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Scenes of artisans at work: a shoemaker (left) and a rope-maker (right). Sarcophagus of Titus Flavius Trophimas, found in Ostia. National Museum of Rome, Baths of Diocletian. Image by Carole Raddato CC-BY-SA 2.0 via wikimedia commons.

The first Socratic dialogues: Simon the Shoemaker

Institute of Philosophy, Czech Academy of Sciences
September 06, 2023 by Sean Coughlin in Philosophy

“Simon the Athenian, a shoemaker. When Socrates used to come to his workshop and have a conversation about something, Simon would make notes of the things he would remember. That’s why his dialogues are called ‘shoemakers.’ There are thirty-three of them bound in one book:

  • On the gods.

  • On the good.

  • On the beautiful.

  • What is the beautiful?

  • On justice: books one and two.

  • On virtue, that it can be taught.

  • On courage: books one, two and three.

  • On law.

  • On popular leadership (sc. demagogy).

  • On honor.

  • On poetry.

  • On luxuries.

  • On love.

  • On philosophy.

  • On knowledge.

  • On music.

  • On poetry.

  • What is the beautiful? [repeated]

  • On teaching.

  • On having conversations.

  • On judgment.

  • On being.

  • On numbers.

  • On taking care.

  • On working.

  • On greed.

  • On charlatans.

  • On the beauitful. [repeated]

Some add:

  • On deliberating.

  • On reason or on suitability.

  • On wrong-doing.

They say that he was the first to present Socratic discussions (arguments?) as dialogues. When Pericles promised to support him and requested that he come to him, he responded that his free speech was not for sale.

There was also another Simon who wrote on rhetorical arts; another was a doctor during the reign of Seleucus Nicanor; and another was a sculptor.”

Σίμων Ἀθηναῖος, σκυτοτόμος. οὗτος ἐρχομένου Σωκράτους ἐπὶ τὸ ἐργαστήριον καὶ διαλεγομένου τινά, ὧν ἐμνημόνευεν ὑποσημειώσεις ἐποιεῖτο: ὅθεν σκυτικοὺς αὐτοῦ τοὺς διαλόγους καλοῦσιν. εἰσὶ δὲ τρεῖς καὶ τριάκοντα ἐν ἑνὶ φερόμενοι βιβλίῳ:

  • Περὶ θεῶν.

  • Περὶ τοῦ ἀγαθοῦ.

  • Περὶ τοῦ καλοῦ.

  • Τί τὸ καλόν.

  • Περὶ δικαίου πρῶτον, δεύτερον.

  • Περὶ ἀρετῆς ὅτι οὐ διδακτόν.

  • Περὶ ἀνδρείας πρῶτον, δεύτερον, τρίτον.

  • Περὶ νόμου.

  • Περὶ δημαγωγίας.

  • Περὶ τιμῆς.

  • Περὶ ποιήσεως.

  • Περὶ εὐπαθείας.

  • Περὶ ἔρωτος.

  • Περὶ φιλοσοφίας

  • Περὶ ἐπιστήμης.

  • Περὶ μουσικῆς.

  • Περὶ ποιήσεως.

  • Τί τὸ καλόν.

  • Περὶ διδασκαλίας.

  • Περὶ τοῦ διαλέγεσθαι.

  • Περὶ κρίσεως.

  • Περὶ τοῦ ὄντος.

  • Περὶ ἀριθμοῦ.

  • Περὶ ἐπιμελείας.

  • Περὶ τοῦ ἐργάζεσθαι.

  • Περὶ φιλοκερδοῦς.

  • Περὶ ἀλαζονείας.

  • Περὶ τοῦ καλοῦ.

οἱ δέ,

  • Περὶ τοῦ βουλεύεσθαι.

  • Περὶ λόγου ἢ περὶ ἐπιτηδειότητος.

  • Περὶ κακουργίας.

Οὗτος, φασί, πρῶτος διελέχθη τοὺς λόγους τοὺς Σωκρατικούς. ἐπαγγειλαμένου δὲ Περικλέους θρέψειν αὐτὸν καὶ κελεύοντος ἀπιέναι πρὸς αὐτόν, οὐκ ἂν ἔφη τὴν παρρησίαν ἀποδόσθαι.

