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Ethik — Teil 4

Baruch Spinoza

Sprache:
Englisch
Status:
Vollständiges Werk
Autorschaft:
Vom Autor verfasst
Zustand des Textes:
Sauberer Text
Umfang:
~22.500 Wörter · 107 Passagen
Dieses Werk zitieren
  • APABaruch Spinoza. (n.d.). Ethik — Teil 4. SigPhi. https://sigphiai.com/de/works/baruch-spinoza/ethics-part-4
  • MLABaruch Spinoza. "Ethik — Teil 4." SigPhi, https://sigphiai.com/de/works/baruch-spinoza/ethics-part-4.
  • ChicagoBaruch Spinoza. Ethik — Teil 4. SigPhi. https://sigphiai.com/de/works/baruch-spinoza/ethics-part-4.

Wovon es handelt

Ein vollständiges System — Gott, der Geist, die Affekte, die Freiheit — bewiesen wie Geometrie: Definitionen, Axiome und Lehrsätze, die in dem Gedanken gipfeln, dass Freiheit heißt, die Notwendigkeit zu verstehen.

Kontext und Geschichte

Spinoza vollendete die Ethik um 1675 und verzichtete darauf, sie zu Lebzeiten zu veröffentlichen: Der Skandal seines 'Deus sive Natura' — Gott und Natur als ein und dasselbe — hätte ihn begraben. Sie erschien 1677, Monate nach seinem Tod, in den Opera Posthuma und wurde fast sofort verboten. Ihr Autor hatte in Den Haag vom Linsenschleifen gelebt, mit dreiundzwanzig aus der jüdischen Gemeinde Amsterdams ausgestoßen, mit einem nie widerrufenen Bann. Ein Jahrhundert lang war «Spinozist» ein Schimpfwort; danach, für den deutschen Idealismus und viele mehr, der Berg, an dem sich jede Philosophie messen muss.

Redaktioneller Kontext, keine zitierfähige Quelle: anders als die Passagen des Werks lassen sich diese Angaben nicht am Korpus überprüfen.

Wie es beginnt
PART IV: Of Human Bondage, or the Strength of the Emotions PREFACE Human infirmity in moderating and checking the emotions I name bondage: for, when a man is a prey to his emotions, he is not his own master, but lies at the mercy of fortune: so much so, that he is often compelled, while seeing that which is better for him, to follow that which is worse. Why this is so, and what is good or evil in the emotions, I propose to show in this part of my treatise. But, before I begin, it would be well to make a few prefatory observations on perfection and imperfection, good and evil. When a man has purposed to make a given thing, and has brought it to perfection, his work will be pronounced perfect, not only by himself, but by everyone who rightly knows, or thinks that he knows, the intention and aim of its author. For instance, suppose anyone sees a work (which I assume to be not yet completed), and knows that the aim of the author of that work is to build a house, he will call the work imperfect; he will, on the other hand, call it perfect, as soon as he sees that it is carried through to the end, which its author had purposed for it. But if a man sees a work, the like whereof he has never seen before, and if he knows not the intention of the artificer, he plainly cannot know, whether that work be perfect or imperfect. Such seems to be the primary meaning of these terms. But, after men began to form general ideas, to think out types of houses, buildings, towers, &c., and to prefer certain types to others, it came about, that each man called perfect that which he saw agree with the general idea he had formed of the thing in question, and called imperfect that which he saw agree less with his own preconceived type, even though it had evidently been completed in accordance with the idea of its artificer.…

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