That one should love the other is a prescription any ethic could accommodate, as uncertain as its foundation might be. An ideology lacking any founda… - Michel Henry

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That one should love the other is a prescription any ethic could accommodate, as uncertain as its foundation might be. An ideology lacking any foundation, as for example democratic socialism in our day, could equally lay claim to it. But that one should love the other who is your enemy, even if he is depraved, degenerate, hypocritical, or criminal, is in effect only possible if this other person is not what he appears, not even this I Can, the transcendental ego who has committed all this misdeeds. It is only if, as Son, the other carries within him Life and its essential Ipseity that he may, in his depravity, be the object of love, or rather not him – in the sense of a person, the one whom other people call a person – but the power that gave him to himself and constantly gives him to himself even in his depravity. The command is to love the other insofar as he is in Christ and in God, and on this condition alone.

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About Michel Henry

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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Kandinsky calls the content that painting must express, that is, our invisibility (or invisible life), 'abstract'. So, the Kandinskian equation can now be written as follows: <nowiki>Interior = interiority = invisible = life = pathos =</nowiki> abstract. Kandinsky also calls the means of painting 'abstract', so long as they are grasped in their purity. To the extent that they are abstract, colours and drawings are likewise inscribed in the equation formulated above, the equation which forms the original dimension of Being itself. In this respect, we have just discovered the true meaning of the concept of abstraction applied to painting.

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Life confers a value on things -- they do not have any value by themselves -- inasmuch as they are suited to it and satisfy its desires. But this spontaneous evaluation by life is only possible, in turn, if life experiences itself, even through its most humble needs, as what it is and must be, as an absolute value. The fundamental values have no other content than what is implied in life's first experience of itself; they are the proper content of this life.

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