25 ideas
| 192 | Only one thing can be contrary to something [Plato] |
| Full Idea: To everything that admits of a contrary there is one contrary and no more. | |
| From: Plato (Protagoras [c.380 BCE], 332c) | |
| A reaction: The sort of thing for which a modern philosopher would demand a proof (and then reject when the proof couldn't be found), where a Greek is happy to assert it as self-evident. I can't think of a counterexample. |
| 190 | If asked whether justice itself is just or unjust, you would have to say that it is just [Plato] |
| Full Idea: If someone asked me 'Is justice itself just or unjust?' I should answer that it was just, wouldn't you? I agree. | |
| From: Plato (Protagoras [c.380 BCE], 330c) |
| 20185 | The most important things in life are wisdom and knowledge [Plato] |
| Full Idea: It would be shameful indeed to say that wisdom and knowledge are anything but the most powerful forces in human activity. | |
| From: Plato (Protagoras [c.380 BCE], 352d) | |
| A reaction: He lumps wisdom and knowledge together, and I think we can take 'knowledge' to mean something like understanding, because obviously mere atomistic propositional knowledge can be utterly trivial. |
| 20184 | The only real evil is loss of knowledge [Plato] |
| Full Idea: The only real kind of faring ill is the loss of knowledge. | |
| From: Plato (Protagoras [c.380 BCE], 345b) | |
| A reaction: This must crucially involve the intellectualist view (of Socrates) that virtuos behaviour results from knowledge, and moral wickedness is the result of ignorance. It is hard to see how forgetting a phone number is evil. |
| 191 | Everything resembles everything else up to a point [Plato] |
| Full Idea: Everything resembles everything else up to a point. | |
| From: Plato (Protagoras [c.380 BCE], 331d) |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 203 | Courage is knowing what should or shouldn't be feared [Plato] |
| Full Idea: Knowledge of what is and is not to be feared is courage. | |
| From: Plato (Protagoras [c.380 BCE], 360d) |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 168 | To understand morality requires a soul [Plato] |
| Full Idea: Good and evil are meaningless to things that have no soul. | |
| From: Plato (Letter Seven [c.352 BCE], 334) | |
| A reaction: That is presumably psuché, and hence includes plants. Soulless things can still function well, but obviously that is not 'meaningful' to them. |
| 202 | No one willingly and knowingly embraces evil [Plato] |
| Full Idea: No one willingly goes to meet evil, or what he thinks is evil. | |
| From: Plato (Protagoras [c.380 BCE], 358d) | |
| A reaction: Presumably people who actively choose satanism can override this deep-seated attitude. But their adherence to evil usually seems to be rather restrained. A danger of tautology with ideas like this. |
| 193 | Some things are good even though they are not beneficial to men [Plato] |
| Full Idea: 'Do you mean by good those things that are beneficial to men?' 'Not only those. I call some things which are not beneficial good as well'. | |
| From: Plato (Protagoras [c.380 BCE], 333e) | |
| A reaction: Examples needed, but this would be bad news for utilitarians. Good health is not seen as beneficial if it is taken for granted. Not being deaf. |
| 197 | Some pleasures are not good, and some pains are not evil [Plato] |
| Full Idea: There are some pleasures which are not good, and some pains which are not evil. | |
| From: Plato (Protagoras [c.380 BCE], 351d) | |
| A reaction: Sadism and child birth. Though Bentham (I think) says that there is nothing good about the pain, since the event would obviously be better without it. |
| 200 | People tend only to disapprove of pleasure if it leads to pain, or prevents future pleasure [Plato] |
| Full Idea: The only reason the common man disapproves of pleasures is if they lead to pain and deprive us of future pleasures. | |
| From: Plato (Protagoras [c.380 BCE], 354a) | |
| A reaction: Plato has a strong sense that some pleasures are just innately depraved and wicked. If those pleasure don't hurt anyone, it is very hard to pinpoint what is wrong with them. |
| 188 | Socrates did not believe that virtue could be taught [Plato] |
| Full Idea: Socrates: I do not believe that virtue can be taught. | |
| From: Plato (Protagoras [c.380 BCE], 320b) |
| 204 | Socrates is contradicting himself in claiming virtue can't be taught, but that it is knowledge [Plato] |
| Full Idea: Socrates is contradicting himself by saying virtue is not teachable, and yet trying to demonstrate that every virtue is knowledge. | |
| From: Plato (Protagoras [c.380 BCE], 361b) |
| 189 | If we punish wrong-doers, it shows that we believe virtue can be taught [Plato] |
| Full Idea: Athenians inflict punishment on wrong-doers, which shows that they too think it possible to impart and teach goodness. | |
| From: Plato (Protagoras [c.380 BCE], 324c) |