Philosophers From Italy

"The general opinion … is that the humanist tradition is primarily of literary and aesthetical significance rather than of philosophical significance. This view has its origin in statements of Descartes."

"The decisive step in Dante's reflections occurs with the assertion that originally, in an unhistorical time before man's revolt against God—symbolized for Dante in the construction of the tower of Babel—there was only a single language for all men. The fragmentation of this original language begins with the erection of the tower of Babel and, what is essential to this, work—the variety of differently structured activities. For Dante work means to convey a meaning to natural things and thereby to transform them with regard to some particular yet unattained goal."

"In Quintilian’s expositions there appears a note of melancholy when he discovers that toward the decline of life, the ratio sneaks in gradually, choking up insight into the original."

"Vico claims that the aim of philosophy is the problem of "finding," and he identifies the theory of "finding" with "topical philosophy.” …"

"The defects of rationalistic, critical philosophy are much more important than they appear at first sight. By failing to take into account political faculties and the art of eloquence, this philosophy disregards two of the most important branches of human activity. … Vico formulates this idea clearly in De studiorum ratione: “But this order of studies brings with it the disadvantage for young people, that in the future they will neither show intelligence in civil life, not be able to enliven a speech with characteristic colors and warm it with the fire of emotions.”"

"The art of eloquence belongs to the realm of probability because it constantly directs its glance at the specific, variable psychic state of the audience."

"If Descartes’ main aspirations are directed towards a “first truth,” it follows necessarily that the sphere of pure possibilities, and with it the sphere of “probability,” is excluded from philosophy. Thus Descartes ignores, for example, both the art of rhetoric and history, as fields in which “the probable,” rather than the truth prevails."

"We are forced to distinguish between three kinds of speech: (1) The external, “rhetorical speech,” in the common meaning of this expression, which only refers to images because they affect the passions. Since these images do not stem from insight, however, they remain an object of opinion. This is the case of the purely emotive, false speech: “rhetoric” in the usual negative sense. (2) The speech which arises exclusively from a rational proceeding. It is true that this is of a demonstrative character, but it cannot have a rhetorical effect because purely rational arguments do not attain to the passions, i.e., “theoretical” speech in the usual sense. (3) The true rhetorical speech. This springs from the archai, nondeductible, moving, and indicative, due to its original images. The original speech is that of the wise man, of the sophos, who is not only epistetai, but who with insight leads, guides, and attracts."

"In the second part of the Phaedrus Plato attempts to clarify the nature of “true” rhetoric. … it does not arise from a posterior unity which presupposes the duality of ratio and passio, but illuminates and influences the passions through its original, imaginative characters. Thus philosophy is not a posterior synthesis of pathos and logos but the original unity of the two under the power of the original archai. Plato sees true rhetoric as psychology which can fulfill its truly “moving” function only if it masters original images [eide]. Thus the true philosophy is rhetoric, and the true rhetoric is philosophy, a philosophy which does not need an “external” rhetoric to convince, and a rhetoric that does not need an “external” content of verity."

"According to the traditional interpretation Plato’s attitude against rhetoric is a rejection of the doxa, or opinion, and of the impact of images, upon which the art of rhetoric relies; at the same time his attitude is considered as a defense of the theoretical, rational speech, that is, of episteme. The fundamental argument of Plato’s critique of rhetoric usually is exemplified by the thesis, maintained, among other things, in the Gorgias, that only he who "knows" [epistatai] can speak correctly; for what would be the use of the "beautiful," of the rhetorical speech, if it merely sprang from opinions [doxa], hence from not knowing? … Plato’s … rejection of rhetoric, when understood in this manner, assumes that Plato rejects every emotive element in the realm of knowledge. But in several of his dialogues Plato connects the philosophical process, for example, with eros, which would lead to the conclusion that he attributes a decisive role to the emotive, seen even in philosophy as the absolute science."

