13 ideas
| 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. |
| 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. |
| 22445 | Morality shows murder is wrong, but not what counts as a murder [Foot] |
| Full Idea: While one can determine from the concept of morality that there is an objection to murder one cannot determine completely what will count as murder. | |
| From: Philippa Foot (Morality and Art [1972], p.7) | |
| A reaction: She then refers to abortion, but there are military and criminal problem cases, and killings by neglect or side effect. |
| 22444 | A moral system must deal with the dangers and benefits of life [Foot] |
| Full Idea: A moral system seems necessarily to be one aimed at removing particular dangers and securing certain benefits. | |
| From: Philippa Foot (Morality and Art [1972], p.6) | |
| A reaction: I thoroughly approve of this approach to morality, which anchors it in real life, rather than in ideals or principles of reason. |
| 22447 | Saying something 'just is' right or wrong creates an illusion of fact and objectivity [Foot] |
| Full Idea: When we say that something 'just is' right or wrong we want to give the impression of some kind of fact or authority standing behind our words, ...maintaining the trappings of objectivity though the substance is not there. | |
| From: Philippa Foot (Morality and Art [1972], p.9) | |
| A reaction: Foot favours the idea that such a claim must depend on reasons, and that the reasons arise out of actual living. She's right. |
| 22448 | We sometimes just use the word 'should' to impose a rule of conduct on someone [Foot] |
| Full Idea: It would be more honest to recognise that the 'should' of moral judgement is sometimes merely an instrument by which we (for our own very good reasons) try to impose a rule of conduct even on the uncaring man? | |
| From: Philippa Foot (Morality and Art [1972], p.18) | |
| A reaction: This is a good example, I think, of the ordinary language tradition that Foot grew up in. We load a word like 'should' with a mystical power, but the situations in which it is actually used bring us back down to earth. |
| 22446 | In the case of something lacking independence, calling it a human being is a matter of choice [Foot] |
| Full Idea: In the problem of abortion there is a genuine choice as to whether or not to count as a human being, with the rights of a human being, what would become a human being but is not yet capable of independent life. | |
| From: Philippa Foot (Morality and Art [1972], p.7) | |
| A reaction: There must be some basis for the choice. We can't call a dead person a human being. Choosing to call a tiny zygote a human being seems very implausible. Pre-viability strikes me as implausible. |