http://web.mnstate.edu/gracyk/courses/phil%20306/kant_materials/prolegomena2.htmIf it [metaphysics] is a science, how comes it that it cannot, like other sciences, obtain universal and permanent recognition ? If not, how can it maintain its pretensions, and keep the human mind in suspense with hopes, never ceasing, yet never fulfilled? Whether then we demonstrate our knowledge or our ignorance in this field, we must come once for all to a definite conclusion respecting the nature of this so-called science, which cannot possibly remain on its present footing.
It seems almost ridiculous, while every other science is continually advancing, that in this, which pretends to be Wisdom incarnate, for whose oracle every one inquires, we should constantly move round the same spot, without gaining a single step. And so its followers having melted away, we do not find men confident of their ability to shine in other sciences venturing their reputation here, where everybody, however ignorant in other matters, may deliver a final verdict, as in this domain there is as yet no standard weight and measure to distinguish sound knowledge from shallow talk. — Kant
My reviewer speaks like a man who is conscious of important and superior insight which he keeps hidden; for I am aware of nothing recent with respect to metaphysics that could justify his tone. But he should not withhold his discoveries from the world, for there are doubtless many who, like myself, have not been able to find in all the fine things that have for long past been written in this department, anything that has advanced the science by so much as a finger-breadth; we find indeed the giving a new point to definitions, the supplying of lame proofs with new crutches, the adding to the crazy-quilt of metaphysics fresh patches or changing its pattern; but all this is not what the world requires. The world is tired of metaphysical assertions; it wants the possibility of the science, the sources from which certainty therein can be derived, and certain criteria by which it may distinguish the dialectical illusion of pure reason from truth. To this the critic seems to possess a key, otherwise he would never have spoken out in such a high tone. — bitchy Kant
If it [metaphysics] is a science, how comes it that it cannot, like other sciences, obtain universal and permanent recognition? — Kant
But what I take it to mean, is that metaphysics, for Aristotle, served no other purpose; that the ability of the mind to contemplate the eternal verities was an end in itself. — Wayfarer
Certainly science continuously progresses, but mainly nowadays in terms of utility and instrumental value/power. — Wayfarer
Jacques Maritain, the neo-thomist, says that there is a vital 'intuition of being', which, he believes, escaped Kant, and was absent generally in modern philosophy, except, he says, for some of the existentialists (I can't imagine whom he was referring to - possibly Heidegger?) — Wayfarer
Indeed, I know they're all "tangled up" in mine, so I agree! We can speak of those vectors as separate just as we can, and need to for the sake of intelligibility, speak of separate objects in the world, but there is no absolute separation. — Janus
That's why I responded the way I did to what I see as the absurd notion that one could not admire both Plato and Nietzsche. — Janus
What are days for?
Days are where we live.
They come, they wake us
Time and time over.
They are to be happy in:
Where can we live but days?
Ah, solving that question
Brings the priest and the doctor
In their long coats
Running over the fields. — Larkin
But I'm sure, had we met Plato in the flesh, he would have been a figure of immense vitality, humour and physical presence. — Wayfarer
And I don't agree the Nietzsche was mystical. — Wayfarer
With [Thus Spoke Zarathustra] I have given mankind the greatest present that has ever been made to it so far. This book, with a voice bridging centuries, is not only the highest book there is, the book that is truly characterized by the air of the heights—the whole fact of man lies beneath it at a tremendous distance—it is also the deepest, born out of the innermost wealth of truth, an inexhaustible well to which no pail descends without coming up again filled with gold and goodness. — Nietzsche
"Whoever thou mayest be, beloved stranger, whom I meet here for the first time, avail thyself of this happy hour and of the stillness around us, and above us, and let me tell thee something of the thought which has suddenly risen before me like a star which would fain shed down its rays upon thee and every one, as befits the nature of light. - Fellow man! Your whole life, like a sandglass, will always be reversed and will ever run out again, - a long minute of time will elapse until all those conditions out of which you were evolved return in the wheel of the cosmic process. And then you will find every pain and every pleasure, every friend and every enemy, every hope and every error, every blade of grass and every ray of sunshine once more, and the whole fabric of things which make up your life. This ring in which you are but a grain will glitter afresh forever. And in every one of these cycles of human life there will be one hour where, for the first time one man, and then many, will perceive the mighty thought of the eternal recurrence of all things:- and for mankind this is always the hour of Noon".[5] — Nietzsche's demon
In so far as the subject is the artist, however, he has already been released from his individual will, and has become as it were the medium, through which the one verily existent Subject celebrates his redemption in appearance. For this one thing must above all be clear to us, to our humiliation and exaltation, that the entire comedy of art is not at all performed,[Pg 50] say, for our betterment and culture, and that we are just as little the true authors of this art-world: rather we may assume with regard to ourselves, that its true author uses us as pictures and artistic projections, and that we have our highest dignity in our significance as works of art—for only as an æsthetic phenomenon is existence and the world eternally justified:—while of course our consciousness of this our specific significance hardly differs from the kind of consciousness which the soldiers painted on canvas have of the battle represented thereon. Hence all our knowledge of art is at bottom quite illusory, because, as knowing persons we are not one and identical with the Being who, as the sole author and spectator of this comedy of art, prepares a perpetual entertainment for himself. Only in so far as the genius in the act of artistic production coalesces with this primordial artist of the world, does he get a glimpse of the eternal essence of art, for in this state he is, in a marvellous manner, like the weird picture of the fairy-tale which can at will turn its eyes and behold itself; he is now at once subject and object, at once poet, actor, and spectator.
