ARROGANCE..........1
As to Power: here too it may fairly be said that the type of character it produces is mostly obvious enough. Some elements in this type it shares with the wealthy type, others are better. Those in power are more ambitious and more manly in character than the wealthy, because they aspire to do the great deeds that their power permits them to do. Responsibility makes them more serious: they have to keep paying attention to the duties their position involves. They are dignified rather than arrogant, for the respect in which they are held inspires them with dignity and therefore with moderation-dignity being a mild and becoming form of arrogance. If they wrong others, they wrong them not on a small but on a great scale.	RHETORIC Book II
ARROW..............3
Zeno's reasoning, however, is fallacious, when he says that if everything when it occupies an equal space is at rest, and if that which is in locomotion is always occupying such a space at any moment, the flying arrow is therefore motionless. This is false, for time is not composed of indivisible moments any more than any other magnitude is composed of indivisibles.	PHYSICS Book VI
The third is that already given above, to the effect that the flying arrow is at rest, which result follows from the assumption that time is composed of moments: if this assumption is not granted, the conclusion will not follow.	PHYSICS Book VI
It has already been mentioned that liveliness is got by using the proportional type of metaphor and being making (ie. making your hearers see things). We have still to explain what we mean by their 'seeing things', and what must be done to effect this. By 'making them see things' I mean using expressions that represent things as in a state of activity. Thus, to say that a good man is 'four-square' is certainly a metaphor; both the good man and the square are perfect; but the metaphor does not suggest activity. On the other hand, in the expression 'with his vigour in full bloom' there is a notion of activity; and so in 'But you must roam as free as a sacred victim'; and in "Thereas up sprang the Hellenes to their feet," where 'up sprang' gives us activity as well as metaphor, for it at once suggests swiftness. So with Homer's common practice of giving metaphorical life to lifeless things: all such passages are distinguished by the effect of activity they convey. Thus, "Downward anon to the valley rebounded the boulder remorseless;" and "The (bitter) arrow flew;" and "Flying on eagerly;" and "Stuck in the earth, still panting to feed on the flesh of the heroes;" and "And the point of the spear in its fury drove / full through his breastbone.	RHETORIC Book III
ART................368
The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really science and art come to men through experience; for 'experience made art', as Polus says, 'but inexperience luck.' Now art arises when from many notions gained by experience one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease this did him good, and similarly in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers — this is a matter of art.	METAPHYSICS Book I
The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really science and art come to men through experience; for 'experience made art', as Polus says, 'but inexperience luck.' Now art arises when from many notions gained by experience one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease this did him good, and similarly in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers — this is a matter of art.	METAPHYSICS Book I
The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really science and art come to men through experience; for 'experience made art', as Polus says, 'but inexperience luck.' Now art arises when from many notions gained by experience one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease this did him good, and similarly in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers — this is a matter of art.	METAPHYSICS Book I
The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really science and art come to men through experience; for 'experience made art', as Polus says, 'but inexperience luck.' Now art arises when from many notions gained by experience one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease this did him good, and similarly in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers — this is a matter of art.	METAPHYSICS Book I
The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really science and art come to men through experience; for 'experience made art', as Polus says, 'but inexperience luck.' Now art arises when from many notions gained by experience one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease this did him good, and similarly in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers — this is a matter of art.	METAPHYSICS Book I
The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really science and art come to men through experience; for 'experience made art', as Polus says, 'but inexperience luck.' Now art arises when from many notions gained by experience one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease this did him good, and similarly in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers — this is a matter of art.	METAPHYSICS Book I
