AGATHON............9
The origin of action — its efficient, not its final cause — is choice, and that of choice is desire and reasoning with a view to an end. This is why choice cannot exist either without reason and intellect or without a moral state; for good action and its opposite cannot exist without a combination of intellect and character. Intellect itself, however, moves nothing, but only the intellect which aims at an end and is practical; for this rules the productive intellect, as well, since every one who makes makes for an end, and that which is made is not an end in the unqualified sense (but only an end in a particular relation, and the end of a particular operation) — only that which is done is that; for good action is an end, and desire aims at this. Hence choice is either desiderative reason or ratiocinative desire, and such an origin of action is a man. (It is to be noted that nothing that is past is an object of choice, e.g. no one chooses to have sacked Troy; for no one deliberates about the past, but about what is future and capable of being otherwise, while what is past is not capable of not having taken place; hence Agathon is right in saying "For this alone is lacking even to God, / To make undone things thathave once been done.)"	NICOMACHEAN ETHICS Book VI
In the variable are included both things made and things done; making and acting are different (for their nature we treat even the discussions outside our school as reliable); so that the reasoned state of capacity to act is different from the reasoned state of capacity to make. Hence too they are not included one in the other; for neither is acting making nor is making acting. Now since architecture is an art and is essentially a reasoned state of capacity to make, and there is neither any art that is not such a state nor any such state that is not an art, art is identical with a state of capacity to make, involving a true course of reasoning. All art is concerned with coming into being, i.e. with contriving and considering how something may come into being which is capable of either being or not being, and whose origin is in the maker and not in the thing made; for art is concerned neither with things that are, or come into being, by necessity, nor with things that do so in accordance with nature (since these have their origin in themselves). Making and acting being different, art must be a matter of making, not of acting. And in a sense chance and art are concerned with the same objects; as Agathon says, 'art loves chance and chance loves art'. Art, then, as has been is a state concerned with making, involving a true course of reasoning, and lack of art on the contrary is a state concerned with making, involving a false course of reasoning; both are concerned with the variable.	NICOMACHEAN ETHICS Book VI
It is, moreover, evident from what has been said, that it is not the function of the poet to relate what has happened, but what may happen — what is possible according to the law of probability or necessity. The poet and the historian differ not by writing in verse or in prose. The work of Herodotus might be put into verse, and it would still be a species of history, with meter no less than without it. The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular. By the universal I mean how a person of a certain type on occasion speak or act, according to the law of probability or necessity; and it is this universality at which poetry aims in the names she attaches to the personages. The particular is — for example — what Alcibiades did or suffered. In Comedy this is already apparent: for here the poet first constructs the plot on the lines of probability, and then inserts characteristic names — unlike the lampooners who write about particular individuals. But tragedians still keep to real names, the reason being that what is possible is credible: what has not happened we do not at once feel sure to be possible; but what has happened is manifestly possible: otherwise it would not have happened. Still there are even some tragedies in which there are only one or two well-known names, the rest being fictitious. In others, none are well known — as in Agathon's Antheus, where incidents and names alike are fictitious, and yet they give none the less pleasure. We must not, therefore, at all costs keep to the received legends, which are the usual subjects of Tragedy. Indeed, it would be absurd to attempt it; for even subjects that are known are known only to a few, and yet give pleasure to all. It clearly follows that the poet or 'maker' should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions. And even if he chances to take a historical subject, he is none the less a poet; for there is no reason why some events that have actually happened should not conform to the law of the probable and possible, and in virtue of that quality in them he is their poet or maker.	POETICS IX
Again, since Tragedy is an imitation of persons who are above the common level, the example of good portrait painters should be followed. They, while reproducing the distinctive form of the original, make a likeness which is true to life and yet more beautiful. So too the poet, in representing men who are irascible or indolent, or have other defects of character, should preserve the type and yet ennoble it. In this way Achilles is portrayed by Agathon and Homer.	POETICS XV
Again, the poet should remember what has been often said, and not make an Epic structure into a tragedy — by an Epic structure I mean one with a multiplicity of plots — as if, for instance, you were to make a tragedy out of the entire story of the Iliad. In the Epic poem, owing to its length, each part assumes its proper magnitude. In the drama the result is far from answering to the poet's expectation. The proof is that the poets who have dramatized the whole story of the Fall of Troy, instead of selecting portions, like Euripides; or who have taken the whole tale of Niobe, and not a part of her story, like Aeschylus, either fail utterly or meet with poor success on the stage. Even Agathon has been known to fail from this one defect. In his Reversals of the Situation, however, he shows a marvelous skill in the effort to hit the popular taste — to produce a tragic effect that satisfies the moral sense. This effect is produced when the clever rogue, like Sisyphus, is outwitted, or the brave villain defeated. Such an event is probable in Agathon's sense of the word: 'is probable,' he says, 'that many things should happen contrary to probability.'	POETICS XVIII
