Aristotle on Art and Nature: Tools

“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

Theophrastus on Art and Nature II – Natural and Artificial Ecology

“The fact that some plants also cooperate towards each other’s preservation and generation is also evident from the following considerations. Among wild plants, deciduous ones cooperate with evergreens since when their leaves decay the earth is, as it were, fertilized which is useful for both good feeding and for the germination of their seeds; while among cultivated plants, those cooperate which people sow among their plants when they want to remove excess moisture from their vines, and among their vegetables either for this reason or because there is an infestation of bugs as bitter vetch is sown among radishes to guard against aphids and whatever else similarly grows among others. For we should assume these kinds of things happen among nature’s spontaneous creations, as well, especially if art imitates nature.”

ὅτι δὲ καὶ ἐν τοῖς φυτοῖς ἔνια συνεργεῖ πρὸς τὴν ἀλλήλων σωτηρίαν καὶ γένεσιν καὶ ἐκ τῶνδε φανερόν· ἐν μὲν γὰρ τοῖς ἀγρίοις τὰ φυλλοβόλα τοῖς ἀειφύλλοις ὅτι σηπομένων ξυμβαίνει καθάπερ κοπρίζεσθαι τὴν γῆν ὃ καὶ πρὸς εὐτροφίαν καὶ πρὸς τὴν βλάστησιν τῶν σπερμάτων χρήσιμον. ἐν δὲ τοῖς ἡμέροις ὅσα τοῖς φυτοῖς ἐπισπείρουσι τῶν ἀμπέλων ἀφαιρεῖν βουλόμενοι τὸ πλῆθος τῆς ὑγρότητος καὶ τοῖς λαχάνοις ἢ τούτου χάριν ἢ τῶν γινομένων θηρίων οἷον ταῖς ῥαφανίσι τοὺς ὀρόβους πρὸς τὰς ψύλλας καὶ εἴ τι τοιοῦτον ἕτερον ἑτέροις. οἴεσθαι γὰρ χρὴ τοιαῦτα καὶ ἐν τοῖς αὐτομάτοις τῆς φύσεως ὑπάρχειν ἄλλως τε καὶ εἰ ἡ τέχνη μιμεῖται τὴν φύσιν.

Theophrastus, Causes of Plants, 2.18.1–2

Theophrastus on Art and Nature I – Pigments

Red Ochre

“A kind of red ochre is also produced from burnt yellow ochre, although it is not as good (sc. as natural red ochre). It was Kydios’ discovery. For, so they say, he became aware of it when a market burned down: he saw that the yellow ochre when half-burnt had also become red.”

γίνεται [sc. μίλτος] δὲ καὶ ἐκ τῆς ὤχρας κατακαιομένης ἀλλὰ χείρων, τὸ δ' εὕρημα Κυδίου. συνεῖδε γὰρ ἐκεῖνος, ὥς φασι, κατακαυθέντος τινὸς παντοπωλίου* τὴν ὤχραν ἰδὼν ἡμίκαυστον καὶ πεφοινιγμένην.

Theophrastus, On Stones, 53–54

*τινὸς παντοπωλίου: Caley translates this as ‘inn’. I’m not sure what Greek text he was using, but I think the παντοπώλιον is the place where you find everything (τὰ πάτνα) for sale (πωλεῖν).

Cyan / Lapis Lazuli

“Just as some red ochre is spontaneous and some is artificial, so with cyan, some is native, some prepared (like in Egypt*). Now, there are three kinds of cyan: the Egyptian, the Scythian and third the Cyprian. The Egyptian is best for unmixed pigments, the Scythian for those that are wetter. The Egyptian, however, is prepared. In fact, those who record the deeds of their kings also record this: a king first made liquid cyan by imitating the native kind, as gifts of fired and unfired cyan were sent as tribute from Phoenicia and other places. Meanwhile, those who grind pigments** say that Scythian cyan produces from itself four colours: the first from the finest parts is most pale, the second from the coarsest parts is darkest. These come to be by art, too, as does white lead.”

