49 ideas
| 224 | When questions are doubtful we should concentrate not on objects but on ideas of the intellect [Plato] |
| Full Idea: Doubtful questions should not be discussed in terms of visible objects or in relation to them, but only with reference to ideas conceived by the intellect. | |
| From: Plato (Parmenides [c.364 BCE], 135e) |
| 232 | Opposites are as unlike as possible [Plato] |
| Full Idea: Opposites are as unlike as possible. | |
| From: Plato (Parmenides [c.364 BCE], 159a) |
| 8937 | Plato's 'Parmenides' is the greatest artistic achievement of the ancient dialectic [Hegel on Plato] |
| Full Idea: Plato's 'Parmenides' is the greatest artistic achievement of the ancient dialectic. | |
| From: comment on Plato (Parmenides [c.364 BCE]) by Georg W.F.Hegel - Phenomenology of Spirit Pref 71 | |
| A reaction: It is a long way from the analytic tradition of philosophy to be singling out a classic text for its 'artistic' achievement. Eventually we may even look back on, say, Kripke's 'Naming and Necessity' and see it in that light. |
| 13986 | Plato found antinomies in ideas, Kant in space and time, and Bradley in relations [Plato, by Ryle] |
| Full Idea: Plato (in 'Parmenides') shows that the theory that 'Eide' are substances, and Kant that space and time are substances, and Bradley that relations are substances, all lead to aninomies. | |
| From: report of Plato (Parmenides [c.364 BCE]) by Gilbert Ryle - Are there propositions? 'Objections' |
| 14150 | Plato's 'Parmenides' is perhaps the best collection of antinomies ever made [Russell on Plato] |
| Full Idea: Plato's 'Parmenides' is perhaps the best collection of antinomies ever made. | |
| From: comment on Plato (Parmenides [c.364 BCE]) by Bertrand Russell - The Principles of Mathematics §337 |
| 16150 | One is, so numbers exist, so endless numbers exist, and each one must partake of being [Plato] |
| Full Idea: If one is, there must also necessarily be number - Necessarily - But if there is number, there would be many, and an unlimited multitude of beings. ..So if all partakes of being, each part of number would also partake of it. | |
| From: Plato (Parmenides [c.364 BCE], 144a) | |
| A reaction: This seems to commit to numbers having being, then to too many numbers, and hence to too much being - but without backing down and wondering whether numbers had being after all. Aristotle disagreed. |
| 229 | The one was and is and will be and was becoming and is becoming and will become [Plato] |
| Full Idea: The one was and is and will be and was becoming and is becoming and will become. | |
| From: Plato (Parmenides [c.364 BCE], 155d) |
| 21821 | Plato's Parmenides has a three-part theory, of Primal One, a One-Many, and a One-and-Many [Plato, by Plotinus] |
| Full Idea: The Platonic Parmenides is more exact [than Parmenides himself]; the distinction is made between the Primal One, a strictly pure Unity, and a secondary One which is a One-Many, and a third which is a One-and-Many. | |
| From: report of Plato (Parmenides [c.364 BCE]) by Plotinus - The Enneads 5.1.08 | |
| A reaction: Plotinus approves of this three-part theory. Parmenides has the problem that the highest Being contains no movement. By placing the One outside Being you can give it powers which an existent thing cannot have. Cf the concept of God. |
| 221 | Absolute ideas, such as the Good and the Beautiful, cannot be known by us [Plato] |
| Full Idea: The absolute good and the beautiful and all which we conceive to be absolute ideas are unknown to us. | |
| From: Plato (Parmenides [c.364 BCE], 134c) |
| 227 | You must always mean the same thing when you utter the same name [Plato] |
| Full Idea: You must always mean the same thing when you utter the same name. | |
| From: Plato (Parmenides [c.364 BCE], 147d) |
| 223 | If you deny that each thing always stays the same, you destroy the possibility of discussion [Plato] |
| Full Idea: If a person denies that the idea of each thing is always the same, he will utterly destroy the power of carrying on discussion. | |
| From: Plato (Parmenides [c.364 BCE], 135c) |
| 210 | It would be absurd to think there were abstract Forms for vile things like hair, mud and dirt [Plato] |
| Full Idea: Are there abstract ideas for such things as hair, mud and dirt, which are particularly vile and worthless? That would be quite absurd. | |
| From: Plato (Parmenides [c.364 BCE], 130d) |
| 220 | The concept of a master includes the concept of a slave [Plato] |
| Full Idea: Mastership in the abstract is mastership of slavery in the abstract. | |
| From: Plato (Parmenides [c.364 BCE], 133e) |
| 211 | If admirable things have Forms, maybe everything else does as well [Plato] |
| Full Idea: It is troubling that if admirable things have abstract ideas, then perhaps everything else must have ideas as well. | |
| From: Plato (Parmenides [c.364 BCE], 130d) |
