The Eight Chapters of Maimonides on Ethics - Shemonah Perakim: A Psychological And Ethical Treatise

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The rational part is the power peculiar to man by which he understands, thinks, acquires knowledge, and discriminates between proper and improper actions. This manifold activity of the rational part is both practical and speculative. The practical activities are partly mechanical ( מלאכת מחשבת‎) and partly intellectual. The speculative activities are the powers of man by which he knows things which, by their nature, are not ​subject to change. These are called the sciences. The mechanical power is that by which man learns the arts, as that of architecture, agriculture, medicine, or navigation. The intellectual power is that by which man reflects upon the possibility or manner of doing an intended action. The soul, which is a unit, but which has many powers or parts, bears the same relation to the intellect ( השכל‎) as matter does to form. Note. — Maimonides com. in P. A. qui est consueta Sam. Tibbonidis versione praemittur interpretis et auctoris altera fusior de animae facultatibus quam scemone perachim seu octo capitula inscripsit.

Cod. 63. Maḥzor . . . item Pirke Aboth cum com. Maimonidis membr. rabb. in 4° min. Sec. XV. M.'s com. in Pirke Avoth quem in Machazorim passim, addi supra animadvertimus, est ex Hebr. versione R. Samuelis Aben Tibbon. Occurrunt etiam ejusdem M. octo Perakim seu capita. Before meeting for our first date, Mike and I had to individually read through a list of potential reasons we cherish each other and circle the ones we agreed with. For Mike, I chose things like "You have supported my own personal goals" and "You understand my sense of humor." Then, when we convened at our local park, we shared our lists out loud. is the extreme of excess (Aristotle's ὐπερβολή), and הקצה האחרון‎ the extreme of deficiency ( ἔλλειψις). Cf. H. Deot, I, 5; III, 1; ואתרחק לצד האחרון עד שלא יאכל בשר ולא ישתה יין וכ׳‎, where צד האחרון‎ clearly means the extreme of the too little.So = Maimonides' Commentary on Abot, Soncino (1484–85?). It is found in the libraries of Columbia University, of the Jewish Theological Seminary of America, and elsewhere, and is an incunabulum. It is minutely described by De Rossi, in Annales Hebraeo Typographici, Parma, p. 131. It was probably copied from the Soncino edition of the Maḥzor. [77] Its chief value lies in its being in places corroboratory of Br or Ma. Only occasionally does it offer an independent reading of value. The concept seems bulletproof in its simplicity, but the question is whether it is really that robust, since there is no room for in-depth development of the individual stories, so the film only superficially scratches the surface of the topics it broaches. Also, it is not clear if certain things, like the fact that none of the protagonists are ever seen in the company of their immediate family members, are by design or are just coincidence.

Munk, Guide, Vol. I, Preface, p. 1; Beer, Rabbi Moses ben Maimon, pp. 4 and 12; Arab. Lit., pp. 203–204; Rosin, Ethik, p. 30; Grätz, VI 3, pp. 275, 307; Wolff, Acht Capitel, Introd., p. ix; M. Friedländer, Guide, Introd., p. xxiv. Jak. Mantino (A. in Tortosa) Octo Capita R. Mosis Maimonidis ... in versione latina, etc. Bologna, 1526. 4°. See Fürst, loc. cit.; HUb., p. 438. The date of composition of the Peraḳim cannot be accurately determined. All that can be said is that it was written sometime between 1158 and 1165, along with the rest of the commentary on the Mishnah, which was made public in 1168. [44] As to the translation, the only source of information regarding its date is the manuscript Parma R. 438⁶, which in a note states that the Commentary on Abot was translated by Samuel ibn Tibbon in Tebet 963, which is the year 1202. [45] I read one of Gottman’s earlier books called The Seven Principles for Making Marriage Work when my husband and I were having a rough time just after we were married. It absolutely changed the way I approached our relationship, and it helped us both better communicate so we could come together to work through our issues and move on. On the acquisition of virtues and vices, see Eth. Nic., II, 1—3; and H. Deot, I, 2, 7. See below c. VIII, p. 85ff.

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On this account, the saintly ones [21] were not accustomed to cause their dispositions to maintain an exact balance between the two extremes, but deviated somewhat, by way of [caution and] restraint, now to the side of exaggeration, and now to that of deficiency. Thus, for instance, abstinence would incline to some degree towards excessive denial of all pleasures; valor would approach somewhat towards temerity; generosity to lavishness; modesty to extreme humility, [22] ​and so forth. This is what the rabbis hinted at, in their ​saying, “Do more than the strict letter of the law demands.” [23] The opening chapter (helmed by Jasmina Beširović) follows five-year-old Tila as she learns to ride a bicycle. The ironic thing here is that the female experience starts with male mentorship: her uncle is the one teaching her. The same kind of irony continues in the second chapter (directed by Tonći Gaćina), in which we follow Jana, a swimming champion in her teens (coached by a man, of course) who wrestles with dichotomies like sports vs school, and whether she could be into sports and still be considered “girly”. Munk, Mélanges, p. 323; HUb., p. 415; M. Guttmann, Das religionsphil. System der Mutakallimun nach d. Berichte Maimon (Leipzig, 1885); D. Kaufmann, op. cit., pp. 339–340. That angle disappears as the protagonists get older and more individualistic in the subsequent chapters. We get to see Tina preparing for the entrance exam for Photography Studies in Dalija Dozet’s third chapter. Chapter four (directed by Anja Koprivšek) follows Ana Marija, who wants to prove herself as an actress. The following segment (helmed by Petar Vukičević) is centred on Dunja, who is struggling with depression. In Judita Gamulin’s chapter six, we get to see Nela, an accomplished career woman and author, as she leads a support group for young mothers. The retired Mirjana is the protagonist of Katarina Lukec’s seventh section, while the film is rounded off by Tiha K Gudac’s chapter eight, in which we follow elderly painter Ljerka. Cnej. Cornel. Uythage (in Leyden), Explicatio R. Mosis Maimonidis ... complectens octo capita, etc., Leyden, 1683. 8°. HUb., p. 438.