16 ideas
| 16252 | Metaphysics uses empty words, or just produces pseudo-statements [Carnap] |
| Full Idea: Since metaphysics doesn't want to assert analytic propositions, nor fall within the domain of physical science, it is compelled to employ words for which no criteria of application are specified, ..or else combine meaningful words..into pseudo-statements. | |
| From: Rudolph Carnap (Elimination of Metaphysics by Analysis of Language [1959]), quoted by Tim Maudlin - The Metaphysics within Physics 2.4 | |
| A reaction: A classic summary of the logical positivist rejection of metaphysics. I incline to treat metaphysics as within the domain of science, but at a level of generality so high that practising scientists become bewildered and give up. |
| 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. |
| 7590 | Consequentialism emphasises value rather than obligation in morality [Scruton] |
| Full Idea: According to consequentialism, the fundamental concept of morality is not obligation (deontological ethics) but value (axiological ethics). | |
| From: Roger Scruton (A Dictionary of Political Thought [1982], 'consequentialism') | |
| A reaction: These two views could come dramatically apart, in wartime, or in big ecological crises, or in a family breakup, or in religious disputes. Having identified the pair so clearly, why can we not aim for a civilised (virtuous) balance between the two? |
| 7589 | Altruism is either emotional (where your interests are mine) or moral (where they are reasons for me) [Scruton] |
| Full Idea: Two distinct motives go by the name of altruism: the emotions of liking, love and friendship, making another's interest automatically mine; and the moral motive of respect or considerateness, where another's interests become reasons for me, but not mine. | |
| From: Roger Scruton (A Dictionary of Political Thought [1982], 'altruism') | |
| A reaction: The second one has a strongly Kantian flavour, with its notion of impersonal duty. Virtue theorists will aspire to achieve the first state rather than the second, because good actions are then actively desired, and give pleasure to the doer. |
| 7595 | The idea of a right seems fairly basic; justice may be the disposition to accord rights to people [Scruton] |
| Full Idea: The idea of a right seems to be as basic as any other; we might even define justice in terms of it, as the disposition to accord to every person his rights. | |
| From: Roger Scruton (A Dictionary of Political Thought [1982], 'rights') | |
| A reaction: I am inclined to think that a set of fairly pure values (such as equality, kindness, sympathy, respect) must be in place before the idea of a right would occur to anyone. Aristotle has a powerful moral sense, but rights for slaves don't cross his mind. |
| 7588 | Allegiance is fundamental to the conservative view of society [Scruton] |
| Full Idea: Conservatives have made the concept of allegiance, conceived as a power, fundamental to their description of the experience of society | |
| From: Roger Scruton (A Dictionary of Political Thought [1982], 'allegiance') | |
| A reaction: This provokes the famous slogan of "My country - right or wrong!" However, the issue here is not going to be decided by a consequentialist analysis, but by a view a of human nature. I think I would want to carefully prise allegiance apart from loyalty. |
| 7594 | Democrats are committed to a belief and to its opposite, if the majority prefer the latter [Scruton] |
| Full Idea: The paradox of democracy (emphasised by Rousseau) is that I am compelled by my belief in democracy to embrace conflicting - perhaps even contradictory - opinions. If I believe A, and the majority vote for B, I am committed to enacting them both. | |
| From: Roger Scruton (A Dictionary of Political Thought [1982], 'paradox of democracy') | |
| A reaction: The paradox would have to be resolved by qualifying what exactly one is committed to by being a democrat. I would say I am committed to the right of my opponents to enact a policy with which I disagree. |
| 7593 | Liberals focus on universal human freedom, natural rights, and tolerance [Scruton, by PG] |
| Full Idea: Liberalism believes (roughly) in the supremacy of the individual, who has freedom and natural rights; it focuses on human, not divine affairs; it claims rights and duties are universal; and it advocates tolerance in religion and morality. | |
| From: report of Roger Scruton (A Dictionary of Political Thought [1982], 'liberalism') by PG - Db (ideas) | |
| A reaction: I find it hard to disagree with these principles, but the upshot in practice is often an excessive commitment to freedom and tolerance, because people fail to realise the subtle long-term erosions of society that can result. |
| 7592 | For positivists law is a matter of form, for naturalists it is a matter of content [Scruton] |
| Full Idea: For the positivist, law is law by virtue of its form; for the naturalist, by virtue of its content. | |
| From: Roger Scruton (A Dictionary of Political Thought [1982], 'law') | |
| A reaction: Clearly a perverse and 'unnatural' social rule (backed by government and implied force) is a 'law' in some sense of the word. It is hard to see how you could gain social consensus for a law if it didn't appear in some way to be 'natural justice'. |
| 7587 | The issue of abortion seems insoluble, because there is nothing with which to compare it [Scruton] |
| Full Idea: The issue of abortion is intractable, partly because of the absence of any other case to which it can be assimilated. | |
| From: Roger Scruton (A Dictionary of Political Thought [1982], 'abortion') | |
| A reaction: This is the legalistic approach to the problem, which always looks for precedents and comparisons. All problems must hav solutions, though (mustn't they?). The problem, though, is not the value of the foetus, but the unique form of 'ownership'. |