"If philosophy aims at being a theoretical mode of thought and speech, can it have a rhetorical character and be expressed in rhetorical forms? The answer seems obvious. Theoretical thinking, as a rational process, excludes every rhetorical element because pathetic influences—the influences of feeling—disturb the clarity of rational thought. … To prove means to show something to be something, on the basis of something. To have something through which something is shown and explained definitively is the foundation of our knowledge. Apodictic, demonstrative speech is the kind of speech which establishes the definition of a phenomenon by tracing it back to ultimate principles, or archai. It is clear that the first archai of any proof and hence of knowledge cannot be proved themselves because they cannot be the object of apodictic, demonstrative, logical speech; otherwise they would not be the first assertions. Their nonderivable, primary character is evident from the fact that we neither can speak nor comport ourselves without them, for both speech and human activity simply presuppose them. But if the original assertions are not demonstrable, what is the character of the speech in which we express them? Obviously this type of speech cannot have a rational-theoretical character. ... Basic premises cannot have an apodictic, demonstrative character and structure but are thoroughly indicative. ... Arche … cannot have a rational but only a rhetorical character. Thus the term "rhetoric" assumes a fundamentally new significance; "rhetoric" is not, nor can it be the art, the technique of an exterior persuasion; it is rather the speech which is the basis of the rational thought."

"The economic and social theories used by those who take part in the social struggle ought to be judged not by their objective value but primarily for their effectiveness in arousing emotions. The scientific refutation of them which can be made is useless, however correct it may be objectively."

"It is a known fact that almost all revolutions have been the work, not of the common people, but of the aristocracy, and especially of the decayed part of the aristocracy."

"For a very long time, and among a large number of peoples, political power has belonged to the owners of the land."

"Usually, so far as improvement in the people's economic conditions is concerned, humanitarians simply play the role of the busybody."

"Increase in the wealth per capita fosters democracy; but the latter, at least according to what we have been able to observe up to now, entails great destruction of wealth and even eventually dries up the sources of it. Hence it is its own grave-digger, it destroys what gave it birth."

"Among civilized peoples, especially the very wealthy population of the United States of America, women have become objects of luxury who consume but do not produce."

"The assertion that men are objectively equal is so absurd that it does not even merit being refuted."

"Empirical laws ... have only slight or even no value beyond the limits within which they have been observed to be true."

"Society is not homogeneous, and those who do not deliberately close their eyes have to recognize that men differ greatly from one another from the physical, moral, and intellectual viewpoints."

"The diverse natures of men, combined with the necessity to satisfy in some manner the sentiment which desires them to be equal, has had the result that in the democracies they have endeavored to provide the appearance of power in the people and the reality of power in an elite."

"Men follow their sentiments and their self-interest, but it pleases them to imagine that they follow reason. And so they look for, and always find, some theory which, a posteriori, makes their actions appear to be logical. If that theory could be demolished scientifically, the only result would be that another theory would be substituted for the first one, and for the same purpose."

"Assume that the new elite were clearly and simply to proclaim its intentions which are to supplant the old elite; no one would come to its assistance, it would be defeated before having fought a battle. On the contrary, it appears to be asking nothing for itself, well knowing that without asking anything in advance it will obtain what it wants as a consequence of its victory."

"History is a graveyard of aristocracies."

"When it is useful to them, men can believe a theory of which they know nothing more than its name."

"Maistre attached the highest importance to the ‘philosophy of style,’ and averred that he who knew not how to write was incapable of metaphysics. The violence that pervades his thought and rhetoric is a response to the primal experience of the ‘terrible truth of evil,’ while his style incarnates his sense of the mystery of history. By conveying his thought in what Baudelaire called ‘rockets,’ Maistre provoked his readers into a state of fascination and shock."

"Joseph de Maistre is unquestionably one of the greatest thinkers and writers of the eighteenth century."

"One of [Maistre's] favourite expressions, and one which he often used was point-blank. This was the secret of his tactics, this was his gesture; this was the way he acted; he advanced alone against a whole enemy army, mouthing his challenge, and shooting the leader point-blank. He attacks in glory, to triumph, and earns an excess of reprisals. In Rome’s spiritual distress, this was the Christian Scaevola, and the three hundred others did not follow."

"Maistre admired Burke and echoed him frequently."

"Few men knew so perfectly as he knew how to be touching without ceasing to be masculine, nor how to go down into the dark pits of human life without forgetting the broad sunlight, nor how to keep habitually close to visible and palpable fact while eagerly addicted to speculation."