With a view to action experience seems in no respect inferior to art, and men of experience succeed even better than those who have theory without experience. (The reason is that experience is knowledge of individuals, art of universals, and actions and productions are all concerned with the individual; for the physician does not cure man, except in an incidental way, but Callias or Socrates or some other called by some such individual name, who happens to be a man. If, then, a man has the theory without the experience, and recognizes the universal but does not know the individual included in this, he will often fail to cure; for it is the individual that is to be cured.) But yet we think that knowledge and understanding belong to art rather than to experience, and we suppose artists to be wiser than men of experience (which implies that Wisdom depends in all cases rather on knowledge); and this because the former know the cause, but the latter do not. For men of experience know that the thing is so, but do not know why, while the others know the 'why' and the cause. Hence we think also that the masterworkers in each craft are more honourable and know in a truer sense and are wiser than the manual workers, because they know the causes of the things that are done (we think the manual workers are like certain lifeless things which act indeed, but act without knowing what they do, as fire burns, — but while the lifeless things perform each of their functions by a natural tendency, the labourers perform them through habit); thus we view them as being wiser not in virtue of being able to act, but of having the theory for themselves and knowing the causes. And in general it is a sign of the man who knows and of the man who does not know, that the former can teach, and therefore we think art more truly knowledge than experience is; for artists can teach, and men of mere experience cannot.	METAPHYSICS Book I
With a view to action experience seems in no respect inferior to art, and men of experience succeed even better than those who have theory without experience. (The reason is that experience is knowledge of individuals, art of universals, and actions and productions are all concerned with the individual; for the physician does not cure man, except in an incidental way, but Callias or Socrates or some other called by some such individual name, who happens to be a man. If, then, a man has the theory without the experience, and recognizes the universal but does not know the individual included in this, he will often fail to cure; for it is the individual that is to be cured.) But yet we think that knowledge and understanding belong to art rather than to experience, and we suppose artists to be wiser than men of experience (which implies that Wisdom depends in all cases rather on knowledge); and this because the former know the cause, but the latter do not. For men of experience know that the thing is so, but do not know why, while the others know the 'why' and the cause. Hence we think also that the masterworkers in each craft are more honourable and know in a truer sense and are wiser than the manual workers, because they know the causes of the things that are done (we think the manual workers are like certain lifeless things which act indeed, but act without knowing what they do, as fire burns, — but while the lifeless things perform each of their functions by a natural tendency, the labourers perform them through habit); thus we view them as being wiser not in virtue of being able to act, but of having the theory for themselves and knowing the causes. And in general it is a sign of the man who knows and of the man who does not know, that the former can teach, and therefore we think art more truly knowledge than experience is; for artists can teach, and men of mere experience cannot.	METAPHYSICS Book I
With a view to action experience seems in no respect inferior to art, and men of experience succeed even better than those who have theory without experience. (The reason is that experience is knowledge of individuals, art of universals, and actions and productions are all concerned with the individual; for the physician does not cure man, except in an incidental way, but Callias or Socrates or some other called by some such individual name, who happens to be a man. If, then, a man has the theory without the experience, and recognizes the universal but does not know the individual included in this, he will often fail to cure; for it is the individual that is to be cured.) But yet we think that knowledge and understanding belong to art rather than to experience, and we suppose artists to be wiser than men of experience (which implies that Wisdom depends in all cases rather on knowledge); and this because the former know the cause, but the latter do not. For men of experience know that the thing is so, but do not know why, while the others know the 'why' and the cause. Hence we think also that the masterworkers in each craft are more honourable and know in a truer sense and are wiser than the manual workers, because they know the causes of the things that are done (we think the manual workers are like certain lifeless things which act indeed, but act without knowing what they do, as fire burns, — but while the lifeless things perform each of their functions by a natural tendency, the labourers perform them through habit); thus we view them as being wiser not in virtue of being able to act, but of having the theory for themselves and knowing the causes. And in general it is a sign of the man who knows and of the man who does not know, that the former can teach, and therefore we think art more truly knowledge than experience is; for artists can teach, and men of mere experience cannot.	METAPHYSICS Book I
With a view to action experience seems in no respect inferior to art, and men of experience succeed even better than those who have theory without experience. (The reason is that experience is knowledge of individuals, art of universals, and actions and productions are all concerned with the individual; for the physician does not cure man, except in an incidental way, but Callias or Socrates or some other called by some such individual name, who happens to be a man. If, then, a man has the theory without the experience, and recognizes the universal but does not know the individual included in this, he will often fail to cure; for it is the individual that is to be cured.) But yet we think that knowledge and understanding belong to art rather than to experience, and we suppose artists to be wiser than men of experience (which implies that Wisdom depends in all cases rather on knowledge); and this because the former know the cause, but the latter do not. For men of experience know that the thing is so, but do not know why, while the others know the 'why' and the cause. Hence we think also that the masterworkers in each craft are more honourable and know in a truer sense and are wiser than the manual workers, because they know the causes of the things that are done (we think the manual workers are like certain lifeless things which act indeed, but act without knowing what they do, as fire burns, — but while the lifeless things perform each of their functions by a natural tendency, the labourers perform them through habit); thus we view them as being wiser not in virtue of being able to act, but of having the theory for themselves and knowing the causes. And in general it is a sign of the man who knows and of the man who does not know, that the former can teach, and therefore we think art more truly knowledge than experience is; for artists can teach, and men of mere experience cannot.	METAPHYSICS Book I