ἔστι δέ, ὥσπερ καὶ μίλτος ἡ μὲν αὐτόματος ἡ δὲ τεχνική, καὶ κύανος ὁ μὲν αὐτοφυὴς ὁ δὲ σκευαστὸς ὥσπερ ἐν Αἰγύπτῳ. γένη δὲ κυάνου τρία, ὁ Αἰγύπτιος, καὶ ὁ Σκύθης, καὶ τρίτος ὁ Κύπριος. βέλτιστος δ' ὁ Αἰγύπτιος εἰς τὰ ἄκρατα λειώματα, ὁ δὲ Σκύθης εἰς τὰ ὑδαρέστερα. σκευαστὸς δ' ὁ Αἰγύπτιος. καὶ οἱ γράφοντες τὰ περὶ τοὺς βασιλεῖς καὶ τοῦτο γράφουσι, τίς πρῶτος βασιλεὺς ἐποίησε χυτὸν κύανον μιμησάμενος τὸν αὐτοφυῆ, δῶρά τε πέμπεσθαι παρ' ἄλλων τε καὶ ἐκ Φοινίκης φόρον κυάνου, τοῦ μὲν ἀπύρου τοῦ δὲ πεπυρωμένου. φασὶ δ' οἱ τὰ φάρμακα τρίβοντες τὸν Σκύθην κύανον ἐξ ἑαυτοῦ ποιεῖν χρώματα τέτταρα, τὸ μὲν πρῶτον ἐκ τῶν λεπτοτάτων λευκότατον, τὸ δὲ δεύτερον ἐκ τῶν παχυτάτων μελάντατον. ταῦτά τε δὴ τέχνῃ γίνεται καὶ ἔτι τὸ ψιμύθιον.

Theophrastus, On Stones, 55–56

*κύανος (cyan): a dark blue pigment. The native kind is most likely lapis lazuli. The χυτὸν κύανον is obscure, but might be a liquid form (parallel would be χυτὸς ἄργυρος, quicksilver). I translate it as ‘liquid cyan’.

**οἱ τὰ φάρμακα τρίβοντες : “the drug-grinders.” τὰ φάρμακα has a semantic range that does not map on to either ‘drugs’, ‘medicines’ or ‘poisons’. Closest thing, I guess, would be to say, ‘chemicals,’ but that’s probably a bit too specific.

Cinnabar

“There is also a native and a manufactured kind of cinnabar. The native kind around Iberia is very hard and stony, as is the one in the Kolchian regions. This, they say, is found on cliffs, which they bring down by shooting it with arrows. The manufactured kind comes only from one place in the Kilbian region (?)*, a little bit outside of Ephesus. It is a sandy ore** which they collect when shiny, like Kermes. Once this is ground to a very fine powder in stone vessels, they wash it in copper ones, and again, taking the sediment, they wash and grind it, a task that takes some skill. For from the same amount of ore, some people produce much, some little or nothing; but, they treat the washings from above, coating them one by one. The sediment below is cinnabar, while what remains on top is mostly scum.***

“They say that Kallias, an Athenian, discovered and invented the manufacturing process from the silver mines. He thought the sandy ore had gold in it because it was shiny, and so he worked on it and collected it. When he perceived it did not have any, he marveled at the beauty of the sand because of its colour, and thus he came to the manner of its manufacture. This wasn’t long ago, but about ninety years at most before Praxibolos was archon at Athens.

“It is clear from these things that art imitates nature but produces its own kinds of things. Of these, some exist for the sake of utility, others, like paints, only for the sake of appearance, and some equally for the sake of both, like quicksilver. For this has a use, as well. It is made when cinnabar is ground up with vinegar in a bronze vessel and bronze pestle. Perhaps we might discover more things like these.”

