13 ideas
| 16066 | Additional or removal of any part changes a thing, so people are never the same person [Epicharmus] |
| Full Idea: If you add or take away a pebble, the same number does not remain. If you add to a length or cut off from it, the former measure does not remain. So human beings grow or waste away. Both you and I were, and shall be, other men. | |
| From: Epicharmus (comedies (frags) [c.470 BCE], B02), quoted by Diogenes Laertius - Lives of Eminent Philosophers 03.12 | |
| A reaction: [The original is in dialogue form from a play. The context is a joke about not paying a debt.] Note the early date for this metaphysical puzzle. My new favourite reply is Chrysippus's Idea 16059; identity actually requires change. |
| 436 | A dog seems handsome to another a dog, and even a pig to another pig [Epicharmus] |
| Full Idea: Dog seems very handsome to dog, and ox to ox, and donkey very handsome to donkey, and even pig to pig. | |
| From: Epicharmus (comedies (frags) [c.470 BCE], B05), quoted by (who?) - where? |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 442 | Pleasures are like pirates - if you are caught they drown you in a sea of pleasures [Epicharmus] |
| Full Idea: Pleasures for mortals are like impious pirates, for the man who is caught by pleasures is immediately drowned in a sea of them. | |
| From: Epicharmus (comedies (frags) [c.470 BCE], B44), quoted by (who?) - where? | |
| A reaction: Not all slopes are slippery. Plenty of people hold themselves to strict rules about alcohol or gambling. People have occasional treats. |
| 440 | Hands wash hands; give that you may get [Epicharmus] |
| Full Idea: The hand washes the hand; give something and you may get something. | |
| From: Epicharmus (comedies (frags) [c.470 BCE], B30), quoted by (who?) - where? |
| 441 | Against a villain, villainy is not a useless weapon [Epicharmus] |
| Full Idea: Against a villain, villainy is not a useless weapon. | |
| From: Epicharmus (comedies (frags) [c.470 BCE], B32), quoted by (who?) - where? |
| 439 | God knows everything, and nothing is impossible for him [Epicharmus] |
| Full Idea: Nothing escapes the divine, this you must realise. God himself is our overseer, and nothing is impossible for him. | |
| From: Epicharmus (comedies (frags) [c.470 BCE], B23), quoted by (who?) - where? |
| 16713 | Philosophers are the forefathers of heretics [Tertullian] |
| Full Idea: Philosophers are the forefathers of heretics. | |
| From: Tertullian (works [c.200]), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 20.2 |
| 6610 | I believe because it is absurd [Tertullian] |
| Full Idea: I believe because it is absurd ('Credo quia absurdum est'). | |
| From: Tertullian (works [c.200]), quoted by Robert Fogelin - Walking the Tightrope of Reason n4.2 | |
| A reaction: This seems to be a rather desperate remark, in response to what must have been rather good hostile arguments. No one would abandon the support of reason if it was easy to acquire. You can't deny its engaging romantic defiance, though. |
| 443 | Human logos is an aspect of divine logos, and is sufficient for successful living [Epicharmus] |
| Full Idea: Man has calculation, but there is also the divine logos. But human logos is sprung from the divine logos, and it brings to each man his means of life, and his maintenance. | |
| From: Epicharmus (comedies (frags) [c.470 BCE], B57), quoted by (who?) - where? |