18 Leo Tolstoy Quotes on Philosophy

Leo Tolstoy quotes on philosophy

67. in the upper, rich, more educated classes of European society doubt arose as to the truth of that understanding of life which was expressed by Church Christianity. When, after the Crusades and the maximum development of papal power and its abuses, people of the rich classes became acquainted with the wisdom of the classics and saw, on the one hand, the reasonable lucidity of the teachings of the ancient sages, and on the other hand, the incompatibility of the Church doctrine with the teaching of Christ, they found it impossible to continue to believe the Church teaching.

70. ...having acknowledged the measure of the good to be pleasure, i.e., beauty, the European upper classes went back in their comprehension of art to the gross conception of the primitive Greeks which Plato had already condemned. And with this understanding of life, a theory of art was formulated.

71. The partisans of aesthetic theory denied that it was their own invention, and professed that it existed in the nature of things and even that it was recognized by the ancient Greeks. But... among the ancient Greeks, due to their low grade (compared to the Christian) moral ideal, their conception of the good was not yet sharply distinguished from their conception of the beautiful. That highest conception of goodness (not identical with beauty and for the most part, contrasting with it) discerned by the Jews even in the time of Isaiah and fully expressed by Christianity, was unknown to the Greeks. It is true that the Greek's foremost thinkers - Socrates, Plato, Aristotle - felt that goodness may not coincide with beauty. ...But notwithstanding all this, they could not quite dismiss the notion that beauty and goodness coincide. And consequently in the language of that period a compound word (????-???????, beauty-goodness) came into use to express that notion. Evidently the Greek sages began to draw close to the perception of goodness which is expressed in Buddhism and in Christianity, but they got entangled in defining the relationship between goodness and beauty. And it was just this confusion of ideas that those Europeans of a later age...tried to elevate into law. ...On this misunderstanding the new science of aesthetics was built.

72. After Plotinus, says Schassler, fifteen centuries passed without the slightest scientific interest for the world of beauty and art. ...In reality, nothing of the kind happened. The science of aesthetics... neither did nor could vanish, because it never existed. ...the Greeks were so little developed that goodness and beauty seemed to coincide. On that obsolete Greek view of life the science of aesthetics was invented by men of the eighteenth century, and especially shaped and mounted in Baumgarten's theory. The Greeks (as anyone may read in Benard's book on Aristotle and Walter's work on Plato) never had a science of aesthetics.

74. Such... was the theory (an outgrowth of Malthusian) of the selection and struggle for existence as the basis of human progress. Such again, is Marx's theory, with regard to the gradual destruction of small private production by large capitalistic production... as an inevitable decree of fate. However unfounded such theories are, however contrary to all that is known and confessed by humanity, and however obviously immoral these may be, they are accepted with credulity, pass uncriticized, and are preached... To this class belongs this astonishing theory of the Baungarten trinity - Goodness, Beauty and Truth - according to which it appears that the very best that can be done by the art of nations after 1900 years of Christian teaching is to choose as the ideal of their life that which was held by a small, semi-savage, slaveholding people who lived 2000 years ago, who imitated the nude human body extremely well, and erected buildings pleasing to the eye. Educated people write long, nebulous treatises on beauty as a member of the aesthetic trinity of beauty, truth, and goodness... and they all think that by pronouncing these sacrosanct words, they speak of something quite definite and solid... on which they can base their opinions. ...only for the purpose of justifying the false importance we attribute to an art that conveys every feeling, provided those feelings give us pleasure.

76. Truth is... one approach to the attainment of the good, but in and of itself, it is neither the good nor the beautiful... Socrates, Pascal, and others regarded knowledge of the truth with regard to purposeless objects as incongruous with the good... [by] exposing deception, truth destroys illusion, which is the principle attribute of beauty.

81. ...the reason lies in the lack of a reasonable religious teaching which, by explaining the meaning of life would supply a supreme law for the guidance of conduct, and would replace the more than dubious precepts of pseudo-religion and pseudo-science and the immoral conclusions deduced from them, commonly called 'civilization.'

92. If the people of India are enslaved by violence it is only because they themselves live and have lived by violence, and do not recognize the eternal law of love inherent in humanity.

93. As soon as men live entirely in accord with the law of love ...which excludes all resistance by violence, and therefore hold aloof from all participation in violence ...not only will hundreds be unable to enslave millions, but not even millions will be able to enslave a single individual.

96. When an individual passes from one period of life to another a time comes when he cannot go on in senseless activity and excitement as before, ...he has out-grown what before used to direct him, ...he must formulate for himself an understanding of life corresponding to his age, and ...be guided by it. ...a similar time must come in the growth and development of humanity...

97. ...the inherent contradiction of human life has now reached an extreme degree of tension: on the one side there is the consciousness of the beneficence of the law of love, and on the other the existing order of life... an empty, anxious, restless, and troubled mode of life, conflicting as it does with the law of love and built on the use of violence. This contradiction must be faced, and the solution... has dwelt in the hearts of men from remote antiquity: the truth that the law of love is in accord with the nature of man.

98. ...men can only recognize this truth to its full extent when they have completely freed themselves from all religious and scientific superstitions and from all the consequent misrepresentations and sophistical distortions by which its recognition has been hindered for centuries.

122. Nietzsche was stupid and abnormal.

128. The only absolute knowledge attainable by man is that life is meaningless.

129. The only thing that we know is that we know nothing - and that is the highest flight of human wisdom.

140. Tolstoy's life has been devoted to replacing the method of violence for removing tyranny or securing reform by the method of non-resistance to evil. He would meet hatred expressed in violence by love expressed in self-suffering. He admits of no exception to whittle down this great and divine law of love. He applies it to all the problems that trouble mankind.

141. The truth is that Tolstoy, with his immense genius, with his colossal faith, with his vast fearlessness and vast knowledge of life, is deficient in one faculty and one faculty alone. He is not a mystic; and therefore he has a tendency to go mad. Men talk of the extravagances and frenzies that have been produced by mysticism; they are a mere drop in the bucket. In the main, and from the beginning of time, mysticism has kept men sane. The thing that has driven them mad was logic. ...The only thing that has kept the race of men from the mad extremes of the convent and the pirate-galley, the night-club and the lethal chamber, has been mysticism - the belief that logic is misleading, and that things are not what they seem.

145. Even beyond their deaths, the two novelists stand in contrariety. Tolstoy, the foremost heir to the traditions of the epic; Dostoevsky, one of the major dramatic tempers after Shakespeare; Tolstoy, the mind intoxicated with reason and fact; Dostoevsky, the condemner of rationalism, the great lover of paradox; Tolstoy, the poet of the land, of the rural setting and pastoral mood; Dostoevsky, the arch-citizen, the master-builder of the modern metropolis in the province of language; Tolstoy, thirsting for the truth, destroying himself and those about him in excessive pursuit of it; Dostoevsky, rather against the truth than against Christ, suspicious of total understanding and on the side of mystery; Tolstoy, 'keeping at all times,' in Coleridge's phrase, 'in the high road of life'; Dostoevsky, advancing into the labyrinth of the unnatural, into the cellarage and morass of the soul; Tolstoy, like a colossus bestriding the palpable earth, evoking the realness, the tangibility, the sensible entirety of concrete experience; Dostoevsky, always on the verge of the hallucinatory, of the spectral, always vulnerable to daemonic intrusions into what might prove, in the end, to have been merely a tissue of dreams; Tolstoy, the embodiment of health and Olympian vitality; Dostoevsky, the sum of energies charged with illness and possession.