γίνεται δὲ καὶ κιννάβαρι τὸ μὲν αὐτοφυὲς τὸ δὲ κατ' ἐργασίαν. αὐτοφυὲς μὲν τὸ περὶ Ἰβηρίαν σκληρὸν σφόδρα καὶ λιθῶδες, καὶ τὸ ἐν Κόλχοις. τοῦτο δέ φασιν εἶναι ἐπὶ κρημνῶν, ὃ καταβάλλουσι τοξεύοντες. τὸ δὲ κατ' ἐργασίαν ὑπὲρ Ἐφέσου μικρὸν <ἐν Κιλβιανοῖς (?)> ἐξ ἑνὸς τόπου μόνον. ἔστι δ' ἄμμος ἣν συλλέγουσι λαμπυρίζουσαν καθάπερ ὁ κόκκος· ταύτην δὲ τρίψαντες ὅλως ἐν ἀγγείοις λιθίνοις λειοτάτην πλύνουσιν ἐν χαλκοῖς [μικρὸν ἐν καλοῖς], τὸ δ' ὑφιστάμενον πάλιν λαβόντες πλύνουσι καὶ τρίβουσιν, ἐν ᾧπέρ ἐστι τὸ τῆς τέχνης· οἱ μὲν γὰρ ἐκ τοῦ ἴσου πολὺ περιποιοῦσιν, οἱ δ' ὀλίγον ἢ οὐθέν· ἀλλὰ πλύσματι τῷ ἐπάνω χρῶνται ἓν πρὸς ἓν ἀλείφοντες. γίνεται δὲ τὸ μὲν ὑφιστάμενον κάτω κιννάβαρι, τὸ δ' ἐπάνω καὶ πλεῖον πλύσμα.

καταδεῖξαι δέ φασι καὶ εὑρεῖν τὴν ἐργασίαν Καλλίαν τινὰ Ἀθηναῖον ἐκ τῶν ἀργυρείων, ὃς οἰόμενος ἔχειν τὴν ἄμμον χρυσίον διὰ τὸ λαμπυρίζειν ἐπραγματεύετο καὶ συνέλεγεν. ἐπεὶ δ' ᾔσθετο ὅτι οὐκ ἔχοι τὸ δὲ τῆς ἄμμου κάλλος ἐθαύμαζε διὰ τὴν χρόαν, οὕτως ἐπὶ τὴν ἐργασίαν ἦλθε ταύτην. οὐ παλαιὸν δ' ἐστὶν ἀλλὰ περὶ ἔτη μάλιστ' ἐνενήκοντα εἰς ἄρχοντα Πραξίβουλον Ἀθήνησι.

φανερὸν δ' ἐκ τούτων ὅτι μιμεῖται τὴν φύσιν ἡ τέχνη, τὰ δ' ἴδια ποιεῖ, καὶ τούτων τὰ μὲν χρήσεως χάριν τὰ δὲ μόνον φαντασίας ὥσπερ τὰς ἀλοιφάς. ἔνια δὲ ἴσως ἀμφοῖν ὥσπερ χυτὸν ἄργυρον. ἔστι γάρ τις χρεία καὶ τούτου. ποιεῖται δὲ ὅταν κιννάβαρι τριφθῇ μετ' ὄξους ἐν ἀγγείῳ χαλκῷ καὶ δοίδυκι χαλκῷ. τὰ μὲν οὖν τοιαῦτα τάχ' ἄν τις λάβοι πλείω.

Theophrastus, On Stones, 58–60

*<ἐν Κιλβιανοῖς (?)>: some textual confusion. Schneider seems to have transposed ἐν καλοῖς from a bit below to here and emended it to ἐν Κιλβιανοῖς (‘in the Kilbian region’). Sure, why not…

**ἄμμος = ψάμμος, as in a sandy ore (probably, maybe).

***ἀλλὰ πλύσματι … πλύσμα. Not quite clear on the process here, but probably something similar to sluicing or panning: water goes over the sandy ore, and because of the agitation, solids of different sizes or densities separate into different layers.