Γέγονε δὲ καὶ ἄλλος Σίμων ῥητορικὰς τέχνας γεγραφώς: καὶ ἕτερος ἰατρὸς κατὰ Σέλευκον τὸν Νικάνορα: καί τις ἀνδριαντοποιός.

Diogenes Laertius, Lives of the Philosophers, 2.13

From Plutarch’s “That philosophers should converse especially with those in power.”

‘To embrace Sorkanos, and to honour, share, welcome and cultivate a friendship that will be useful and fruitful to many both privately and publically, is an act that belongs to one who loves what is noble, who is political, who is a friend to people; not, as some think, one who loves reputation. On the contrary, the person who loves reputation and fears every whisper is the one who flees from and fears being known as an eager servant of those in power. Since what does a man say who is a servant and in need of philosophy? “Should I then become Simon the shoemaker or Dionysios the school teacher from being Perikles or Cato, so that one might have a discussion and sit with me as Socrates did them?” And although Ariston of Chios, when criticized by the sophists for conversing with anyone who wished, said, “I wish the wild animals, too, could understand arguments that inspire towards virtue”, will we avoid becoming acquainted with the powerful and the leaders as if they were wild and untamed?’

Σωρκανὸν ἐγκολπίσασθαι καὶ φιλίαν τιμᾶν καὶ μετιέναι καὶ προσδέχεσθαι καὶ γεωργεῖν, πολλοῖς μὲν ἰδίᾳ πολλοῖς δὲ καὶ δημοσίᾳ χρήσιμον καὶ ἔγκαρπον γενησομένην, φιλοκάλων ἐστὶ καὶ πολιτικῶν καὶ φιλανθρώπων οὐχ ὡς ἔνιοι νομίζουσι φιλοδόξων· ἀλλὰ καὶ τοὐναντίον, φιλόδοξός ἐστι καὶ ψοφοδεὴς ὁ φεύγων καὶ φοβούμενος ἀκοῦσαι λιπαρὴς τῶν ἐν ἐξουσίᾳ καὶ θεραπευτικός. ἐπεὶ τί φησιν ἀνὴρ θεραπευτικὸς καὶ φιλοσοφίας δεόμενος; Σίμων οὖν γένωμαι ὁ σκυτοτόμος ἢ Διονύσιος ὁ γραμματιστὴς ἐκ Περικλέους ἢ Κάτωνος, ἵνα μοι προσδιαλέγηται καὶ προσκαθίζῃ ὡς Σωκράτης ἐκείνῳ; καὶ Ἀρίστων μὲν ὁ Χῖος ἐπὶ τῷ πᾶσι διαλέγεσθαι τοῖς βουλομένοις ὑπὸ τῶν σοφιστῶν κακῶς ἀκούων “ὤφελεν,” εἶπε, “καὶ τὰ θηρία λόγων συνιέναι κινητικῶν πρὸς ἀρετήν”· ἡμεῖς δὲ φευξούμεθα τοῖς δυνατοῖς καὶ ἡγεμονικοῖς ὥσπερ ἀγρίοις καὶ ἀνημέροις γίγνεσθαι συνήθεις;

Plutarch, Maxime cum principibus philosopho esse disserendum, Moralia 776A–C

September 06, 2023 /Sean Coughlin
Plutarch, Simon the shoemaker, art, socrates
Philosophy
Comment
Relief featuring a carpenter’s workshop with tools. Flavian era, second half of first century. At the Capitoline Museums. Image by Marie-Lan Nguyen via wikimedia commons.

Relief featuring a carpenter’s workshop with tools. Flavian era, second half of first century. At the Capitoline Museums. Image by Marie-Lan Nguyen via wikimedia commons.

Aristotle on Art and Nature: Tools

Humboldt-Universität zu Berlin
February 26, 2021 by Sean Coughlin in Ancient Medicine, Philosophy

“For just as sophisticated doctors and nearly everyone concerned with physical training agree that those who are to be good doctors or physical trainers need experience about nature, so too good legislators need experience of nature, perhaps even more than the former. For the former are craftsmen of only the body’s excellence; the latter who are craftsmen of the excellence of the soul and who profess to teach about the flourishing and failure of the state have in fact an even greater need of philosophy.

