural beauty is of no real significance since it cannot display our freedom to us; nature per se is meaningless. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Presumably freedom is in the creation, and so creativity is what matters in aesthetics. But what are the criteria of good creativity? |
| 20413 | For Hegel the importance of art concerns the culture, not the individual [Hegel, by Eldridge] |
| Full Idea: Hegel locates the significance of art in its role in cultural life in general, not in relation to the psychological needs of individuals. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Richard Eldridge - G.W.F. Hegel (aesthetics) 1 | |
| A reaction: I'm beginning to see that art is a wonderful focus and test case for political attitudes. Roughly, liberalism focuses on individual responses, but more societal views (from right and left) see it in terms of role in the community. Which are you? |
| 22341 | Literature is the most important aspect of culture, because it teaches understanding of living [Murdoch] |
| Full Idea: The most essential and fundamental aspect of culture is the study of literature, since this is an education in how to picture and understand human situations. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], i) | |
| A reaction: It is significant that literature belongs more clearly to a nation or community than does most music or painting. You learn about Russians from their literature, but not much from their music. |
| 20394 | The purpose of art is to reveal to Spirit its own nature [Hegel, by Davies,S] |
| Full Idea: According to Hegel, the goal of art was to serve as a phase in a process by which Spirit would come to understand its own nature. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Stephen Davies - The Philosophy of Art (2nd ed) 2.7 | |
| A reaction: I try very hard to understand ideas like this. Really really hard. However, since I see little sign of 'Spirit' really understanding its own nature, I'm guessing that the project is not going well. |
| 21794 | The main purpose of art is to express the unity of human life [Hegel] |
| Full Idea: Art's primary function, for Hegel, is to give expression to the unity and wholeness of life - especially human life - that the contingencies of everyday existence frequently conceal. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826]), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Beauty' | |
| A reaction: I don't find the view that human life is 'unified' and 'whole' vary illuminating, and I have no objection to art which reflects the fragmentary and unstable aspects of life. I suspect Hegel would just prefer it if life were a unity. |
| 20415 | Art forms a bridge between the sensuous world and the world of pure thought [Hegel] |
| Full Idea: Spirit generates out of itself works of fine art as the first reconciling middle term between pure thought and what is merely external, sensuous and transient - between finite natural reality and the infinite freedom of conceptual thinking. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], p.8), quoted by Richard Eldridge - G.W.F. Hegel (aesthetics) | |
| A reaction: This apparently says that there is necessarily an intellectual and conceptual component in art. This means little to me. Does he include portraits? Dutch domestic scenes? Would photography qualify? |
| 22347 | Appreciating beauty in art or nature opens up the good life, by restricting selfishness [Murdoch] |
| Full Idea: The appreciation of beauty in art or nature is not only the easiest available spiritual exercise; it is also a completely adequate entry into (and not just analogy of) the good life, since it checks selfishness in the interest of seeing the real. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], II) | |
| A reaction: Not keen on 'spiritual' exercises, but I very much like 'seeing the real' as a promotion of the good life. The hard bit is to know what reality you are seeing in a work of art. [p.84] Her example is the sudden sight of a hovering kestrel. |
| 22339 | Love is a central concept in morals [Murdoch] |
| Full Idea: Love is a central concept in morals. ....[p.30] The central concept of morality is 'the individual' thought of as knowable by love, thought of in the light of the command 'Be ye therefore perfect'. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], I) | |
| A reaction: This seems to be a critique of the chillier aspects of utilitarianism and Kantian duty. Love doesn't seem essential to Aristotle's concept of virtue either, and Murdoch's tradition seems to be Christian. I'm undecided about this idea. |
| 22348 | Ordinary human love is good evidence of transcendent goodness [Murdoch] |
| Full Idea: Is not ordinary human love ...striking evidence of a transcendental principle of good? | |
| From: Iris Murdoch (The Sovereignty of Good [1970], II) | |
| A reaction: Sorry to be mean, but I would say not. Love is tied up with sexual desire, and with family and tribal loyalty, and can be observed in quite humble animals. (Love, I should quickly add, is a very good thing indeed. Really). |
| 22343 | If I attend properly I will have no choices [Murdoch] |
| Full Idea: If I attend properly I will have no choices, and this is the ultimate condition to be aimed at. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], I) | |
| A reaction: I take it this is an expression of what we now call Particularism. It is not just that every moral situation is subtly morally different, but that the particulars of the situation will lead directly to moral choices (in a 'healthy' agent). |
| 22349 | Art trains us in the love of virtue [Murdoch] |
| Full Idea: The enjoyment of art is a training in the love of virtue. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], III) | |
| A reaction: Very Aristotelian to talk of 'training'. Unfortunately it is children who have the greatest need for training, but most art is aimed at mature adults. Can you be too old to be trained by art, even if you enjoy it? |
| 22340 | It is hard to learn goodness from others, because their virtues are part of their personal history [Murdoch] |
| Full Idea: It is the historical, individual, nature of the virtues as actually exemplified which makes it difficult to learn goodness from another person. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], I) | |
| A reaction: A penetrating remark, which strikes me as true. When confronted with a virtuous person you might want to acquire their virtue, just as you might want them to teach you algebra, but their virtues are too bound up with their individuality. |
| 22350 | Only trivial virtues can be possessed on their own [Murdoch] |
| Full Idea: It would be impossible to have only one virtue, unless it were a very trivial one such as thrift. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], III) | |
| A reaction: A nicely nuanced commitment to the unity of virtue. You might exhibit courage alone in a brute animal way, but the sort of courage we all admire is part of more extended virtues. |
| 22346 | Moral reflection and experience gradually reveals unity in the moral world [Murdoch] |
| Full Idea: Reflection rightly tends to unify the moral world, and increasing moral sophistication reveals increasing unity. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], II) | |
| A reaction: As an example she suggests asking what is the best type of courage. Connections to other virtues will emerge. That is a persuasive example. We all have strong views on what type of courage is the most admirable. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |
| 22342 | Kantian existentialists care greatly for reasons for action, whereas Surrealists care nothing [Murdoch] |
| Full Idea: What may be called the Kantian wing and the Surrealist wing of existentialism may be distinguished by the degree of their interest in reasons for action, which diminishes to nothing at the Surrealist end. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], I) | |
| A reaction: Presumably for all existentialists moral decisions are the most important aspect of life, since they define what you are, but the Surrealist wing seem to be nihilists about that, so they barely count as existentialists. For them life is sleepwalking. |
| 22351 | Only a philosopher might think choices create values [Murdoch] |
| Full Idea: The ordinary person does not, unless corrupted by philosophy, believe that he creates values by his choices. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], III) | |
| A reaction: This looks like a swipe at Nietzsche, more than anyone. Sartre and co talk less about values, other than authenticity. Philosophy can definitely be corrupting. |
| 22345 | Moral philosophy needs a central concept with all the traditional attributes of God [Murdoch] |
| Full Idea: God was (or is) a single perfect transcendent non-representable and necessarily real object of attention. ....Moral philosophy should attempt to retain a central concept which has all these characteristics. | |
| From: Iris Murdoch (The Sovereignty of Good [1970], II) | |
| A reaction: This is a combination of middle Platonism (which sees the Form of the Good as the mind of God) and G.E. Moore's indefinable ideal of goodness. Murdoch connects this suggestion with the centrality of love in moral philosophy. I disagree. |