Partying: a neglected branch of moral philosophy

I’m drinking whisky. A bit from Philo of Alexandria’s work, On Being Drunk, since I’ve been thinking these days about the morality of partying.

“They say that Pheidias, that great sculptor, made statues from bronze, ivory, gold and all sorts of other materials, and that in all of them he expressed one and the same art, so that not only the critics, but even totally normal people might recognize the artist from his works. For, like in the case of twins, where nature will often use the same form and cast things similar that differ very little, in the same way, too, the perfect art, since it is an imitation and representation of nature, will take different materials and shape and stamp the same form on all of them, so that its works are related like siblings and twins.

“The same thing is exhibited in the power of the wise person. For when it is turned to questions about being, it is called piety and holiness. When it is concerned with questions about the heavens and the things in them, it is called physics. It is called meteorology when it is concerned with the atmosphere and its natural turnings and its changes throughout the seasons of the whole year and partially in each monthly and daily cycle. And it is called ethics when it is concerned with questions about correcting human character: one of its branches, the one concerned with the city, is called politics; another, the one concerned with household management, is called economics; and another, the one concerned with drinking parties and festivals, is called the science of partying.”

τὸν ἀνδριαντοποιὸν Φειδίαν ἐκεῖνον καὶ χαλκὸν λαβόντα φασὶ καὶ ἐλέφαντα καὶ χρυσὸν καὶ ἄλλας διαφόρους ὕλας ἀνδριάντας ἀπεργάσασθαι καὶ ἐν ἅπασι τούτοις μίαν καὶ τὴν αὐτὴν ἐνσημήνασθαι τέχνην, ὡς μὴ μόνον ἐπιστήμονας, ἀλλὰ καὶ λίαν ἰδιώτας τὸν δημιουργὸν ἀπὸ τῶν δημιουργηθέντων γνωρίσαι· καθάπερ γὰρ ἐπὶ τῶν διδύμων ἡ φύσις χρησαμένη τῷ αὐτῷ πολλάκις χαρακτῆρι παρὰ μικρὸν ἀπαραλλάκτους ὁμοιότητας ἐτύπωσε, τὸν αὐτὸν τρόπον καὶ ἡ τελεία τέχνη, μίμημα καὶ ἀπεικόνισμα φύσεως οὖσα, ὅταν διαφόρους ὕλας παραλάβῃ, σχηματίζει καὶ ἐνσφραγίζεται τὴν αὐτὴν ἁπάσαις ἰδέαν, ὡς ταύτῃ μάλιστα συγγενῆ καὶ ἀδελφὰ καὶ δίδυμα τὰ δημιουργηθέντα γενέσθαι.

ταὐτὸν οὖν καὶ ἡ ἐν τῷ σοφῷ δύναμις ἐπιδείξεται· πραγματευομένη γὰρ τὰ περὶ τοῦ ὄντος εὐσέβεια καὶ ὁσιότης ὀνομάζεται, τὰ δὲ περὶ οὐρανοῦ καὶ τῶν κατ' αὐτὸν φυσιολογία, μετεωρολογικὴ δὲ τὰ περὶ τὸν ἀέρα καὶ ὅσα κατὰ τὰς τροπὰς αὐτοῦ καὶ μεταβολὰς ἔν τε ταῖς ὁλοσχερέσιν ἐτησίοις ὥραις καὶ ταῖς ἐν μέρει κατά τε μηνῶν καὶ ἡμερῶν περιόδους πέφυκε συνίστασθαι, ἠθικὴ δὲ τὰ πρὸς ἀνθρωπίνων ἐπανόρθωσιν ἠθῶν, ἧς ἰδέαι πολιτική τε ἡ περὶ πόλιν καὶ ἡ περὶ οἰκίας ἐπιμέλειαν οἰκονομική, συμποτική τε ἡ περὶ τὰ συμπόσια καὶ τὰς εὐωχίας.