| 219 | If absolute ideas existed in us, they would cease to be absolute [Plato] |
| Full Idea: None of the absolute ideas exists in us, because then it would no longer be absolute. | |
| From: Plato (Parmenides [c.364 BCE], 133c) |
| 228 | Greatness and smallness must exist, to be opposed to one another, and come into being in things [Plato] |
| Full Idea: These two ideas, greatness and smallness, exist, do they not? For if they did not exist, they could not be opposites of one another, and could not come into being in things. | |
| From: Plato (Parmenides [c.364 BCE], 149e) |
| 16151 | Plato moves from Forms to a theory of genera and principles in his later work [Plato, by Frede,M] |
| Full Idea: It seems to me that Plato in the later dialogues, beginning with the second half of 'Parmenides', wants to substitute a theory of genera and theory of principles that constitute these genera for the earlier theory of forms. | |
| From: report of Plato (Parmenides [c.364 BCE]) by Michael Frede - Title, Unity, Authenticity of the 'Categories' V | |
| A reaction: My theory is that the later Plato came under the influence of the brilliant young Aristotle, and this idea is a symptom of it. The theory of 'principles' sounds like hylomorphism to me. |
| 218 | Participation is not by means of similarity, so we are looking for some other method of participation [Plato] |
| Full Idea: Participation is not by means of likeness, so we must seek some other method of participation. | |
| From: Plato (Parmenides [c.364 BCE], 133a) |
| 213 | Each idea is in all its participants at once, just as daytime is a unity but in many separate places at once [Plato] |
| Full Idea: Just as day is in many places at once, but not separated from itself, so each idea might be in all its participants at once. | |
| From: Plato (Parmenides [c.364 BCE], 131b) |
| 216 | If things are made alike by participating in something, that thing will be the absolute idea [Plato] |
| Full Idea: That by participation in which like things are made like, will be the absolute idea, will it not? | |
| From: Plato (Parmenides [c.364 BCE], 132e) |
| 212 | The whole idea of each Form must be found in each thing which participates in it [Plato] |
| Full Idea: The whole idea of each form (of beauty, justice etc) must be found in each thing which participates in it. | |
| From: Plato (Parmenides [c.364 BCE], 131a) |
| 215 | If things partake of ideas, this implies either that everything thinks, or that everything actually is thought [Plato] |
| Full Idea: If all things partake of ideas, must either everything be made of thoughts and everything thinks, or everything is thought, and so can't think? | |
| From: Plato (Parmenides [c.364 BCE], 132c) |
| 217 | Nothing can be like an absolute idea, because a third idea intervenes to make them alike (leading to a regress) [Plato] |
| Full Idea: It is impossible for anything to be like an absolute idea, because a third idea will appear to make them alike, and if that is like anything, it will lead to another idea, and so on. | |
| From: Plato (Parmenides [c.364 BCE], 133a) |
| 214 | If absolute greatness and great things are seen as the same, another thing appears which makes them seem great [Plato] |
| Full Idea: If you regard the absolute great and the many great things in the same way, will not another appear beyond, by which all these must appear to be great? | |
| From: Plato (Parmenides [c.364 BCE], 132a) |
| 15851 | Parts must belong to a created thing with a distinct form [Plato] |
| Full Idea: The part would not be the part of many things or all, but of some one character ['ideas'] and of some one thing, which we call a 'whole', since it has come to be one complete [perfected] thing composed [created] of all. | |
| From: Plato (Parmenides [c.364 BCE], 157d) | |
| A reaction: A serious shot by Plato at what identity is. Harte quotes it (125) and shows that 'character' is Gk 'idea', and 'composed' will translate as 'created'. 'Form' links this Platonic passage to Aristotle's hylomorphism. |
| 15846 | In Parmenides, if composition is identity, a whole is nothing more than its parts [Plato, by Harte,V] |
| Full Idea: At the heart of the 'Parmenides' puzzles about composition is the thesis that composition is identity. Considered thus, a whole adds nothing to an ontology that already includes its parts | |
| From: report of Plato (Parmenides [c.364 BCE]) by Verity Harte - Plato on Parts and Wholes 2.5 | |
| A reaction: There has to be more to a unified identity that mere proximity of the parts. When do parts come together, and when do they actually 'compose' something? |
| 15849 | Plato says only a one has parts, and a many does not [Plato, by Harte,V] |
| Full Idea: In 'Parmenides' it is argued that a part cannot be part of a many, but must be part of something one. | |
| From: report of Plato (Parmenides [c.364 BCE], 157c) by Verity Harte - Plato on Parts and Wholes 3.2 | |