At first he who invented any art whatever that went beyond the common perceptions of man was naturally admired by men, not only because there was something useful in the inventions, but because he was thought wise and superior to the rest. But as more arts were invented, and some were directed to the necessities of life, others to recreation, the inventors of the latter were naturally always regarded as wiser than the inventors of the former, because their branches of knowledge did not aim at utility. Hence when all such inventions were already established, the sciences which do not aim at giving pleasure or at the necessities of life were discovered, and first in the places where men first began to have leisure. This is why the mathematical arts were founded in Egypt; for there the priestly caste was allowed to be at leisure.	METAPHYSICS Book I
We have said in the Ethics what the difference is between art and science and the other kindred faculties; but the point of our present discussion is this, that all men suppose what is called Wisdom to deal with the first causes and the principles of things; so that, as has been said before, the man of experience is thought to be wiser than the possessors of any sense-perception whatever, the artist wiser than the men of experience, the masterworker than the mechanic, and the theoretical kinds of knowledge to be more of the nature of Wisdom than the productive. Clearly then Wisdom is knowledge about certain principles and causes.	METAPHYSICS Book I
But if there are several sciences of the causes, and a different science for each different principle, which of these sciences should be said to be that which we seek, or which of the people who possess them has the most scientific knowledge of the object in question? The same thing may have all the kinds of causes, e.g. the moving cause of a house is the art or the builder, the final cause is the function it fulfils, the matter is earth and stones, and the form is the definition. To judge from our previous discussion of the question which of the sciences should be called Wisdom, there is reason for applying the name to each of them. For inasmuch as it is most architectonic and authoritative and the other sciences, like slavewomen, may not even contradict it, the science of the end and of the good is of the nature of Wisdom (for the other things are for the sake of the end). But inasmuch as it was described' as dealing with the first causes and that which is in the highest sense object of knowledge, the science of substance must be of the nature of Wisdom. For since men may know the same thing in many ways, we say that he who recognizes what a thing is by its being so and so knows more fully than he who recognizes it by its not being so and so, and in the former class itself one knows more fully than another, and he knows most fully who knows what a thing is, not he who knows its quantity or quality or what it can by nature do or have done to it. And further in all cases also we think that the knowledge of each even of the things of which demonstration is possible is present only when we know what the thing is, e.g. what squaring a rectangle is, viz. that it is the finding of a mean; and similarly in all other cases. And we know about becomings and actions and about every change when we know the source of the movement; and this is other than and opposed to the end. Therefore it would seem to belong to different sciences to investigate these causes severally.	METAPHYSICS Book III
There are many senses in which a thing may be said to 'be', but all that 'is' is related to one central point, one definite kind of thing, and is not said to 'be' by a mere ambiguity. Everything which is healthy is related to health, one thing in the sense that it preserves health, another in the sense that it produces it, another in the sense that it is a symptom of health, another because it is capable of it. And that which is medical is relative to the medical art, one thing being called medical because it possesses it, another because it is naturally adapted to it, another because it is a function of the medical art. And we shall find other words used similarly to these. So, too, there are many senses in which a thing is said to be, but all refer to one starting-point; some things are said to be because they are substances, others because they are affections of substance, others because they are a process towards substance, or destructions or privations or qualities of substance, or productive or generative of substance, or of things which are relative to substance, or negations of one of these thing of substance itself. It is for this reason that we say even of non-being that it is nonbeing. As, then, there is one science which deals with all healthy things, the same applies in the other cases also. For not only in the case of things which have one common notion does the investigation belong to one science, but also in the case of things which are related to one common nature; for even these in a sense have one common notion. It is clear then that it is the work of one science also to study the things that are, qua being. — But everywhere science deals chiefly with that which is primary, and on which the other things depend, and in virtue of which they get their names. If, then, this is substance, it will be of substances that the philosopher must grasp the principles and the causes.	METAPHYSICS Book IV