Philo of Alexandria, De ebrietate, 88–91

Pseudo-Alexander on why oil doesn't mix with water, how the soul is joined to the body, and why the head is like a little heaven

Why doesn't oil combine together with other liquids?

Because, since it is viscous and dense and unified and not cut up into fine parts like other liquids, it does not have space for another liquid to move into it and combine with it.

Some things that are joined, however, are joined with one another by mixture, like the qualities of the elements. They have primary qualities that are completely concealed and that produce other [qualities], but are able to be separated and liberated by nature once again. Honey-wine and sour-wine imitate nature, since to our perception they seem to exist as a mixture. In truth, however, and with respect to their substantial nature, they are not like the elements.

Other things are joined by juxtaposition, like water and oil; still others are joined by combination, like barley with wheat; others by cementing, like stone with stone; others by adhesion and similar processes, like blood with flesh or marrow or bone; others by nailing, like wood to wood because some nails were fitted between them; others, by attachment and weaving together, like links in a chain.

But in the case of ensouled things, as in the case of wrestlers*, the soul is not joined with the body in any these ways. That would be too absurd. Instead, the soul joins the body through a kind of suitable medium, which is to some extent receptive of the nature of both. And it [sc. the medium] embraces both a created and contrived thing and combines the incorporeal with the corporeal, the immortal with the corruptible, the pure with the impure, the divine with the earthly, as the discussion will show.

For when the blood is concocted in the liver and changed by the localized balanced proportion of heat and moisture, it generates a vapory pneuma. When this rises with the blood through the hollow-vein towards the heart, as it is heated and refined more, it [sc. the pneuma] becomes air-like. And again, when it is sent up through the carotid artery towards the base of the brain, being guided there by nature’s providence, casting off the immoderate boiling in accordance with a certain peculiar natural quality accompanying the coldness of the brain, the pneuma becomes aitherial, which is the soul’s instrument for activity.

So, just as wild horses are chastened by a bridle, so this [pneuma] is bridled by a certain irrational natural capacity. Furthermore, it is indeed through respiration that the air that has come into the heart is refined and goes up through the arteries towards the head, and it is made nourishment of the aetherial and psychic pneuma. If [the air] meets a body, let it strengthen the body; but if it meets finest, purest, most radiant [pneuma], then [let it strengthen] the rational soul, being somehow a corporeal incorporeal, an intermediate bound between extremes of contrary substance.

When this pneuma is properly stable, in everything it does, it manages, with the soul, to act rationally [κατὰ λόγον]. But when it is cooled immoderately and compressed and thickened, it becomes unsuitable for the intense activity of the soul [and] makes the activities idle and sluggish. When it has been cooled and thickened extremely immoderately, the generated body also causes the soul to depart due to the unsuitability of the substance, as in the case of lethargy, torpor and a draught of cold poison. On the other hand, when it is heated immoderately and is moved more than is needed, it causes the soul to act immoderately in accordance with the soul’s displacement [κατὰ τὰς ἐκστάσεις τῆς ψυχῆς] in [cases of] phrenitis. When this affection becomes even stronger, after it is exhausted, it will make the soul depart again by not preserving their being bound together.

Consider with me a different work of god. For since it was fated that it [sc. the soul] be confined from the heavenly and divine body to an earthly body, [the god] contrived the descent in shape, structure and colour. For the head itself it formed into a sphere, just like a little heaven. It arranged the brain—bright and without excess, having given seven passages to it representing the number of the movers of the stars—to rise above the whole body. For heaven, too, rises above everything in the world of coming to be and passing away.

*the image is of two people embracing and holding on to one another.

