70 ideas
| 15447 | We shouldn't always follow where the argument leads! [Lewis on Plato] |
| Full Idea: There comes a time not to go on following where the argument leads! | |
| From: comment on Plato (The Laws [c.348 BCE], 667b) by David Lewis - Against Structural Universals 'Variant' | |
| A reaction: Lewis is a fine one to talk, since he follows argument that take him past innumerable incredulous stares of onlookers. |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 243 | It is foolish to quarrel with the mind's own reasoning processes [Plato] |
| Full Idea: When the soul quarrels with knowledge or opinion or reason, its natural ruling principles, you have there what I call 'folly'. | |
| From: Plato (The Laws [c.348 BCE], 689b) |
| 241 | We ought to follow where the argument leads us [Plato] |
| Full Idea: We ought to follow where the argument leads us. | |
| From: Plato (The Laws [c.348 BCE], 667a) |
| 21264 | Mortals are incapable of being fully rational [Plato] |
| Full Idea: We mustn't assume that mortal eyes will ever be able to look upon reason and get to know it adequately. | |
| From: Plato (The Laws [c.348 BCE], 897d) | |
| A reaction: This is in the context of the rational control of the whole Cosmos. I presume Plato would be flabbergasted by the findings of recent physics and cosmology. Did Kant believe that he was being completely rational about ethics? |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 251 | Truth has the supreme value, for both gods and men [Plato] |
| Full Idea: Truth heads the list of all things good, for gods and men alike. | |
| From: Plato (The Laws [c.348 BCE], 730c) |
| 21259 | To grasp a thing we need its name, its definition, and what it really is [Plato] |
| Full Idea: There are three elements in any given thing: the first is what the object actually is, the second is the definition of this, and the third is the name. | |
| From: Plato (The Laws [c.348 BCE], 895d) | |
| A reaction: I take the importance of this to be its distinction between what it is, and the definition of what it is. Aristotle maintains this distinction, but some modern Aristotelians seem to get the confused. Plato worried a lot more about names than we do. |
| 21260 | Soul is what is defined by 'self-generating motion' [Plato] |
| Full Idea: The entity which we call 'soul' is precisely that which is defined by the expression 'self-generating motion'. | |
| From: Plato (The Laws [c.348 BCE], 896a) | |
| A reaction: We may suspect that he defines soul in this way for a particular context, aimed at proving the existence of a First Mover. He must think there is more to soul than the generation of movement. |
| 276 | My individuality is my soul, which carries my body around [Plato] |
| Full Idea: While I am alive I have nothing to thank for my individuality except my soul, whereas my body is just the likeness that I carry around with me. | |
| From: Plato (The Laws [c.348 BCE], 959a) |
| 19216 | Propositions (such as 'that dog is barking') only exist if their items exist [Williamson] |
| Full Idea: A proposition about an item exists only if that item exists... how could something be the proposition that that dog is barking in circumstances in which that dog does not exist? | |
| From: Timothy Williamson (Necessary Existents [2002], p.240), quoted by Trenton Merricks - Propositions | |
| A reaction: This is a view of propositions I can't make sense of. If I'm under an illusion that there is a dog barking nearby, when there isn't one, can I not say 'that dog is barking'? If I haven't expressed a proposition, what have I done? |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 249 | People who value beauty above virtue insult the soul by placing the body above it [Plato] |
| Full Idea: When a man values beauty above virtue, the disrespect he shows his soul is total and fundamental, because he argues that the body is more to be honoured than the soul. | |
| From: Plato (The Laws [c.348 BCE], 727e) |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 265 | An action is only just if it is performed by someone with a just character and outlook [Plato] |
| Full Idea: The description 'just' is applicable only to the benefit conferred or injury inflicted by someone with a just character and outlook. | |