“For in all the other craftsmen’s arts the best tools have been discovered from nature, as in carpentry the level, straight-edge and compass (the ones, I take it, that are grasped through water and light and the rays of sunshine), relative to which when we are making a judgment we test what is adequately straight and smooth to our sensation; likewise the politician also needs to have some guidelines from nature and the truth itself relative to which he will distinguish what is just, what is noble and what is useful.”

ὥσπερ γὰρ τῶν ἰατρῶν ὅσοι κομψοὶ καὶ τῶν περὶ τὴν γυμναστικὴν οἱ πλεῖστοι σχεδὸν ὁμολογοῦσιν ὅτι δεῖ τοὺς μέλλοντας ἀγαθοὺς ἰατροὺς ἔσεσθαι καὶ γυμναστὰς περὶ φύσεως ἐμπείρους εἶναι, οὕτω καὶ τοὺς ἀγαθοὺς νομοθέτας ἐμπείρους εἶναι δεῖ τῆς φύσεως, καὶ πολύ γε μᾶλλον ἐκείνων. οἱ μὲν γὰρ τῆς τοῦ σώματος ἀρετῆς εἰσι δημιουργοὶ μόνον, οἱ δὲ περὶ τὰς τῆς ψυχῆς ἀρετὰς ὄντες καὶ περὶ πόλεως εὐδαιμονίας καὶ κακοδαιμονίας διδάξειν προσποιούμενοι πολὺ δὴ μᾶλλον προσδέονται φιλοσοφίας.

καθάπερ γὰρ ἐν ταῖς ἄλλαις τέχναις ταῖς δημιουργικαῖς ἀπὸ τῆς φύσεως εὕρηται τὰ βέλτιστα τῶν ὀργάνων, οἷον ἐν τεκτονικῇ στάθμη καὶ κανὼν καὶ τόρνος † * τὰ μὲν ὕδατι καὶ φωτὶ καὶ ταῖς αὐγαῖς τῶν ἀκτίνων ληφθέντων, πρὸς ἃ κρίνοντες τὸ κατὰ τὴν αἴσθησιν ἱκανῶς εὐθὺ καὶ λεῖον βασανίζομεν, ὁμοίως δὲ καὶ τὸν πολιτικὸν ἔχειν τινὰς ὅρους δεῖ ἀπὸ τῆς φύσεως αὐτῆς καὶ τῆς ἀληθείας, πρὸς οὓς κρινεῖ τί δίκαιον καὶ τί καλόν καὶ τί συμφέρον.

*Pistelli marks this passage with a crux; other editors have tried various solutions, none very satisfying. I’ve looked at the mss. available online, but they all preserve the same text. In their reconstruction of the Protrepticus, Doug and Monte think a line is missing (p.52 of the pdf here). Ronja is working on some compelling solutions to explain what’s going on philosophically. I think it might be an interpolation, τὰ μὲν … ληφθέντων being originally a marginal note: maybe Aristotle (or Iamblichus) didn’t bother giving examples of the kinds of tools “discovered from nature” and so someone early in the tradition wrote in some examples of the kinds of things he might have had in mind and this was later brought into the text.

Aristotle ap. Iamblichus, Protrepticus 10, 54,12–55,3 Pistelli


February 26, 2021 /Sean Coughlin
art and nature, Aristotle, Iamblichus, Doctors, art
Ancient Medicine, Philosophy
Comment
Genèse de l'énergie by René Bord. 1995. Soft ground etching and aquatint. Image from Bibliothèque municipale de Lyon.

Genèse de l'énergie by René Bord. 1995. Soft ground etching and aquatint. Image from Bibliothèque municipale de Lyon.

Pseudo-Galen, what is nature?

Humboldt-Universität zu Berlin
April 08, 2019 by Sean Coughlin in Ancient Medicine, Philosophy

“Nature is an artistic fire proceeding on the way to generation and actively moving out of itself. According to Plato, it is defined differently: nature is divine art; or, nature is a sort of artistic power. A different definition: nature is inflamed pneuma moving out of itself, generating, completing and maintaining the human being in accordance with spermatic powers. Or it is defined in this way: nature is a power moving out of itself, a cause of generation, formation, and completion producing and completing a human being. Nature is said to be mixture, and nature is said to be state. Nature is also said to be a motion in accordance with effort. Nature is said to be the power controlling an animal. It can also be defined in this way: nature is the inflamed pneuma moving out of itself, generating, completing and maintaining a human being in accordance with spermatic principles determining lifetime and size.”