Again, the poet should remember what has been often said, and not make an Epic structure into a tragedy — by an Epic structure I mean one with a multiplicity of plots — as if, for instance, you were to make a tragedy out of the entire story of the Iliad. In the Epic poem, owing to its length, each part assumes its proper magnitude. In the drama the result is far from answering to the poet's expectation. The proof is that the poets who have dramatized the whole story of the Fall of Troy, instead of selecting portions, like Euripides; or who have taken the whole tale of Niobe, and not a part of her story, like Aeschylus, either fail utterly or meet with poor success on the stage. Even Agathon has been known to fail from this one defect. In his Reversals of the Situation, however, he shows a marvelous skill in the effort to hit the popular taste — to produce a tragic effect that satisfies the moral sense. This effect is produced when the clever rogue, like Sisyphus, is outwitted, or the brave villain defeated. Such an event is probable in Agathon's sense of the word: 'is probable,' he says, 'that many things should happen contrary to probability.'	POETICS XVIII
The Chorus too should be regarded as one of the actors; it should be an integral part of the whole, and share in the action, in the manner not of Euripides but of Sophocles. As for the later poets, their choral songs pertain as little to the subject of the piece as to that of any other tragedy. They are, therefore, sung as mere interludes — a practice first begun by Agathon. Yet what difference is there between introducing such choral interludes, and transferring a speech, or even a whole act, from one play to another.	POETICS XVIII
Let us first speak of the Possible and Impossible. It may plausibly be argued: That if it is possible for one of a pair of contraries to be or happen, then it is possible for the other: e.g. if a man can be cured, he can also fall ill; for any two contraries are equally possible, in so far as they are contraries. That if of two similar things one is possible, so is the other. That if the harder of two things is possible, so is the easier. That if a thing can come into existence in a good and beautiful form, then it can come into existence generally; thus a house can exist more easily than a beautiful house. That if the beginning of a thing can occur, so can the end; for nothing impossible occurs or begins to occur; thus the commensurability of the diagonal of a square with its side neither occurs nor can begin to occur. That if the end is possible, so is the beginning; for all things that occur have a beginning. That if that which is posterior in essence or in order of generation can come into being, so can that which is prior: thus if a man can come into being, so can a boy, since the boy comes first in order of generation; and if a boy can, so can a man, for the man also is first. That those things are possible of which the love or desire is natural; for no one, as a rule, loves or desires impossibilities. That things which are the object of any kind of science or art are possible and exist or come into existence. That anything is possible the first step in whose production depends on men or things which we can compel or persuade to produce it, by our greater strength, our control of them, or our friendship with them. That where the parts are possible, the whole is possible; and where the whole is possible, the parts are usually possible. For if the slit in front, the toe-piece, and the upper leather can be made, then shoes can be made; and if shoes, then also the front slit and toe-piece. That if a whole genus is a thing that can occur, so can the species; and if the species can occur, so can the genus: thus, if a sailing vessel can be made, so also can a trireme; and if a trireme, then a sailing vessel also. That if one of two things whose existence depends on each other is possible, so is the other; for instance, if 'double', then 'half', and if 'half', then 'double'. That if a thing can be produced without art or preparation, it can be produced still more certainly by the careful application of art to it. Hence Agathon has said: To some things we by art must needs attain, / Others by destiny or luck we gain.	RHETORIC Book II
Again, a spurious syllogism may, as in 'eristical' discussions, be based on the confusion of the absolute with that which is not absolute but particular. As, in dialectic, for instance, it may be argued that what — is — not is, on the ground that what-is-not is what-is-not: or that the unknown can be known, on the ground that it can be known to he unknown: so also in rhetoric a spurious enthymeme may be based on the confusion of some particular probability with absolute probability. Now no particular probability is universally probable: as Agathon says, "One might perchance say that was probable — That things improbable oft will hap to men."	RHETORIC Book II
AGGREGATE..........6
These thinkers, as we say, evidently grasped, and to this extent, two of the causes which we distinguished in our work on nature — the matter and the source of the movement-vaguely, however, and with no clearness, but as untrained men behave in fights; for they go round their opponents and often strike fine blows, but they do not fight on scientific principles, and so too these thinkers do not seem to know what they say; for it is evident that, as a rule, they make no use of their causes except to a small extent. For Anaxagoras uses reason as a deus ex machina for the making of the world, and when he is at a loss to tell from what cause something necessarily is, then he drags reason in, but in all other cases ascribes events to anything rather than to reason. And Empedocles, though he uses the causes to a greater extent than this, neither does so sufficiently nor attains consistency in their use. At least, in many cases he makes love segregate things, and strife aggregate them. For whenever the universe is dissolved into its elements by strife, fire is aggregated into one, and so is each of the other elements; but whenever again under the influence of love they come together into one, the parts must again be segregated out of each element.	METAPHYSICS Book I