| From: Plato (The Laws [c.348 BCE], 862b) | |
| A reaction: How should we describe the occasional administering of good justice by a generally wicked judge. Greeks focus on character, but moderns focus on actions. |
| 269 | Attempted murder is like real murder, but we should respect the luck which avoided total ruin [Plato] |
| Full Idea: An attempted murder should be treated like a successful one, but with respect shown for the luck which saved him from total ruin. | |
| From: Plato (The Laws [c.348 BCE], 877a) | |
| A reaction: The earliest reference to moral luck, I think. 'Repect' sounds vague, but it is asking judges to 'take it into consideration', which is quite practical. Attempted murderers are just as dangerous. |
| 240 | It would be strange if the gods rewarded those who experienced the most pleasure in life [Plato] |
| Full Idea: It would be strange if the gods gave the greatest rewards in heaven to those who led the most pleasant life, rather than the most just. | |
| From: Plato (The Laws [c.348 BCE], 662c) | |
| A reaction: All of philosophy is just footnotes to Plato.... See Idea 1454. |
| 264 | The conquest of pleasure is the noblest victory of all [Plato] |
| Full Idea: The conquest of pleasure is the noblest victory of all. | |
| From: Plato (The Laws [c.348 BCE], 840c) | |
| A reaction: Plato's puritanical streak. Even Aristotle doesn't agree with this. Self-control does not imply conquest of pleasure. Has a good professional wine taster conquered pleasure? |
| 263 | The only worthwhile life is one devoted to physical and moral perfection [Plato] |
| Full Idea: A life devoted to every physical perfection and every moral virtue is the only life worth the name. | |
| From: Plato (The Laws [c.348 BCE], 807c) |
| 4332 | Virtue is a concord of reason and emotion, with pleasure and pain trained to correct ends [Plato] |
| Full Idea: Virtue is the general concord of reason and emotion, but there is one key element, which is the correct formation of our feelings of pleasure and pain, which makes us hate what we ought to hate, and love what we ought to love. | |
| From: Plato (The Laws [c.348 BCE], 653c) | |
| A reaction: An important truth, taken up by Aristotle. To see another person humiliated gives some people pleasure and other people pain. |
| 248 | A serious desire for moral excellence is very rare indeed [Plato] |
| Full Idea: People who are anxious to attain moral excellence with all possible speed are pretty thin on the ground. | |
| From: Plato (The Laws [c.348 BCE], 718e) |
| 253 | Every crime is the result of excessive self-love [Plato] |
| Full Idea: The cause of each and every crime we commit is precisely this excessive love of ourselves. | |
| From: Plato (The Laws [c.348 BCE], 731e) |
| 235 | Virtue is the aim of all laws [Plato] |
| Full Idea: Virtue is the aim of the laws the legislator lays down. | |
| From: Plato (The Laws [c.348 BCE], 631a) |
| 277 | The Guardians must aim to discover the common element in the four cardinal virtues [Plato] |
| Full Idea: The guardians of the state should aim to get an exact idea of the common element in all the four virtues. | |
| From: Plato (The Laws [c.348 BCE], 965d) |
| 254 | Excessive laughter and tears must be avoided [Plato] |
| Full Idea: Excessive laughter and tears must be avoided. | |
| From: Plato (The Laws [c.348 BCE], 732c) |
| 266 | Injustice is the mastery of the soul by bad feelings, even if they do not lead to harm [Plato] |
| Full Idea: My general description of injustice is this: the mastery of the soul by anger, fear, pleasure, pain, envy and desires, whether they lead to actual damage or not. | |
| From: Plato (The Laws [c.348 BCE], 863e) |
| 242 | The best people are produced where there is no excess of wealth or poverty [Plato] |
| Full Idea: The community in which neither wealth nor poverty exists will produce the finest characters. | |
| From: Plato (The Laws [c.348 BCE], 679b) |
| 256 | Virtue and great wealth are incompatible [Plato] |
| Full Idea: Virtue and great wealth are quite incompatible. | |
| From: Plato (The Laws [c.348 BCE], 742e) |
| 245 | Totalitarian states destroy friendships and community spirit [Plato] |
| Full Idea: Excessively authoritarian government destroys all friendship and community of spirit in the state. | |