Φύσις ἐστὶ πῦρ τεχνικὸν ὁδῷ βαδίζον εἰς γένεσιν καὶ ἐξ ἑαυτοῦ ἐνεργητικῶς κινούμενον. ἑτέρως κατὰ Πλάτωνα. φύσις ἐστὶ θεία τέχνη. ἢ φύσις ἐστὶν οἵα τεχνικὴ δύναμις. ἑτέρως. φύσις ἐστὶ πνεῦμα ἔνθερμον ἐξ ἑαυτοῦ κινούμενον καὶ κατὰ τὰς σπερματικὰς δυνάμεις γεννῶν τε καὶ τελειοῦν καὶ διατηροῦν τὸν ἄνθρωπον. ἢ οὕτως. φύσις ἐστὶ δύναμις ἐξ ἑαυτῆς κινουμένη, αἰτία γενέσεώς τε καὶ διαπλάσεως καὶ τελειότητος γεννῶσά τε καὶ τελειοῦσα τὸν ἄνθρωπον. φύσις καὶ ἡ κρᾶσις λέγεται, φύσις καὶ ἡ ἕξις. φύσις καὶ ἡ καθ' ὁρμὴν κίνησις. φύσις καὶ ἡ διοικοῦσα τὸ ζῶον δύναμις λέγεται. δύναται δὲ καὶ οὕτως ὁρίσασθαι. φύσις ἐστὶ πνεῦμα ἔνθερμον ἐξ ἑαυτοῦ κινούμενον κατὰ σπερματικοὺς λόγους γεννῶν τε καὶ τελειοῦν καὶ διατηροῦν τὸν ἄνθρωπον ἐν χρόνοις καὶ μεγέθεσιν ὡρισμένους.

Ps.-Galen, Medical Definitions 95 (XIX 371 Kühn)

April 08, 2019 /Sean Coughlin
Pseudo-Galen, Definitions, nature, art
Ancient Medicine, Philosophy
Comment

(Plato on) Democritus and Aristotle (on Plato) on Art and Nature

July 16, 2016 by Sean Coughlin in Philosophy

“We know how to say many lies like the truth,
And we know how to sing the truth when we want to.”

ἴδμεν ψεύδεα πολλὰ λέγειν ἐτύμοισιν ὁμοῖα,
ἴδμεν δ᾽, εὖτ᾽ ἐθέλωμεν, ἀληθέα γηρύσασθαι.

Hesiod, Theogony, 26-7

 

I

“We are pupils [μαθητὰς] of the animals in the most important things: the spider in spinning and mending, the swallow in building, and the songsters, swan and nightingale, in singing, by way of imitation [κατὰ μίμησιν].”

μαθητὰς ἐν τοῖς μεγίστοις γεγονότας ἡμᾶς· ἀράχνης ἐν ὑφαντικῆι καὶ ἀκεστικῆι, χελιδόνος ἐν οἰκοδομίαι, καὶ τῶν λιγυρῶν, κύκνου καὶ ἀηδόνος, ἐν ὠιδῆι κατὰ μίμησιν.

Democritus, DK 68 B154

 

II

“I'll put it more clearly. They say fire and water and earth and air, all exist by nature and chance [φύσει πάντα εἶναι καὶ τύχῃ], and none of them by art [τέχνῃ δὲ οὐδὲν τούτων]; and the bodies which come next—those, namely, of the earth, sun, moon and stars—have been brought into existence through those [former ones] which are entirely without soul. By chance, they are moved by each other’s forces, through which they crash into each other, somehow fitting together: hot with cold, dry with moist, soft with hard, and all such things that are blended together from necessity through the mixture of opposites by chance. In this way and by those means they have brought into being the whole heaven and all that is in the heaven, and again all animals and plants when all the seasons came to be from these things. [All this], they claim, is not due to reason, or because of some god or some art [οὐ δὲ διὰ νοῦν, φασίν, οὐδὲ διά τινα θεὸν οὐδὲ διὰ τέχνην], but, as I said, by nature and by chance. And art comes from them later, after [everything else]; itself a mortal from mortals, it begets later playthings [παιδιάς τινας] which do not share much in truth [ἀληθείας οὐ σφόδρα μετεχούσας], but are instead images [εἴδωλ’] closely related to [arts] themselves, like [the images] painting makes, and music, and whichever arts are their helpers. Those arts which in fact engender something serious [σπουδαῖον] are whichever ones share their capacity with nature—like medicine, agriculture, and gymnastic.”