| A reaction: This looks like the right way to go with the term 'part'. We presuppose a unity before we even talk of its parts, so we can't get into contradictions and paradoxes about their relationships. |
| 15850 | Anything which has parts must be one thing, and parts are of a one, not of a many [Plato] |
| Full Idea: The whole of which the parts are parts must be one thing composed of many; for each of the parts must be part, not of a many, but of a whole. | |
| From: Plato (Parmenides [c.364 BCE], 157c) | |
| A reaction: This is a key move of metaphysics, and we should hang on to it. The other way madness lies. |
| 13259 | It seems that the One must be composed of parts, which contradicts its being one [Plato] |
| Full Idea: The One must be composed of parts, both being a whole and having parts. So on both grounds the One would thus be many and not one. But it must be not many, but one. So if the One will be one, it will neither be a whole, nor have parts. | |
| From: Plato (Parmenides [c.364 BCE], 137c09), quoted by Kathrin Koslicki - The Structure of Objects 5.2 | |
| A reaction: This is the starting point for Plato's metaphysical discussion of objects. It seems to begin a line of thought which is completed by Aristotle, surmising that only an essential structure can bestow identity on a bunch of parts. |
| 15847 | Two things relate either as same or different, or part of a whole, or the whole of the part [Plato] |
| Full Idea: Everything is surely related to everything as follows: either it is the same or different; or, if it is not the same or different, it would be related as part to whole or as whole to part. | |
| From: Plato (Parmenides [c.364 BCE], 146b) | |
| A reaction: This strikes me as a really helpful first step in trying to analyse the nature of identity. Two things are either two or (actually) one, or related mereologically. |
| 19378 | Early modern possibility is what occurs sometime; for Leibniz, it is what is not contradictory [Arthur,R] |
| Full Idea: For Descartes, Hobbes and Spinoza, if a state of things is possible, it must occur at some time, whether past, present or future. For Leibniz possibility makes no reference to time; an individual is possible if its concept contains no contradiction. | |
| From: Richard T.W. Arthur (Leibniz [2014], 4 'Contingent') | |
| A reaction: It has always struck me as fallacious to say that anything that is possible must at some time occur. If '6' is possible on the die, what will constrain it to eventually come up when thrown? Mere non-contradiction doesn't imply possibility either. |
| 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. |
| 19380 | Occasionalism contradicts the Eucharist, which needs genuine changes of substance [Arthur,R] |
| Full Idea: The Jesuits rejected occasionalism ... because it is incompatible with the Catholic interpretation of the Eucharist, which there is genuine change of substance of the bread into the substance of Christ (transubstantiation). | |
| From: Richard T.W. Arthur (Leibniz [2014], 5 'Substance') | |
| A reaction: Not sure I understand this, but I take it that the Eucharist needs a real relation across the substance-spirit boundary, and not just a co-ordination. |
| 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. |
| 222 | Only a great person can understand the essence of things, and an even greater person can teach it [Plato] |
| Full Idea: Only a man of very great natural gifts will be able to understand that everything has a class and absolute essence, and an even more wonderful man can teach this. | |
| From: Plato (Parmenides [c.364 BCE], 135a) |
| 225 | The unlimited has no shape and is endless [Plato] |
| Full Idea: The unlimited partakes neither of the round nor of the straight, because it has no ends nor edges. | |
| From: Plato (Parmenides [c.364 BCE], 137e) |
| 233 | Some things do not partake of the One [Plato] |
| Full Idea: The others cannot partake of the one in any way; they can neither partake of it nor of the whole. | |
| From: Plato (Parmenides [c.364 BCE], 159d) | |
| A reaction: Compare Idea 231 |
| 2062 | The only movement possible for the One is in space or in alteration [Plato] |
| Full Idea: If the One moves it either moves spatially or it is altered, since these are the only motions. | |
| From: Plato (Parmenides [c.364 BCE], 138b) |
| 231 | Everything partakes of the One in some way [Plato] |
| Full Idea: The others are not altogether deprived of the one, for they partake of it in some way. | |
| From: Plato (Parmenides [c.364 BCE], 157c) | |
| A reaction: Compare Idea 233. |
| 234 | We couldn't discuss the non-existence of the One without knowledge of it [Plato] |
| Full Idea: There must be knowledge of the one, or else not even the meaning of the words 'if the one does not exist' would be known. | |
| From: Plato (Parmenides [c.364 BCE], 160d) |