....
Here it is necessary to raise ourselves with a daring bound into a metaphysics of Art. I repeat, therefore, my former proposition, that it is only as an æsthetic phenomenon that existence and the world, appear justified: and in this sense it is precisely the function of tragic myth to convince us that even the Ugly and Discordant is an artistic game which the will, in the eternal fulness of its joy, plays with itself. — Nietzsche
With this chorus the deep-minded Hellene, who is so singularly qualified for the most delicate and severe suffering, consoles himself:—he who has glanced with piercing eye into the very heart of the terrible destructive processes of so-called universal history, as also into the cruelty of nature, and is in danger of longing for a Buddhistic negation of the will. Art saves him, and through art life saves him—for herself.
For we must know that in the rapture of the Dionysian state, with its annihilation of the ordinary bounds and limits of existence, there is a lethargic element, wherein all personal experiences of the past are submerged. It is by this gulf of oblivion that the everyday world and the world of Dionysian reality are separated from each other. But as soon as this everyday reality rises again in consciousness, it is felt as such, and nauseates us; an ascetic will-paralysing mood is the fruit of these states. In this sense the Dionysian man may be said to resemble Hamlet: both have for once seen into the true nature of things, —they have perceived, but they are loath to act; for their action cannot change the eternal nature of things; they regard it as shameful or ridiculous that one should require of them to set aright the[Pg 62] time which is out of joint. Knowledge kills action, action requires the veil of illusion—it is this lesson which Hamlet teaches, and not the cheap wisdom of John-a-Dreams who from too much reflection, as it were from a surplus of possibilities, does not arrive at action at all. Not reflection, no!—true knowledge, insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as in the Dionysian man. No comfort avails any longer; his longing goes beyond a world after death, beyond the gods themselves; existence with its glittering reflection in the gods, or in an immortal other world is abjured. In the consciousness of the truth he has perceived, man now sees everywhere only the awfulness or the absurdity of existence, he now understands the symbolism in the fate of Ophelia, he now discerns the wisdom of the sylvan god Silenus: and loathing seizes him.
Here, in this extremest danger of the will, art approaches, as a saving and healing enchantress; she alone is able to transform these nauseating reflections on the awfulness or absurdity of existence into representations wherewith it is possible to live: these are the representations of the sublime as the artistic subjugation of the awful, and the comic as the artistic delivery from the nausea of the absurd. — Nietzsche
Note phrases like 'the true nature of things' and the 'eternal nature of things.' Nietzsche and others (all of us at times?) transcend what's terrible by a mystic experience through art. — ghost
the Dionysian man may be said to resemble Hamlet: both have for once seen into the true nature of things, —they have perceived, but they are loath to act; for their action cannot change the eternal nature of things; [...] Not reflection, no!—true knowledge, insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as in the Dionysian man. — Nietzsche
Nietzsche was undoubtedly a great thinker, writer, and agent provocateur. But is there in Nietzsche's writing any recognition of the idea of there being a higher domain that the philosophical aspirant is required to ascend to? — Wayfarer
I feel the hallmark of traditional philosophy is the idea that the getting of wisdom is an endeavour or something difficult to achieve which can only be undertaken by arduous discipline and deep contemplation. That is why Hadot could write of 'philosophy as a way of life'. As he points out, it's different from religion because not reliant on dogmatic belief; but also different from science, because not concerned with instrumental mastery over nature, but rather the introspective mastery of self-knowledge and disciplined understanding. — Wayfarer
But he did have this other register: We know stuff because of this huge apparatus of words that we use while understanding only a portion of it.
He was a philologist. — Valentinus
Nietzsche is skeptical of this. He thinks that Plato was a skeptic, that he too knew he did not know. Laurence Lampert’s “Nietzsche and Modern Times” discusses how Montaigne, Bacon, Descartes, and Nietzsche all read Plato as a skeptic. There is a growing number of prominent scholars of Plato who now read him in this way as well. — Fooloso4
Plato hardly claims the power to grasp absolute truth for himself. Very often, when approaching the territory of final metaphysical ideas, he abandons the style of logical exposition for that of myth or poetry. There is something characteristically unfinished about his thought; he eschews neat systems and his intuitions often jostle one another. ... The dialogues are, each one, a drama of ideas; in their totality, they depict the voyage of a mind in which any number of ports are visited before the anchor is finally east. And at the end, it is as though the ship of thought were unable to stay in the harbor but had to cast anchor outside; for according to Plato the mind must be satisfied with a distant vision of the truth, though it may grasp reality intimately at fleeting intervals. — Raphael Demos
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