"That brief, nervous, lucid style, stripped of phrases, robust of limb, did not at all recall the softness of the eighteenth century, nor the declamations of the latest French books: it was born and steeped in the breath of the Alps; it was virgin, it was young, it was harsh and savage; it had no human respect, it felt its solitude; it improvised depth and form all at once… That man was new among the enfants du siècle [children of the century]."

"[A] fierce absolutist, a furious theocrat, an intransigent legitimist, apostle of a monstrous trinity composed of pope, king and hangman, always and everywhere the champion of the hardest, narrowest and most inflexible dogmatism, a dark figure out of the Middle Ages, part learned doctor, part inquisitor, part executioner."

"De Maistre has for me the peculiar property of helping me to estimate the philosophie capacity of people, by the repute in which they hold him."

"[Maistre] fulminated as a littérateur, even as a grammarian, and his frenzies not only failed to diminish his passion for the correct and elegant formulation but augmented it even more. An epileptic temperament infatuated with the trifles of the Word: trances and boutades, convulsions and bagatelles, grace and a foaming mouth – everything combined to compose a pamphleteering universe at whose heart he harried ‘error’ with blows of invective, those ultimatums of impotence."

"The very tension increased his imaginative power, infused his nervous and brilliant style. Here is no Hobbesian materialism, but something far more sensitive. For de Maistre is at heart a romantic, shuddering at the collapse of the aristocratic order to which he belonged, horrified at the blasphemy of philosophers who believed that man could make himself. […] Of all the figures who have contributed to the colourful tapestry of political ideas he is one of the most singular."

"[Maistre's] style is strong, lively, picturesque; animation and good humour temper his dogmatic tone, and he might even be deemed eloquent. It is true he does not disdain paradox in his thinking or violence in his language: he has neither the moderation nor the serenity of Bossuet. But he possesses a wonderful facility in exposition, precision of doctrine, breadth of learning, and dialectical power. He influenced the age that followed him: he dealt Gallicanism such decisive blows that it never rose again. In a word, he was a great and virtuous man, a profound thinker, and one of the finest writers of that French language of which his works are a distinguished ornament."

"Behind the classical mask, behind the classical façade, behind the air of the Grand Seigneur, behind the orthodox Thomism, behind the official complete subservience to the monarchy of his day, which was nothing very splendid or impressive, there is in Maistre something much wilder, much more romantic, much more terrifying. He reminds one of someone like d'Annunzio or Nietzsche – not to seek for later examples. In that way he resembled Rousseau. Just as Rousseau imposed a kind of Calvinist logical strait-jacket upon what was really a kind of burning private lunacy, so Maistre imposes an official legitimist Catholic framework upon what is really a deeply violent, deeply revolutionary inner passion."

"De Maistre and Edgar Poe taught me how to think."

"Joseph de Maistre is another of those men whose word, like that of Burke, has vitality. In imaginative power he is altogether inferior to Burke. On the other hand his thought moves in closer order than Burke's, more rapidly, more directly; he has fewer superfluities. Burke is a great writer, but Joseph de Maistre's use of the French language is more powerful, more thoroughly satisfactory, than Burke's use of the English. It is masterly; it shows us to perfection of what that admirable instrument, the French language, is capable."

"I don’t know what the life of a rascal is like since I have never been one, but that of an honest man is abominable. How few men are there whose passage on this stupid planet has been marked by really good and useful acts! I prostrate myself before the one of which one can say: pertransivit bene faciendo; the one who had been able to instruct, console, and relieve his fellows; the one who made great sacrifices for charity; these heroes of silent charity who hide themselves and expect nothing in this world. But what is the ordinary man? And how many are there in a thousand who can ask themselves without terror: what have I done in this world? In what way have I advanced the common good and what will remain of me of good or evil?"

"Every nation gets the government it deserves."