Διὰ τί τὸ ἔλαιον οὐδενὶ τῶν ὑγρῶν ἀναμίγνυται;

ὅτι γλίσχρον ὂν καὶ παχυμερὲς καὶ ἡνωμένον καὶ μὴ τεμνόμενον εἰς λεπτὰ μόρια καθάπερ τὰ ἄλλα ὑγρά, οὐ δίδωσιν χώραν ἑτέρῳ ὑγρῷ ἐγκαταβληθῆναι εἰς αὐτὸ καὶ ἀναμιχθῆναι αὐτῷ·

τὰ δὲ ὁμιλοῦντα ἑαυτοῖς ὁμιλεῖ τῶν κατὰ τὴν κρᾶσιν, ὡς αἱ ποιότητες τῶν στοιχείων παντελῶς ἔχουσαι τὰς πρώτας ποιότητας ἀφανιζομένας καὶ ἑτέρας γεννωμένας, δυναμένας δὲ πάλιν ὑπὸ φύσεως χωρισθῆναι καὶ σωθῆναι. τὸ δὲ μελίκρατον καὶ τὸ ὀξύκρατον μιμεῖται τὴν φύσιν, τῇ αἰσθήσει μὲν νομιζόμενα κατὰ κρᾶσιν, εἶναι μὴ ὄντα δὲ κατὰ ἀλήθειαν· καὶ πρὸς τὴν φύσιν οὐσιωδῶς, ὥσπερ τὰ στοιχεῖα.

τὰ δὲ κατὰ παράθεσιν, ὡς ὑδρέλαιον· τὰ δὲ κατὰ μῖξιν, ὡς κριθὴ πυροῖς· τὰ δὲ κατὰ κόλλησιν, ὡς λίθος λίθῳ· τὰ δὲ κατὰ πρόσφυσιν καὶ ὁμοίως, ὡς αἷμα σαρκὶ ἢ μυελῷ ἢ ὀστῷ. τὰ δὲ κατὰ γόμφωσιν, ὡς ξύλον ξύλῳ διὰ γόμφων τινῶν ἐν μέσῳ βαλλομένων. τὰ δὲ κατὰ ἀντοχὴν ἑαυτῶν καὶ περιπλοκήν, ὡς κρίκος κρίκῳ.

ἐπὶ δὲ ἐμψύχων, ὡς ἐπὶ παλαιόντων, κατ' οὐδένα τούτων τῶν τρόπων μίγνυται ἡ ψυχὴ σώματι. διὰ τὸ πολλὴν ἐπάγεσθαι ἀτοπίαν [mss. ἀντοπίαν], ἀλλὰ μᾶλλον κατ' ἐπιτηδειότητα ὁμιλεῖ σώματι ψυχὴ διὰ μέσου τινός, ὅπερ ἀμφοτέρων ἀναδεχόμενον φύσιν ποσῶς· καὶ προσφιλεῖ γινόμενον καὶ σοφιζόμενον, ἀμφότερον μίγνυσι τὸ ἀσώματον τῷ σώματι, τὸ ἀθάνατον τῷ φθαρτῷ, τὸ καθαρὸν τῷ ἀκαθάρτῳ, τὸ θεῖον τῷ γηΐνῳ, ὡς ὁ λόγος δείξει·

ἐν γὰρ τῷ ἥπατι τοῦ αἵματος πεττομένου καὶ μεταβαλλομένου ὑπὸ τῆς αὐτόθι συμμέτρου θερμότητος καὶ ὑγρότητος, γεννᾶται πνεῦμαἀτμοειδές· τοῦτο δὲ διὰ τῆς κοίλης φλεβὸς ἀνιὸν μετὰ τοῦ αἵματος πρὸς καρδίαν, καὶ ἐπὶ πλέον θερμαινόμενον καὶ λεπτυνόμενον, γίνεται ἀεροειδές· καὶ πάλιν ἀναπεμπόμενον διὰ τῶν καρωτίδων ἀρτηριῶν πρὸς τὴν βάσιν τοῦ ἐγκεφάλου κατὰ πρόνοιαν φύσεως ἐκεῖσε παιδαγωγούμενον κατ' ἰδιότητά τινα φυσικὴν ὑπὸ τῆς τοῦ ἐγκεφάλου ψυχρότητος ἀποβαλὸν τὴν ἄμετρον ζέσιν, γίνεται πνεῦμα αἰθεροειδές, ὅπερ ὄργανόν ἐστι ψυχῆς πρὸς ἐνέργειαν·