There are many senses in which a thing may be said to 'be', but all that 'is' is related to one central point, one definite kind of thing, and is not said to 'be' by a mere ambiguity. Everything which is healthy is related to health, one thing in the sense that it preserves health, another in the sense that it produces it, another in the sense that it is a symptom of health, another because it is capable of it. And that which is medical is relative to the medical art, one thing being called medical because it possesses it, another because it is naturally adapted to it, another because it is a function of the medical art. And we shall find other words used similarly to these. So, too, there are many senses in which a thing is said to be, but all refer to one starting-point; some things are said to be because they are substances, others because they are affections of substance, others because they are a process towards substance, or destructions or privations or qualities of substance, or productive or generative of substance, or of things which are relative to substance, or negations of one of these thing of substance itself. It is for this reason that we say even of non-being that it is nonbeing. As, then, there is one science which deals with all healthy things, the same applies in the other cases also. For not only in the case of things which have one common notion does the investigation belong to one science, but also in the case of things which are related to one common nature; for even these in a sense have one common notion. It is clear then that it is the work of one science also to study the things that are, qua being. — But everywhere science deals chiefly with that which is primary, and on which the other things depend, and in virtue of which they get their names. If, then, this is substance, it will be of substances that the philosopher must grasp the principles and the causes.	METAPHYSICS Book IV
These, then, are practically all the senses in which causes are spoken of, and as they are spoken of in several senses it follows both that there are several causes of the same thing, and in no accidental sense (e.g. both the art of sculpture and the bronze are causes of the statue not in respect of anything else but qua statue; not, however, in the same way, but the one as matter and the other as source of the movement), and that things can be causes of one another (e.g. exercise of good condition, and the latter of exercise; not, however, in the same way, but the one as end and the other as source of movement). — Again, the same thing is the cause of contraries; for that which when present causes a particular thing, we sometimes charge, when absent, with the contrary, e.g. we impute the shipwreck to the absence of the steersman, whose presence was the cause of safety; and both — the presence and the privation — are causes as sources of movement.	METAPHYSICS Book V
The things, then, that are called one in virtue of an accident, are called so in this way. (2) Of things that are called one in virtue of their own nature some (a) are so called because they are continuous, e.g. a bundle is made one by a band, and pieces of wood are made one by glue; and a line, even if it is bent, is called one if it is continuous, as each part of the body is, e.g. the leg or the arm. Of these themselves, the continuous by nature are more one than the continuous by art. A thing is called continuous which has by its own nature one movement and cannot have any other; and the movement is one when it is indivisible, and it is indivisible in respect of time. Those things are continuous by their own nature which are one not merely by contact; for if you put pieces of wood touching one another, you will not say these are one piece of wood or one body or one continuum of any other sort. Things, then, that are continuous in any way called one, even if they admit of being bent, and still more those which cannot be bent; e.g. the shin or the thigh is more one than the leg, because the movement of the leg need not be one. And the straight line is more one than the bent; but that which is bent and has an angle we call both one and not one, because its movement may be either simultaneous or not simultaneous; but that of the straight line is always simultaneous, and no part of it which has magnitude rests while another moves, as in the bent line.	METAPHYSICS Book V
'Potency' means (1) a source of movement or change, which is in another thing than the thing moved or in the same thing qua other; e.g. the art of building is a potency which is not in the thing built, while the art of healing, which is a potency, may be in the man healed, but not in him qua healed. 'Potency' then means the source, in general, of change or movement in another thing or in the same thing qua other, and also (2) the source of a thing's being moved by another thing or by itself qua other. For in virtue of that principle, in virtue of which a patient suffers anything, we call it 'capable' of suffering; and this we do sometimes if it suffers anything at all, sometimes not in respect of everything it suffers, but only if it suffers a change for the better — (3) The capacity of performing this well or according to intention; for sometimes we say of those who merely can walk or speak but not well or not as they intend, that they cannot speak or walk. So too (4) in the case of passivity — (5) The states in virtue of which things are absolutely impassive or unchangeable, or not easily changed for the worse, are called potencies; for things are broken and crushed and bent and in general destroyed not by having a potency but by not having one and by lacking something, and things are impassive with respect to such processes if they are scarcely and slightly affected by them, because of a 'potency' and because they 'can' do something and are in some positive state.	METAPHYSICS Book V
