Philosophers From England

"Why do we forget our childhood? With rare exceptions we have no memory of our first four, five, or six years, and yet we have only to watch the development of our own children during this period to realize that these are precisely the most exciting, the most formative years of life. Schachtel’s theory is that our infantile experiences, so free, so uninhibited, are suppressed because they are incompatible with the conventions of an adult society which we call ‘civilized’. The infant is a savage and must be tamed, domesticated. The process is so gradual and so universal that only exceptionally will an individual child escape it, to become perhaps a genius, perhaps the selfish individual we call a criminal. The significance of this theory for the problem of sincerity in art (and in life) is that occasionally the veil of forgetfulness that hides our infant years is lifted and then we recover all the force and vitality that distinguished our first experiences—the ‘celestial joys’ of which Traherne speaks, when the eyes feast for the first time and insatiably on the beauties of God’s creation. Those childhood experiences, when we ‘enjoy the World aright’, are indeed sincere, and we may therefore say that we too are sincere when in later years we are able to recall these innocent sensations."

"These are the sensations and feelings that are gradually blunted by education, staled by custom, rejected in favor of social conformity."

"Kierkegaard was concerned to prove what might be called the activist nature of love, and in this respect he returns to the conception of the early Greek philosophers. He goes so far as to say that the poet who sings of earthly love cannot be a Christian, 'for love of one's neighbour is not sung, it is acted'. p. 214"

"Shakespeare shows us tradition is a meaningless abstraction for the poet itself and I give thanks for for this poet reaching after nothing more distant than the impassioned accents of its own voice as it issued from an intuitive mind."

"For the first time the personality is deliberately cultivated as such; and from that time [the European Renaissance] until today it has not been possible to separate the achievements of a civilization from the achievements of the individuals composing it. I have not the slightest doubt that this form of individuation represents a higher stage in the evolution of mankind. The future unit is the individual, a world in himself, self-contained and self-creative, freely giving and freely receiving, but essentially a free spirit. P. 11-12"

"Once we become conscious of a feeling and attempt to make a corresponding form, we are engaged in an activity which, far from being sincere, is prepared (as any artist if he is sincere will tell you) to moderate feelings to fit the form. The artist’s feeling for form is stronger than a formless feeling."

"Kierkegaard is a new world of thought, a rare mental atmosphere in which we live dangerously, as many people have already discovered at the cost of their complacency. .... To begin reading Kierkegaard is to embark on a long journey, a journey which will be difficult and dangerous, but with such a reward at the end that all the incidental pain will be immediately forgotten. Kierkegaard’s life was in every sense that of a saint. He is perhaps the most real saint of modern times. p. 251-252, 255"

"The work of art … is an instrument for tilling the human psyche, that it may continue to yield a harvest of vital beauty."

"The distinction between a major and minor poet is the ability to write a long poem successfully."

"A short poem is often called a lyric, which originally meant a poem short enough to be set to music and sung for a moment's pleasure."

"The difference between poetry and prose is not one of surface qualities, or form, or mode of expression, but of essence. The state of mind in which poetry originates must either seek poetic expression or it must not be expressed."

"The process of poetry consists firstly in maintaining this vision in its integrity and secondly in expressing this vision in words."

"Poetry is properly speaking a transcendental quality, a sudden transformation in which words assume a particular influence."

"From the poet's viewpoint a lyric is a poem which embodies a single or simple emotional attitude that expresses directly an uninterrupted mood or inspiration."

"English Poetry has come full circle from the widest public appeal, the communal poetry of ballads to the narrowest possible , in the present day as the poet addresses himself."

"All art originates in an act of intuition or vision."

"There is no beauty in anything rational. Beauty emerges from the unknown, often from the inane, generally irrational, as unforseen combinations."

"The rhythm of a poem ceases the moment the feeling loses its intensity."

"The modern poet is above all things honest. He does not write for fame nor for money. He merely writes to vent his own spleen, his own bitterness. His own sense of disparity between the ugliness of the world that is and the beauty of the world that might be."

"Words,their sound and even their very appearance, are, of course,everything to the poet."