Ὧδ' ἔτι σαφέστερον ἐρῶ. πῦρ καὶ ὕδωρ καὶ γῆν καὶ ἀέρα φύσει πάντα εἶναι καὶ τύχῃ φασίν, τέχνῃ δὲ οὐδὲν τούτων, καὶ τὰ μετὰ ταῦτα αὖ σώματα, γῆς τε καὶ ἡλίου καὶ σελήνης ἄστρων τε πέρι, διὰ τούτων γεγονέναι παντελῶς ὄντων ἀψύχων· τύχῃ δὲ φερόμενα τῇ τῆς δυνάμεως ἕκαστα ἑκάστων, ᾗ συμπέπτωκεν ἁρμόττοντα οἰκείως πως, θερμὰ ψυχροῖς ἢ ξηρὰ πρὸς ὑγρὰ καὶ μαλακὰ πρὸς σκληρά, καὶ πάντα ὁπόσα τῇ τῶν ἐναντίων κράσει κατὰ τύχην ἐξ ἀνάγκης συνεκεράσθη, ταύτῃ καὶ κατὰ ταῦτα οὕτως γεγεννηκέναι τόν τε οὐρανὸν ὅλον καὶ πάντα ὁπόσα κατ' οὐρανόν, καὶ ζῷα αὖ καὶ φυτὰ σύμπαντα, ὡρῶν πασῶν ἐκ τούτων γενομένων, οὐ δὲ διὰ νοῦν, φασίν, οὐδὲ διά τινα θεὸν οὐδὲ διὰ τέχνην ἀλλά, ὃ λέγομεν, φύσει καὶ τύχῃ. τέχνην δὲ ὕστερον ἐκ τούτων ὑστέραν γενομένην, αὐτὴν θνητὴν ἐκ θνητῶν ὕστερα γεγεννηκέναι παιδιάς τινας, ἀληθείας οὐ σφόδρα μετεχούσας, ἀλλὰ εἴδωλ' ἄττα συγγενῆ ἑαυτῶν, οἷ' ἡ γραφικὴ γεννᾷ καὶ μουσικὴ καὶ ὅσαι ταύταις εἰσὶν συνέριθοι τέχναι· αἳ δέ τι καὶ σπουδαῖον ἄρα γεννῶσι τῶν τεχνῶν, εἶναι ταύτας ὁπόσαι τῇ φύσει ἐκοίνωσαν τὴν αὑτῶν δύναμιν, οἷον αὖ ἰατρικὴ καὶ γεωργικὴ καὶ γυμναστική.

Plato, Laws X 889B1-D6

 

III

“Of things that come to be, some come to be from some kind of thought and art [ἀπό τινος διανοίας καὶ τέχνης], for example a house or a ship (for one cause of each of these is a kind of art and thought), while others come to be from no art at all, but from nature [διὰ φύσιν]. For the cause of animals and plants is nature and all such things come to be in accordance with nature. But then some things come to be from chance [διὰ τύχην] as well, for we say most things that come to be neither from art nor from nature nor of necessity come to be from chance. So then, nothing of what comes to be from chance comes to be for the sake of anything, nor do they have any end; however, in what comes to be from art there exists both the end and the for the sake of which (for one who possesses the art always will give you a reason [λόγον] because of which and for the sake of which he wrote), and this [because it] is better than what comes to be because of it. I mean the things of which art is a cause naturally in itself and not accidentally. For we should assume medicine is properly [a cause] of health rather than disease, while housebuilding is [a cause] of the house and not of its demolition. Therefore, everything that comes to be in accordance with art comes to be for the sake of something and this end is its best; yet, what is from chance does not come to be for the sake of something, for even should something good occur from chance, nevertheless surely it is not good in accordance with chance and insofar as it is from chance; instead what comes to be in accordance with it is always indeterminate. What is in accordance with nature [τὸ κατά γε φύσιν], however, comes to be for the sake of something and is always composed for the sake of a better thing than that [which comes to be] from art. For it is not the case that nature imitates art, but art nature [μιμεῖται γὰρ οὐ τὴν τέχνην ἡ φύσις ἀλλ' αὐτὴ τὴν φύσιν], and it exists to help and compensate for nature’s deficiencies.”

