Purely by questioning Socrates has elicited from an uninstructed slave the conclusion that the square on the diagonal of a square is twice the original square in area. Then comes a part of the dialogue which I translate:

Socrates. This knowledge, then, that he has now, he either got some time, or always had?

Meno. Yes.

Although we do not know exactly how many people die each year of malnutrition or related health problems, the number is very high, in the millions. By giving money to support famine relief efforts, each of us could save at least some of them. By not giving, we let them die.

It is widely held that Locke propounded a theory of personal identity in terms of consciousness and memory. By ‘theory’ here is meant a set of necessary and sufficient conditions indicating what personal identity consists in. It is also held that this theory is open to obvious and damaging objections, so much so that it has to be supplemented in terms of bodily continuity, either because memory alone is not sufficient, or because the concept of memory is itself dependent upon considerations of bodily continuity. Alternatively it has been suggested that Locke's theory could be modified by allowing that for the purposes of personal identity ‘remember’ should be regarded as a transitive relation. So if A remembers the experiences of B but not those of C, and B remembers the experiences of C, then A, B and C can be regarded as belonging to the same unit of consciousness.

The topic of this paper is one more alluded to than actually studied, both in current philosophy of art and in the theory of criticism. There is a reason for this, which both clarifies the issue and suggests how it is to be approached. To suppose that the person responsible for a work of art has at least something interesting to say about it is only natural, and even commonplace. But granted this, the qualifications to be put on that assumption in individual and particular cases become of much greater interest. The major question would not then be whether or not, in an absolute sense, the artist is in a position to talk definitively about his own work, but rather on what basis or criteria a claim to that effect can be made to rest, and how far it extends in its implications.

Wittgenstein's Remarks on the Foundations of Mathematics was poorly received by the critics when it was first published, and only a few sympathetic commentators have made much of it since then. The book has not had a great success, because the majority of people interested in the philosophy of mathematics these days have a quite different approach to the subject from Wittgenstein. But not only that, they have a quite different logic from Wittgenstein. I believe one of the main sources of the antipathy felt towards the Remarks lies in the foreignness of the logic Wittgenstein develops there. I hope, in what follows, to make that logic more understandable, and with it the philosophy of mathematics it supports.

The following brief memoir of Wittgenstein needs a few preliminary words of explanation. Among those who attended his lectures and discussions in the years it covers was D. G. James, who later became Professor of English at Bristol University and then Vice-Chancellor of Southampton University. I met him both in Bristol and Southampton, and on one occasion suggested to him that some of us who had known Wittgenstein, but who had not become professional philosophers, might write down our recollections of him, and that he and I should start. What prompted the suggestion was, I think, the publication of Norman Malcolm's book, and a feeling that the non-professionals might have something to contribute to the assessment of Wittgenstein, particularly as a person. I wrote a preliminary draft and sent it to James; but he never responded, there was much else to do, I let the matter rest, and now James is dead. I wrote in about the year 1960 (my typescript bears no date) on holiday and away from any books of reference and from my own notes of Wittgenstein's lectures and conversations. I have shown the typescript to a few interested people, but because of its preliminary and unfinished nature have not previously thought of publication. It has recently been suggested to me that it might be of more general interest, and I publish it now as it was written, with one or two trifling alterations. I am well aware of its limitations. It was intended to give an impression of Wittgenstein as a person rather than as a philosopher, and the rather miscellaneous collection of remarks in section 3 have that in view rather than any more strictly ‘philosophical’ intention. Others may well question some of the detail and disagree with some of the opinions expressed. And there are some things which I might put rather differently today. But if the memoir has any interest it is best left as it was written.