10 ideas
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 20482 | Virtue inspires Stoics, but I want a good temperament [Montaigne] |
| Full Idea: What Stoics did from virtue I teach myself to do from temperament. | |
| From: Michel de Montaigne (III.10 On Restraining your Will [1580], p.1153) | |
| A reaction: I take this to be an Aristotelian criticism of Stoicism. They venerate virtue above everything, but Aristotle says you must integrate virtue into your very being, so that right actions flow from you, with very little need for premeditation. |
| 20480 | There is not much point in only becoming good near the end of your life [Montaigne] |
| Full Idea: It is almost better never to become a good man at all than to do so tardily, understanding how to live when you have no life left. | |
| From: Michel de Montaigne (III.10 On Restraining your Will [1580], p.1142) | |
| A reaction: A very nice perspective, which I don't recall Aristotle mentioning. It does, though, reinforce Aristotle's belief that early training is essential. |
| 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'). |
| 20481 | Nothing we say can be worse than unsaying it in the face of authority [Montaigne] |
| Full Idea: Nothing which a gentleman says can seem worse than the shame of his unsaying it under duress from authority. | |
| From: Michel de Montaigne (III.10 On Restraining your Will [1580], p.1153) | |
| A reaction: The point is that you have to fight every day for free speech, because no matter what the law says, there are always people in power who want to shut you up. |
| 20479 | People at home care far more than soldiers risking death about the outcome of wars [Montaigne] |
| Full Idea: How many soldiers put themselves at risk every day in wars which they care little about, rushing into danger in battles the loss of which will not make them lose a night's sleep. Meanwhile a man at home is more passionate about the war than the soldier. | |
| From: Michel de Montaigne (III.10 On Restraining your Will [1580], p.1139) | |
| A reaction: It depends whether you are a mercenary (which the majority probably were in 1680), and what are the implications of defeat. |