ὥσπερ ἄγριος ἵππος ὑπὸ χαλινοῦ σωφρονιζόμενος, οὕτω δὲ τοῦτο χαλιναγωγούμενον ὑπό τινος ἀρρήτου φυσικῆς δυνάμεως· ἔτι γε μὴν διὰ τῆς ἀναπνοῆς ὁ εἰσιὼν ἀὴρ ἐν τῇ καρδίᾳ λεπτυνόμενος καὶ ἀνιὼν διὰ τῶν ἀρτηριῶν πρὸς ἐγκέφαλον, καὶ αὐτὸ τροφὴ καθίσταται τοῦ αἰθεροειδοῦς καὶ ψυχικοῦ πνεύματος· ὅπερ εἰ μὲν σῶμα τυγχάνει, προσωκείτω τῷ σώματι, εἰ δὲ λεπτότατον καὶ καθαρότατον καὶ διαυγέστατον φιλιοῦται, ψυχῇ λογικῇ σῶμα ἀσώματόν πως ὑπάρχον καὶ δεσμὸς ἔμμεσος τυγχάνει τῶν ἄκρων ἐναντίαν οὐσίαν ἐχόντων·

τοῦτο τὸ πνεῦμα καλῶς μὲν εὐσταθοῦν διάγει ψυχῇ πάντα κατὰ λόγον ἐνεργεῖν· ἀμέτρως δὲ ψυχόμενον καὶ πιλούμενον καὶ παχυνόμενον καὶ ἀνεπιτήδειον γινόμενον πρὸς ἐνέργειαν σύντονον ψυχῆς ποιεῖ τὰς πράξεις ἀργοτέρας καὶ νωθροτέρας· ἀμετρότατα δὲ ψυχθὲν καὶ παχυνθὲν καὶ σῶμα γενόμενον παρασκευάζει ταύτην ἀφίστασθαι διὰ τὸ ἀνεπιτήδειον τῆς οὐσίας, ὡς ἐπὶ ληθάργων καὶ κάρων καὶ πόσεως ψυχρῶν δηλητηρίων· πάλιν δὲ θερμανθὲν ἀμέτρως καὶ πλέον τοῦ δέοντος κινούμενον, παρασκευάζει ψυχὴν ἀμετρότερον ἐνεργεῖν κατὰ τὰς ἐκστάσεις τῆς ψυχῆς ταῖς φρενίτισιν· ἔτι δὲ πλέον τοῦτο παθὸν καὶ ἐκδαπανηθὲν ποιήσει πάλιν ψυχὴν ἀφίστασθαι τῷ μὴ εὐπορεῖν τοῦ δεσμοῦντος ἀμφότερα.

θεώρει δέ μοι ἕτερον ἔργον θεοῦ· ἐπειδὴ γὰρ ταύτην ἔμελλεν ἀπὸ σώματος οὐρανίου καὶ θείου κατακλείειν σώματι γηΐνῳ, σοφίζεται τὴν κάθοδον σχήματι, κατασκευῇ, χρώματι. αὐτὴν μὲν γὰρ τὴν κεφαλὴν σφαιροειδῆ διετύπωσε, καθάπερ μικρὸν οὐρανόν· τὸν δὲ ἐγκέφαλον λαμπρὸν καὶ ἀπέριττον ἔταξε δεδωκὼς αὐτῷ πόρους ἑπτὰ τῶν κινουμένων ἀστέρων τὸν ἀριθμὸν διατυπώσας. ὑπερέχειν δὲ τοῦ παντὸς σώματος· καὶ γὰρ ὁ οὐρανὸς ὑπερέχει πάντα τὰ ἐν γενέσει καὶ φθορᾷ.

Pseudo-Alexander, Problems, 2.67

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

“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