(3) There is a mixture of bodies, however, not merely such as some suppose, i.e. by juxtaposition of their minimal parts, which, owing to [the weakness of our] sense, are imperceptible by us, but a mixture by which they [i.e. the 'matter' of which they consist] are wholly blent together by interpenetration, as we have described it in the treatise on Mixture, where we dealt with this subject generally in its most comprehensive aspect. For, on the supposition we are criticizing, the only totals capable of being mixed are those which are divisible into minimal parts, [e.g. genera into individuals] as men, horses, or the [various kinds of] seeds. For of mankind as a whole the individual man is such a least part; of horses [as an aggregate] the individual horse. Hence by the juxtaposition of these we obtain a mixed total, consisting [like a troop of cavalry] of both together; but we do not say that by such a process any individual man has been mixed with any individual horse. Not in this way, but by complete interpenetration [of their matter], must we conceive those things to be mixed which are not divisible into minima; and it is in the case of these that natural mixture exhibits itself in its most perfect form. We have explained already in our discourse 'On Mixture' how such mixture is possible. This being the true nature of mixture, it is plain that when bodies are mixed their colours also are necessarily mixed at the same time; and [it is no less plain] that this is the real cause determining the existence of a plurality of colours — not superposition or juxtaposition. For when bodies are thus mixed, their resultant colour presents itself as one and the same at all distances alike; not varying as it is seen nearer or farther away.	ON SENSE AND THE SENSIBLE
The solution of these questions will bring with it also the answer to the question why the species of Colour, Taste, Sound, and other sensible qualities are limited. For in all classes of things lying between extremes the intermediates must be limited. But contraries are extremes, and every object of sense-perception involves contrariety: e.g. in Colour, White x Black; in Savour, Sweet x Bitter, and in all the other sensibles also the contraries are extremes. Now, that which is continuous is divisible into an infinite number of unequal parts, but into a finite number of equal parts, while that which is not per se continuous is divisible into species which are finite in number. Since then, the several sensible qualities of things are to be reckoned as species, while continuity always subsists in these, we must take account of the difference between the Potential and the Actual. It is owing to this difference that we do not [actually] see its ten-thousandth part in a grain of millet, although sight has embraced the whole grain within its scope; and it is owing to this, too, that the sound contained in a quarter-tone escapes notice, and yet one hears the whole strain, inasmuch as it is a continuum; but the interval between the extreme sounds [that bound the quarter-tone] escapes the ear [being only potentially audible, not actually]. So, in the case of other objects of sense, extremely small constituents are unnoticed; because they are only potentially not actually [perceptible e.g.] visible, unless when they have been parted from the wholes. So the footlength too exists potentially in the two-foot length, but actually only when it has been separated from the whole. But objective increments so small as those above might well, if separated from their totals, [instead of achieving 'actual' exisistence] be dissolved in their environments, like a drop of sapid moisture poured out into the sea. But even if this were not so [sc. with the objective magnitude], still, since the [subjective] of sense-perception is not perceptible in itself, nor capable of separate existence (since it exists only potentially in the more distinctly perceivable whole of sense-perception), so neither will it be possible to perceive [actually] its correlatively small object [sc. its quantum of pathema or sensible quality] when separated from the object-total. But yet this [small object] is to be considered as perceptible: for it is both potentially so already [i.e. even when alone], and destined to be actually so when it has become part of an aggregate. Thus, therefore, we have shown that some magnitudes and their sensible qualities escape notice, and the reason why they do so, as well as the manner in which they are still perceptible or not perceptible in such cases. Accordingly then when these [minutely subdivided] sensibles have once again become aggregated in a whole in such a manner, relatively to one another, as to be perceptible actually, and not merely because they are in the whole, but even apart from it, it follows necessarily [from what has been already stated] that their sensible qualities, whether colours or tastes or sounds, are limited in number.	ON SENSE AND THE SENSIBLE
Now it is impossible that the infinite should be a thing which is itself infinite, separable from sensible objects. If the infinite is neither a magnitude nor an aggregate, but is itself a substance and not an attribute, it will be indivisible; for the divisible must be either a magnitude or an aggregate. But if indivisible, then not infinite, except in the sense (1) in which the voice is 'invisible'. But this is not the sense in which it is used by those who say that the infinite exists, nor that in which we are investigating it, namely as (2) 'that which cannot be gone through'. But if the infinite exists as an attribute, it would not be, qua infinite an element in substances, any more than the invisible would be an element of speech, though the voice is invisible.	PHYSICS Book III
Now it is impossible that the infinite should be a thing which is itself infinite, separable from sensible objects. If the infinite is neither a magnitude nor an aggregate, but is itself a substance and not an attribute, it will be indivisible; for the divisible must be either a magnitude or an aggregate. But if indivisible, then not infinite, except in the sense (1) in which the voice is 'invisible'. But this is not the sense in which it is used by those who say that the infinite exists, nor that in which we are investigating it, namely as (2) 'that which cannot be gone through'. But if the infinite exists as an attribute, it would not be, qua infinite an element in substances, any more than the invisible would be an element of speech, though the voice is invisible.	PHYSICS Book III
These are the services which every state may be said to need. For a state is not a mere aggregate of persons, but a union of them sufficing for the purposes of life; and if any of these things be wanting, it is as we maintain impossible that the community can be absolutely self-sufficing. A state then should be framed with a view to the fulfillment of these functions. There must be husbandmen to procure food, and artisans, and a warlike and a wealthy class, and priests, and judges to decide what is necessary and expedient.	POLITICS BOOK II