"The contrast between us two [Maistre and his wife] is the very strangest in the world. For me, as you may have found out, I am the pococurante senator, and above all things very free in saying what I think. She, on the contrary, will take care that it is noon before allowing that the sun has risen, for fear of committing herself. She knows what must be done or what must not be done on the tenth of October 1808, at ten o'clock in the morning, to avoid some inconvenience which otherwise would come to pass at midnight between the fifteenth and sixteenth of March 1810. "But, my dear husband, you pay attention to nothing; you believe that nobody is thinking of any harm. Now I know, I have been told, I have guessed, I foresee, I warn you," etc. "Come now, my dear, leave me alone. You are only wasting your time: I foresee that I shall never foresee things: that's your business." She is the supplement to me, and hence when I am separated from her, as I am now, I suffer absurdly from being obliged to think about my own affairs; I would rather have to chop wood all day."

"Let your brother work hard at the French poets. Let him learn them by heart, especially the incomparable Racine; never mind whether he understands him yet or not. I didn't understand him when my mother used to come repeating his verses by my bedside, and lulled me to sleep with her fine voice to the sound of that inimitable music. I knew hundreds of lines long before I knew how to read; and it is thus that my ears, accustomed betimes to this ambrosia, have never since been able to endure any sourer draught."

"A woman can only be superior as a woman; as soon as she wants to emulate man, she is nothing but an ape."

"To overcome oneself, to submit to circumstances, is a duty for everyone, but especially for women. [...] A man, my dear child, is an animal. Unfortunately for your sex, extremely proud; but happily for this same sex, extremely foolish. It is necessary to use his foolishness against his pride. In ceding skilfully and with grace, it is necessary to make him believe that he will always be king. Then he is content to allow himself to be led. As soon as a woman cedes the sceptre, it is given back to her immediately. That is all there is to the catechism of this world. Never forget it. You know by heart the beatitudes of the Gospel; but it is not forbidden to know others, as, for example, Happy are mild women, for they will possess men. Submit therefore my dear Adèle; submit, caress, insinuate yourself; you will soon find some imbecile full of wit who will say in his heart: ‘Here is the one I need.’ If after you have wed he comes to discover that you are a bit impertinent, the evil is not great."

"Christianity is the religion of Europe […] it is mingled with all our institutions […] it is the hand of this religion that fashioned these new nations [of Europe]. The cross is on all the crowns, all the codes begin with its symbol. The kings are anointed, the priests are magistrates, the priesthood is an order, the empire is sacred, the religion is civil. The two powers are merged; each lends the other part of its strength, and, despite the quarrels that have divided these two sisters, they cannot live separated."

"[Bacon's] philosophy resembles this religion, which protests continually: it is entirely negative and thinks only to contradict. In indulging himself without measure in this natural inclination, he ends by contradicting himself without perceiving it, and by insulting in others his own most characteristic traits. Thus he blames abstractions without respite, and he makes only abstractions, in always coming back to his middle, general, and most general axioms, and in maintaining that individual instances do not merit the philosopher's attention. He never ceases to shower abuse on the science of words, and he only makes words. He upsets all the received nomenclature to substitute for them new terms, baroque or poetic, or both. With Bacon, neologism is a real disease, and always he believes he has acquired an idea when he has invented a word. He looks with pity at the alchemy that was fully operative in his time, and all his physics is only another alchemy quite babbling and wholly similar to children who talk a lot and produce nothing, as he said very well and very badly with respect to the ancient Greeks."

"It is permitted to modern philosophy, all swollen up with Bacon's venom, to repeat to us to satiety, to disgust, to nausea, that we make God similar to man; we will reply as many times that is not quite the same thing to say that a man resembles his portrait or that his portrait resembles him."

"Final causes or intentions are the torment of modern philosophy, which neglects nothing to get rid of them. From this, among other things, comes its great axiom: nature creates only individuals. Indeed, since all classification supposes order, this philosophy has denied classes to deny order. In order to establish this marvellous reasoning, it fixes its suspicious eyes on the differences between beings to dispense itself from turning them to their similarities. It does not want to recognize that nuances between classes and individuals constitute another order, and that diversity in resemblance supposes intention more visibly than mere resemblance."

"In all that architecture has of the great and eternally beautiful, it is completely a production of the religious spirit. From the ruins of Tentyra to St Peter's in Rome, all the monuments speak; the genius of architecture is really only at ease in temples. It is there that above caprice, fashion, pettiness, licence, and finally all the gnawing cares of talent, it works without discomfort for glory and immortality."