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" "Here arises a critique of the Law within Christianity, formulated with rare violence by Christ, and for which Paul finds and wonderfully explains the ultimate motivation, which relates it to the Christianity’s central thesis, which places reality within life. It is precisely because the Law is transcendent and exterior to life and perceived by life as beyond it that it is deprived of reality. And by the same token, it is deprived of what finds in life’s reality the possibility of being fulfilled: action. The Law is thus unreal and powerless. Because it unites powerlessness with unreality, the Law places the whole system organized around it (especially the people to whom it is addressed) in an untenable situation. On the one hand, it prescribes, in the form of injunctions that are perceived quite clearly and thus indubitably: “Thou shalt not kill, thou shalt not commit adultery,” and so on. On the other hand, however, this clearly enunciated commandment (not susceptible to being used for trickery) is by itself incapable of producing the action that suits it. “Has not Moses given you the law? Yet not one of you keeps the law” (John 7:19).
Michel Henry (10 January 1922 – 3 July 2002) was a French philosopher, phenomenologist and novelist. He wrote five novels and numerous philosophical works. He also lectured at universities in France, Belgium, the United States, and Japan. His novel L'amour les yeux fermés (Love With Closed Eyes) has won the Renaudot Prize in 1976.
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The title of Kandinsky's first great theoretical work, On the Spiritual in Art and in Painting in particular (1912) which had a huge influence, thus has a rigorous meaning. It bears a twofold judgment, both on this epoch whose distress is perceived by Kandinsky and on the true reality of things. Our time is a distressed time because it is forgetful of reality and has abandoned itself to the increasing objectivism promoted by science. The ideological fulfillment of this type of thought which is given over to the External and thus deprived of what is essential is naturalism, to which the stiff and empty art from the nineteenth century provides overwhelming testimony. Its practical consequence is the materialism that spreads the negation of life's true essence across all the spheres of life, thereby offering itself as a sort of concrete nihilism whose true name is death. Faced with this situation, On the Spiritual in Art and in Painting in particular offers a programme of revitalization.
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The action implied in merciful works is now quite clear. Whether it involves nourishing those who are hungry, clothing those who are naked, caring for sick, or another act, the manner of acting in these various actions has ceased to concern the ego that acts or to relate to it in any fashion; a common trait equally determines them all: forgetting oneself. […] Hence, what kind of action is acting in works of mercy, if it is not a power proper to the transcendental ego that says “I Can”? In this ego there is no power different from its own, different from all the powers it possesses, except for the hyper-power of absolute Life that gave it to itself in giving itself to itself. In works of mercy – and this is why they are “works” – a decisive transmutation takes place by which the ego’s power is extended to the hyper-power of absolute Life in which it is given to itself.