Τῶν γιγνομένων τὰ μὲν ἀπό τινος διανοίας καὶ τέχνης γίγνεται, οἷον οἰκία καὶ πλοῖον (ἀμφοτέρων γὰρ τούτων αἰτία τέχνη τίς ἐστι καὶ διάνοια), τὰ δὲ διὰ τέχνης μὲν οὐδεμιᾶς, ἀλλὰ διὰ φύσιν· ζῴων γὰρ καὶ φυτῶν αἰτία φύσις, καὶ κατὰ φύσιν γίγνεται πάντα τὰ τοιαῦτα. ἀλλὰ μὴν καὶ διὰ τύχην ἔνια γίγνεται τῶν πραγμάτων· ὅσα γὰρ μήτε διὰ τέχνην μήτε διὰ φύσιν μήτ' ἐξ ἀνάγκης γίγνεται, τὰ πολλὰ τούτων διὰ τύχην γίγνεσθαί φαμεν. Τῶν μὲν οὖν ἀπὸ τύχης γιγνομένων οὐδὲν ἕνεκά του γίγνεται, οὐδ' ἔστι τι τέλος αὐτοῖς· τοῖς δ' ἀπὸ τέχνης γιγνομένοις ἔνεστι καὶ τὸ τέλος καὶ τὸ οὗ ἕνεκα (ἀεὶ γὰρ ὁ τὴν τέχνην ἔχων ἀποδώσει σοι λόγον δι' ὃν ἔγραψε καὶ οὗ ἕνεκα), καὶ τοῦτο [ὅτι] βέλτιόν ἐστιν ἢ τὸ διὰ τοῦτο γιγνόμενον. λέγω δ' ὅσων καθ' αὑτὴν ἡ τέχνη πέφυκεν αἰτία καὶ μὴ κατὰ συμβεβηκός· ὑγιείας μὲν γὰρ ἰατρικὴν μᾶλλον ἢ νόσου κυρίως ἂν θείημεν, οἰκοδομικὴν δ' οἰκίας, ἀλλ' οὐ τοῦ καταβάλλειν. πᾶν ἄρα ἕνεκά του γίγνεται τὸ κατὰ τέχνην, καὶ τοῦτο τέλος αὐτῆς τὸ βέλτιστον, τὸ μέντοι διὰ τύχην οὐ γίγνεται ἕνεκά του· συμβαίη μὲν γὰρ ἂν καὶ ἀπὸ τύχης τι ἀγαθόν, οὐ μὴν ἀλλά γε κατὰ τὴν τύχην καὶ καθόσον ἀπὸ τύχης οὐκ ἀγαθόν, ἀόριστον δ' ἀεὶ τὸ γιγνόμενόν ἐστι κατ' αὐτήν. Ἀλλὰ μὴν τὸ κατά γε φύσιν ἕνεκά του γίγνεται, καὶ βελτίονος ἕνεκεν ἀεὶ συνίσταται ἢ καθάπερ τὸ διὰ τέχνης· μιμεῖται γὰρ οὐ τὴν τέχνην ἡ φύσις ἀλλ' αὐτὴ τὴν φύσιν, καὶ ἔστιν ἐπὶ τῷ βοηθεῖν καὶ τὰ παραλειπόμενα τῆς φύσεως ἀναπληροῦν.

Aristotle, Protrepticus 9, 49.3-50.2

July 16, 2016 /Sean Coughlin
nature, Democritus, Aristotle, Gigantomachy, materialism, Plato, art, art and nature
Philosophy
Comment
 

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