| From: Plato (The Laws [c.348 BCE], 697d) |
| 239 | Education in virtue produces citizens who are active but obedient [Plato] |
| Full Idea: Education in virtue produces a keen desire to become a perfect citizen who knows how to rule and be ruled as justice demands. | |
| From: Plato (The Laws [c.348 BCE], 643e) |
| 1402 | Friendship is impossible between master and slave, even if they are made equal [Plato] |
| Full Idea: Even if you proclaim that a master and a slave shall have equal status, friendship between them is inherently impossible. | |
| From: Plato (The Laws [c.348 BCE], 757a) |
| 262 | Men and women should qualify equally for honours on merit [Plato] |
| Full Idea: Men and women who have shown conspicuous merit should qualify for all honours without distinction of sex. | |
| From: Plato (The Laws [c.348 BCE], 802a) |
| 236 | Sound laws achieve the happiness of those who observe them [Plato] |
| Full Idea: Sound laws achieve the happiness of those who observe them. | |
| From: Plato (The Laws [c.348 BCE], 631b) |
| 259 | Justice is granting the equality which unequals deserve [Plato] |
| Full Idea: Justice consists of granting the 'equality' which unequals deserve to get. | |
| From: Plato (The Laws [c.348 BCE], 757d) | |
| A reaction: Beautifully simple, and hard to improve on. It shows the close link between equality and justice, but shows why they are not the same. The main debate about justice concerns the criteria for 'deserving'. |
| 257 | Mathematics has the widest application of any subject on the curriculum [Plato] |
| Full Idea: For domestic and public purposes, and all professional skills, no branch of a child's education has as big a range of applications as mathematics. | |
| From: Plato (The Laws [c.348 BCE], 747a) |
| 260 | Control of education is the key office of state, and should go to the best citizen [Plato] |
| Full Idea: The Minister of Education is by far the most important of all the supreme offices of the state; the best all-round citizen in the state should be appointed. | |
| From: Plato (The Laws [c.348 BCE], 765e) |
| 238 | Children's games should channel their pleasures into adult activity [Plato] |
| Full Idea: We should use children's games to channel their pleasures and desires towards activities in which they will have to engage when they are adult. | |
| From: Plato (The Laws [c.348 BCE], 643c) |
| 250 | The best way to educate the young is not to rebuke them, but to set a good example [Plato] |
| Full Idea: The best way to educate the younger generation (as well as yourself) is not to rebuke them but patently to practise all your life what you preach to others. | |
| From: Plato (The Laws [c.348 BCE], 729c) |
| 4331 | Education is channelling a child's feelings into the right course before it understands why [Plato] |
| Full Idea: I call 'education' the initial acquisition of virtue by the child, when the feelings of pleasure and affection, pain and hatred, are channelled in the right courses before he can understand the reason why. | |
| From: Plato (The Laws [c.348 BCE], 653b) | |
| A reaction: A precursor of Aristotle's view (Ethics 1104b11). A profound, simple and important insight. |
| 275 | Creation is not for you; you exist for the sake of creation [Plato] |
| Full Idea: Creation is not for your benefit; you exist for the sake of the universe. | |
| From: Plato (The Laws [c.348 BCE], 903c) |
| 273 | Movement is transmitted through everything, and it must have started with self-generated motion [Plato] |
| Full Idea: Motion is transmitted to innumerable things, and this must spring from some initial principle, which must be the change effected by self-generated motion. | |
| From: Plato (The Laws [c.348 BCE], 895a) |
| 8004 | In 'The Laws', to obey the law is to be obey god [Plato, by MacIntyre] |
| Full Idea: The divine is important in 'The Laws' because it is identified with law; to be obedient before the law is to be obedient before god. | |
| From: report of Plato (The Laws [c.348 BCE]) by Alasdair MacIntyre - A Short History of Ethics Ch.6 | |
| A reaction: Christian conservativism in a nutshell. Plato is rejecting his view in Euthyphro that piety (etc.) must precede the will of the gods. The obvious problem is bad laws, made by corrupt rulers. |