"Sincerity! All my life I have been reproved for attempting to use this word, and rightly so because the very notion of sincerity implies a consciousness of one’s self as a circumscribed entity, a ‘single one’ (Kierkegaard) or a ‘unique one’ (Stirner), to be defined and defended, and that state of self-consciousness is itself insincere."

"The school of art which Hulme started and Pound established .. diction ,rhythm and metre were fully emancipated from formal artifice and the poet was free to act creatively under the laws of his own origination."

"To stop the war, besides being a futile gesture, would leave the crisis unresolved. It would postpone the necessity of a solution. Therefore, in a spirit of fatalism (which my opponents are welcome to call a spirit of sadism) I say: Let the war go on. It is the shortest and therefore the best way to replace the capitalist system by a democratic system, and which will at the same time rescind those partial and tyrannical solutions of the crisis represented by the Soviet Union no less than by Germany and Italy."

"Art is most simply and most usually defined as an attempt to create pleasing forms. Such forms satisfy our sense of beauty and the sense of beauty is satisfied when we are able to appreciate a unity or harmony of formal relations among our sense-perceptions."

"Reflecting on my experience, I find myself agreeing with the eminent Cambridge philosopher, Dr. C. D. Broad, “that we should do well to consider much more seriously than we have hitherto been inclined to do the type of theory which Bergson put forward in connection with memory and sense perception. The suggestion is that the function of the brain and nervous system and sense organs is in the main eliminative and not productive. Each person is at each moment capable of remembering all that has ever happened to him and of perceiving everything that is happening everywhere in the universe. The function of the brain and nervous system is to protect us from being overwhelmed and confused by this mass of largely useless and irrelevant knowledge, by shutting out most of what we should otherwise perceive or remember at any moment, and leaving only that very small and special selection which is likely to be practically useful.”"

"Broad was a wonderfully idiosyncratic lecturer. He always appeared with a carefully prepared script, and he read every sentence twice, except for the jokes, which he read three times. Although he spoke drearily, his content was compelling, jargon-free and spiked with witty references to Charles Dickens, Conan Doyle, Oscar Wilde and other literary figures."

"It is true that our everyday view of the world is not quite naively realistic, but that is what it would like to be. Common-sense is naively realistic wherever it does not think that there is some positive reason why it should cease to be so. And this is so in the vast majority of its perceptions. When we see a tree we think that it is really green and really waving about in precisely the same way as it appears to be. We do not think of our object of perception being 'like' the real tree, we think that what we perceive is the tree, and that it is just the same at a given moment whether it be perceived or not, except that what we perceive may be only a part of the real tree."

"Although people cannot define existence and do use the term with some looseness, yet it is possible to give an extensive definition by pointing to the sorts of things that everyone believes to exist. It is still easier to point to the sort of entities that people agree in believing not to exist, and happily, this is really what concerns us most. People mean by saying that causation only applies to things that exist that it applies, if at all, to what can change; and they believe that, if anything can change, it is things like chairs and tables and minds, and not those like the propositions of Euclid and the multiplication table. What would be agreed then is that, if causal laws apply to anything it is to what can change in so far as it changes."

"Induction is the glory of science and the scandal of philosophy."

"It is to be feared that Spinoza would not have been enlightened enough to appreciate the beneficient system of the Ph.D. degree, introduced into English universities as a measure of post-war propaganda, whereby the time and energy of those who are qualified to do research are expended in supervising the work of those who never will be."

"There is no important problem in any branch of philosophy which is not treated by Kant, and he never treated a problem without saying something illuminating and original about it. He was certainly wrong on many points of detail, and he may well be wrong in his fundamental principles; but, when all criticisms have been made, it seems to me that Kant’s failures are more important than most men’s successes."

