Benedictus de Spinoza Quotes

Spinoza used the terminology of Descartes, and also published an account of his system. For we find the first of Spinoza's works entitled “An Exposition according to the geometrical method of the principles of the Cartesian philosophy.” Some time after this he wrote his Tractatus theologico-politicus, and by it gained considerable reputation. Great as was the hatred which Spinoza roused amongst his Rabbis, it was more than equalled by the odium which he brought upon himself amongst Christian, and especially amongst Protestant theologians — chiefly through the medium of this essay. It contains his views on inspiration, a critical treatment of the books of Moses and the like chiefly from the point of view that the laws therein contained are limited in their application to the Jews. Later Christian theologians have written critically on this subject, usually making it their object to show that these books were compiled at a later time, and that they date in part from a period subsequent to the Babylonian captivity; this has become a crucial point with Protestant theologians, and one by which the modern school distinguishes itself from the older, greatly pluming itself thereon. All this, however, is already to be found in the above-mentioned work of Spinoza. But Spinoza drew the greatest odium upon himself by his philosophy proper, which we must now consider as it is given to us in his Ethics. While Descartes published no writings on this subject, the Ethics of Spinoza is undoubtedly his greatest work; it was published after his death by Ludwig Mayer, a physician, who had been Spinoza's most intimate friend. It consists of five parts; the first deals with God (De Deo). General metaphysical ideas are contained in it, which include the knowledge of God and nature. The second part deals with the nature and origin of mind (De natura et origine mentis). We see thus that Spinoza does not treat of the subject of natural philosophy, extension and motion at all, for he passes immediately from God to the philosophy of mind, to the ethical point of view; and what refers to knowledge, intelligent mind, is brought forward in the first part, under the head of the principles of human knowledge. The third book of the Ethics deals with the origin and nature of the passions (De oriqine et natura affectuum); the fourth with the powers of the same, or human slavery (De servitute humana seu de affectuum viribus); the fifth, lastly, with the power of the understanding, with thought, or with human liberty (De potentia intellectus seu de libertate humana). Kirchenrath Professor Paulus published Spinoza's works in Jena; I had a share in the bringing out of this edition, having been entrusted with the collation of French translations.

After man has persuaded himself that all things which exist are made for him, he must in everything adjudge that to be of the greatest importance which is most useful to him, and he must esteem that to be of surpassing worth by which he is most beneficially affected. In this way he is compelled to form those notions by which he explains nature; such, for instance, as good, evil, order, confusion, heat, cold, beauty, and deformity, etc.; and because he supposes himself to be free, notions like those of praise and blame, sin and merit, have arisen.

When a man is prey to his emotions, he is not his own master.

How would it be possible, if salvation were ready to our hand, and could without great labor be found, that it should be by almost all men neglected? But all things excellent are as difficult as they are rare.

Surely, Spinoza's parallelism of attributes expressing differently but equivalently one and the same substance was a feat of genius and far superior to all other treatments of the problem at the time. Without interposing a synchronizing deity, as did others, it overcame Descartes' dualistic rift by a monistic reduction, yet retained the full severity of the disjunctions which that dualism had been designed to ensure.

It may be observed, however, that Spinoza was not the first prominent monist and pantheist in modern Europe. A generation before him Bruno conveyed a similar message to humanity. Yet Bruno is merely a beautiful episode in the history of the human mind, while Spinoza is one of its most potent forces. Bruno was a rhapsodist and a poet, who was overwhelmed with artistic emotions; Spinoza, however, was spiritus purus and in his method the prototype of the philosopher.

Since I always like Zhuangzi and I am close to Tagore, I am greatly affected by the thought of pantheism. Hence, my works are close to works of the great philosopher of Europe Spinoza and poetry of German poet Goethe.

We have thus begun to think of Spinoza's "radicalism" differently than the past century did. Now we see that the bold innovations of Spinoza were only consequences, rather than foundations. The fact that now gains in importance is that — compared to the significance of Descartes, Hobbes, and Leibniz — Spinoza is only of secondary significance in the history of the core sciences, that is, in the history of natural science, on the one hand, and of natural right, on the other. And the fact that Spinoza achieved more general recognition only toward the end of the eighteenth century is now also understandable: he could be accepted only at the moment when the "querelle des anciens et des modemes" within philosophy had been decided on the main point in favor of the moderns, and when what mattered was the restoration, for the purpose of correcting the modern idea, of certain positions of the premodern world that had been knocked over in the first onslaught; for Spinoza — who stood on the foundation of modern philosophy laid by Descartes and Hobbes — had carried along into the modern world, which he already found in existence, the ideal of life of the premodern (ancient-medieval) tradition, the ideal of the (theoretical) knowledge of God.

My purpose is to explain, not the meaning of words, but the nature of things.

... no one is bound to live as another pleases, but is the guardian of his own liberty.

The endeavor to understand is the first and only basis of virtue.

A free man thinks of death least of all things, and his wisdom is a meditation not of death but of life.

Your question is the most difficult in the world. It is not a question I can answer simply with yes or no. I am not an Atheist. I do not know if I can define myself as a Pantheist. The problem involved is too vast for our limited minds. May I not reply with a parable? The human mind, no matter how highly trained, cannot grasp the universe. We are in the position of a little child, entering a huge library whose walls are covered to the ceiling with books in many different tongues. The child knows that someone must have written those books. It does not know who or how. It does not understand the languages in which they are written. The child notes a definite plan in the arrangement of the books, a mysterious order, which it does not comprehend, but only dimly suspects. That, it seems to me, is the attitude of the human mind, even the greatest and most cultured, toward God. We see a universe marvelously arranged, obeying certain laws, but we understand the laws only dimly. Our limited minds cannot grasp the mysterious force that sways the constellations. I am fascinated by Spinoza's Pantheism. I admire even more his contributions to modern thought. Spinoza is the greatest of modern philosophers, because he is the first philosopher who deals with the soul and the body as one, not as two separate things.

En la reminiscencia, en efecto, el alma tiene el pensamiento de esta sensación, pero no en la continuidad de su duración. Así, la idea de la sensación no es la duración misma de la sensación, es decir, ella no es propiamente su memoria. En cuanto a saber si las ideas mismas están sujetas a alguna corrupción, lo veremos en la Filosofía.

My intention is to give a sense of the grand sweep of literary artists—that is, novelists, poets, and playwrights—reacting through their art to Spinoza's ideas. Given the irreconcilability of the approaches and attitudes, it is all but impossible to make a sustained argument concerning Spinoza's literary appeal. If there is an overarching explanation for why this particular philosopher has been so artistically generative, perhaps it lies in what one might call Spinoza's rationalist purity. Nobody has ever made greater claims for the life of pure reason. For some temperaments this is inspiring, for others off-putting. Other philosophers—one thinks particularly of Plato—have influenced important literary artists, but Spinoza seems unique among philosophers in the amount of literary fascination with the man himself.