| 21257 | Self-generating motion is clearly superior to all other kinds of motion [Plato] |
| Full Idea: We can't resist the conclusion that the motion which can generate itself is infinitely superior, and all the others are inferior to it. | |
| From: Plato (The Laws [c.348 BCE], 894d) | |
| A reaction: Who said you can't get values from facts! Not that the argument depends on superiority. There could be an inferior First Mover, as a bus driver is subservient to the passengers, or (my favourite) a head teacher is inferior to the pupils. |
| 21261 | Self-moving soul has to be the oldest thing there is [Plato] |
| Full Idea: Soul, being the source of motion, is the most ancient thing there is. | |
| From: Plato (The Laws [c.348 BCE], 896b) | |
| A reaction: Plato seems to assume that the First Mover must still exist, which doesn't follow from anything in the argument. The First Pusher could be dead before the last domino falls. Why can't activity be the default state of everything? |
| 21258 | The only possible beginning for the endless motions of reality is something self-generated [Plato] |
| Full Idea: When the motion in reality is transmitted to thousands of things one after another, the entire sequence of their movements must surely spring from some initial principle, which can hardly be anything except the change effected by self-generated motion. | |
| From: Plato (The Laws [c.348 BCE], 895a) | |
| A reaction: This gives a domino picture of reality, with all of reality responding inertly to a first kick. Much better is to see self-generated motion in the active qualities of all matter, as seen in the sea of virtual subatomic particles at the smallest level. |
| 274 | Soul must be the cause of all the opposites, such as good and evil or beauty and ugliness [Plato] |
| Full Idea: Soul must be cause of good and evil, beauty and ugliness, justice and injustice, and all the opposites. | |
| From: Plato (The Laws [c.348 BCE], 896d) |
| 21263 | If all the motions of nature reflect calculations of reason, then the best kind of soul must direct it [Plato] |
| Full Idea: If the movement of the heavens and all that is in them reflects the motion and revolution and calculation of reason ...then clearly we have to admit that it is the best kind of soul that cares for the entire universe and directs it along the best path. | |
| From: Plato (The Laws [c.348 BCE], 897c) | |
| A reaction: Most of this passage reflects the cosmological argument - that without some initiating source natural events could not occur - but this slides into the design argument. So who designed mud (which is too inferior to have a Form)? |
| 278 | If astronomical movements are seen as necessary instead of by divine will, this leads to atheism [Plato] |
| Full Idea: If a man studying astronomy sees events apparently happening by necessity rather than being directed by the intention of a benevolent will, he will turn into an atheist. | |
| From: Plato (The Laws [c.348 BCE], 967a) |
| 21265 | The heavens must be full of gods, controlling nature either externally or from within [Plato] |
| Full Idea: A soul or souls have been shown to be cause of all the phenomena, and whether it is by their living presence in matter that they direct all the heavens, or by some other means, we insist that these souls are gods. So 'everything is full of gods'. | |
| From: Plato (The Laws [c.348 BCE], 899b) | |
| A reaction: This seems to have little to do with the pagan gods on Olympus. It is also notably not monotheistic. It is somewhere between animism and panpsychism. Does he think the rivers and woods contain gods? Probably not. Just the orderly heavens. |
| 21262 | There must be at least two souls controlling the cosmos, one doing good, the other the opposite [Plato] |
| Full Idea: There must be more than one soul (not fewer than two) controlling movement and the heavens: that which does good, and that which has the opposite capacity. | |
| From: Plato (The Laws [c.348 BCE], 896e) | |
| A reaction: [Wording compressed - as often with the dialogues] This idea of controlling opposites is found in Empedocles. Presumably this good soul defers to the Form of the Good, as implied by the Euthyphro Question. |