"Those who, like the present writer, never had the privilege of meeting Sidgwick can infer from his writings, and still more from the characteristic philosophic merits of such pupils of his as McTaggart and Moore, how acute and painstaking a thinker and how inspiring a teacher he must have been. Yet he has grave defects as a writer which have certainly detracted from his fame. His style is heavy and involved, and he seldom allowed that strong sense of humour, which is said to have made him a delightful conversationalist, to relieve the uniform dull dignity of his writing. He incessantly refines, qualifies, raises objections, answers them, and then finds further objections to the answers. Each of these objections, rebuttals, rejoinders, and surrejoinders is in itself admirable, and does infinite credit to the acuteness and candour of the author. But the reader is apt to become impatient; to lose the thread of the argument: and to rise from his desk finding that he has read a great deal with constant admiration and now remembers little or nothing. The result is that Sidgwick probably has far less influence at present than he ought to have, and less than many writers, such as Bradley, who were as superior to him in literary style as he was to them in ethical and philosophical acumen. Even a thoroughly second-rate thinker like T. H. Green, by diffusing a grateful and comforting aroma of ethical "uplift", has probably made far more undergraduates into prigs than Sidgwick will ever make into philosophers."

"If Hegel be the inspired and too often incoherent prophet of the Absolute, if Bradley be its chivalrous knight, McTaggart is its devoted and extremely acute family solicitor."

"There certainly are changes of fashion in philosophy. When a new kind is in vogue, many things in the philosophy of an earlier day, which are of permanent value and perhaps highly relevant to contemporary problems, tend to be altogether forgotten or carelessly and ignorantly dismissed, simply because they occur in an out-of-date setting and are clad in an unfashionable dress. It is now quite certain that much of permanent value in Scholastic philosophy was ignored or contemned from this cause by Locke, Berkeley, Hume, and their followers. I have little doubt that the same is true mutatis mutandis of the attitude of many present-day philosophers towards the systems of monistic idealism which were fashionable at the beginning of this century. It is consoling to a philosopher's vanity not to pry too closely into the history of his subject, for otherwise he is liable to find that his discoveries have been anticipated and his fallacies refuted in advance by predecessors whom he has ignored or despised."

"In the meanwhile I retire to my well-earned bath-chair, from which I shall watch with a fatherly eye the philosophic gambols of my younger friends as they dance to the highly syncopated pipings of Herr Wittgenstein's flute."

"Take an eighteenth century English whig. Let him be a mystic. Endow him with the logical subtlety of the great schoolmen and their belief in the powers of human reason, with the business capacity of a successful lawyer, and with the lucidity of the best type of French mathematician. Inspire him (Heaven knows how) in his early youth with a passion for Hegel. Then subject him to the teaching of Sidgwick and the continual influence of Moore and Russell. Set him to expound Hegel. What will be the result? Hegel himself could not have answered this question a priori, but the course of world history has solved it ambulando by producing McTaggart."

"I understand that it is the wish of the Editor of this collection of essays that each contributor should describe his own system of philosophy. Were I to interpret this demand literally I could not contribute anything at all, for two excellent reasons. In the first place, I have nothing worth calling a system of philosophy of my own, and there is no other philosopher of whom I should be willing to reckon myself a faithful follower. If this be a defect I see no likelihood of its ever being cured. Secondly, if I had a system of my own, I should doubt the propriety of "pushing" my crude philosophical wares in competition with the excellent products of older firms with well-earned reputations."

"Dialogue never ends not for lack of time or opportunity but for essential reasons."

"To understand how indirect communication is possible we must grasp what it is about ordinary communication that is being changed."

"Nietzsche would say my friends lacked ears."

"What I would like to show is that there is a vital dimension of their writing, which I call performative reflexivity, which if ignored or misunderstood will impede an adequate response to it."

"Nietzsche's problem is how to be a philosopher once he has grasped the finitude of philosophy."

"Philosophy in its very act is a process of translation!"

"After Hegel, philosophy confronts the possibility of its own death, and in some sense has to do so if it is to remain the most fundamental kind of thinking."

"The point is that philosophy is seen to have come full circle, and to have exhausted itself."

"We are passengers, comprehended and displaced by metaphor."

"Like literature, philosophy is not distinguished from other subjects by a specific approach to a subject-matter independent of it. Chemistry deals with chemicals, biology with life and astronomy with very large, very distant objects. Philosophy can boast no such definite subject-matter."

"Philosophy is an everlasting fire, sometimes damped down by setting itself limits, then flaring into new life as it consumes them. Every field of inquiry is limited, but philosophy has an essential relation to the question of limits, to its own limits."

"Language steps in where the angels of experience fear to tread."

"To recognize a difficulty is not to solve it."