'Potency' means (1) a source of movement or change, which is in another thing than the thing moved or in the same thing qua other; e.g. the art of building is a potency which is not in the thing built, while the art of healing, which is a potency, may be in the man healed, but not in him qua healed. 'Potency' then means the source, in general, of change or movement in another thing or in the same thing qua other, and also (2) the source of a thing's being moved by another thing or by itself qua other. For in virtue of that principle, in virtue of which a patient suffers anything, we call it 'capable' of suffering; and this we do sometimes if it suffers anything at all, sometimes not in respect of everything it suffers, but only if it suffers a change for the better — (3) The capacity of performing this well or according to intention; for sometimes we say of those who merely can walk or speak but not well or not as they intend, that they cannot speak or walk. So too (4) in the case of passivity — (5) The states in virtue of which things are absolutely impassive or unchangeable, or not easily changed for the worse, are called potencies; for things are broken and crushed and bent and in general destroyed not by having a potency but by not having one and by lacking something, and things are impassive with respect to such processes if they are scarcely and slightly affected by them, because of a 'potency' and because they 'can' do something and are in some positive state.	METAPHYSICS Book V
'A whole' means (1) that from which is absent none of the parts of which it is said to be naturally a whole, and (2) that which so contains the things it contains that they form a unity; and this in two senses — either as being each severally one single thing, or as making up the unity between them. For (a) that which is true of a whole class and is said to hold good as a whole (which implies that it is a kind whole) is true of a whole in the sense that it contains many things by being predicated of each, and by all of them, e.g. man, horse, god, being severally one single thing, because all are living things. But (b) the continuous and limited is a whole, when it is a unity consisting of several parts, especially if they are present only potentially, but, failing this, even if they are present actually. Of these things themselves, those which are so by nature are wholes in a higher degree than those which are so by art, as we said in the case of unity also, wholeness being in fact a sort of oneness.	METAPHYSICS Book V
And since natural science, like other sciences, is in fact about one class of being, i.e. to that sort of substance which has the principle of its movement and rest present in itself, evidently it is neither practical nor productive. For in the case of things made the principle is in the maker — it is either reason or art or some faculty, while in the case of things done it is in the doer-viz. will, for that which is done and that which is willed are the same. Therefore, if all thought is either practical or productive or theoretical, physics must be a theoretical science, but it will theorize about such being as admits of being moved, and about substance-as-defined for the most part only as not separable from matter. Now, we must not fail to notice the mode of being of the essence and of its definition, for, without this, inquiry is but idle. Of things defined, i.e. of 'whats', some are like 'snub', and some like 'concave'. And these differ because 'snub' is bound up with matter (for what is snub is a concave nose), while concavity is independent of perceptible matter. If then all natural things are a analogous to the snub in their nature; e.g. nose, eye, face, flesh, bone, and, in general, animal; leaf, root, bark, and, in general, plant (for none of these can be defined without reference to movement — the y always have matter), it is clear how we must seek and define the 'what' in the case of natural objects, and also that it belongs to the student of nature to study even soul in a certain sense, i.e. so much of it as is not independent of matter.	METAPHYSICS Book VI
Since, among things which are, some are always in the same state and are of necessity (not necessity in the sense of compulsion but that which we assert of things because they cannot be otherwise), and some are not of necessity nor always, but for the most part, this is the principle and this the cause of the existence of the accidental; for that which is neither always nor for the most part, we call accidental. For instance, if in the dog-days there is wintry and cold weather, we say this is an accident, but not if there is sultry heat, because the latter is always or for the most part so, but not the former. And it is an accident that a man is pale (for this is neither always nor for the most part so), but it is not by accident that he is an animal. And that the builder produces health is an accident, because it is the nature not of the builder but of the doctor to do this, — but the builder happened to be a doctor. Again, a confectioner, aiming at giving pleasure, may make something wholesome, but not in virtue of the confectioner's art; and therefore we say 'it was an accident', and while there is a sense in which he makes it, in the unqualified sense he does not. For to other things answer faculties productive of them, but to accidental results there corresponds no determinate art nor faculty; for of things which are or come to be by accident, the cause also is accidental. Therefore, since not all things either are or come to be of necessity and always, but, the majority of things are for the most part, the accidental must exist; for instance a pale man is not always nor for the most part musical, but since this sometimes happens, it must be accidental (if not, everything will be of necessity). The matter, therefore, which is capable of being otherwise than as it usually is, must be the cause of the accidental. And we must take as our starting-point the question whether there is nothing that is neither always nor for the most part. Surely this is impossible. There is, then, besides these something which is fortuitous and accidental. But while the usual exists, can nothing be said to be always, or are there eternal things? This must be considered later,' but that there is no science of the accidental is obvious; for all science is either of that which is always or of that which is for the most part. (For how else is one to learn or to teach another? The thing must be determined as occurring either always or for the most part, e.g. that honey-water is useful for a patient in a fever is true for the most part.) But that which is contrary to the usual law science will be unable to state, i.e. when the thing does not happen, e.g.'on the day of new moon'; for even that which happens on the day of new moon happens then either always or for the most part; but the accidental is contrary to such laws. We have stated, then, what the accidental is, and from what cause it arises, and that there is no science which deals with it.	METAPHYSICS Book VI
Since, among things which are, some are always in the same state and are of necessity (not necessity in the sense of compulsion but that which we assert of things because they cannot be otherwise), and some are not of necessity nor always, but for the most part, this is the principle and this the cause of the existence of the accidental; for that which is neither always nor for the most part, we call accidental. For instance, if in the dog-days there is wintry and cold weather, we say this is an accident, but not if there is sultry heat, because the latter is always or for the most part so, but not the former. And it is an accident that a man is pale (for this is neither always nor for the most part so), but it is not by accident that he is an animal. And that the builder produces health is an accident, because it is the nature not of the builder but of the doctor to do this, — but the builder happened to be a doctor. Again, a confectioner, aiming at giving pleasure, may make something wholesome, but not in virtue of the confectioner's art; and therefore we say 'it was an accident', and while there is a sense in which he makes it, in the unqualified sense he does not. For to other things answer faculties productive of them, but to accidental results there corresponds no determinate art nor faculty; for of things which are or come to be by accident, the cause also is accidental. Therefore, since not all things either are or come to be of necessity and always, but, the majority of things are for the most part, the accidental must exist; for instance a pale man is not always nor for the most part musical, but since this sometimes happens, it must be accidental (if not, everything will be of necessity). The matter, therefore, which is capable of being otherwise than as it usually is, must be the cause of the accidental. And we must take as our starting-point the question whether there is nothing that is neither always nor for the most part. Surely this is impossible. There is, then, besides these something which is fortuitous and accidental. But while the usual exists, can nothing be said to be always, or are there eternal things? This must be considered later,' but that there is no science of the accidental is obvious; for all science is either of that which is always or of that which is for the most part. (For how else is one to learn or to teach another? The thing must be determined as occurring either always or for the most part, e.g. that honey-water is useful for a patient in a fever is true for the most part.) But that which is contrary to the usual law science will be unable to state, i.e. when the thing does not happen, e.g.'on the day of new moon'; for even that which happens on the day of new moon happens then either always or for the most part; but the accidental is contrary to such laws. We have stated, then, what the accidental is, and from what cause it arises, and that there is no science which deals with it.	METAPHYSICS Book VI
Of things that come to be, some come to be by nature, some by art, some spontaneously. Now everything that comes to be comes to be by the agency of something and from something and comes to be something. And the something which I say it comes to be may be found in any category; it may come to be either a 'this' or of some size or of some quality or somewhere.	METAPHYSICS Book VII
Now natural comings to be are the comings to be of those things which come to be by nature; and that out of which they come to be is what we call matter; and that by which they come to be is something which exists naturally; and the something which they come to be is a man or a plant or one of the things of this kind, which we say are substances if anything is-all things produced either by nature or by art have matter; for each of them is capable both of being and of not being, and this capacity is the matter in each — and, in general, both that from which they are produced is nature, and the type according to which they are produced is nature (for that which is produced, e.g. a plant or an animal, has a nature), and so is that by which they are produced — the so-called 'formal' nature, which is specifically the same (though this is in another individual); for man begets man.	METAPHYSICS Book VII
Thus, then, are natural products produced; all other productions are called 'makings'. And all makings proceed either from art or from a faculty or from thought. Some of them happen also spontaneously or by luck just as natural products sometimes do; for there also the same things sometimes are produced without seed as well as from seed. Concerning these cases, then, we must inquire later, but from art proceed the things of which the form is in the soul of the artist. (By form I mean the essence of each thing and its primary substance.) For even contraries have in a sense the same form; for the substance of a privation is the opposite substance, e.g. health is the substance of disease (for disease is the absence of health); and health is the formula in the soul or the knowledge of it. The healthy subject is produced as the result of the following train of thought: — since this is health, if the subject is to be healthy this must first be present, e.g. a uniform state of body, and if this is to be present, there must be heat; and the physician goes on thinking thus until he reduces the matter to a final something which he himself can produce. Then the process from this point onward, i.e. the process towards health, is called a 'making'. Therefore it follows that in a sense health comes from health and house from house, that with matter from that without matter; for the medical art and the building art are the form of health and of the house, and when I speak of substance without matter I mean the essence.	METAPHYSICS Book VII
Thus, then, are natural products produced; all other productions are called 'makings'. And all makings proceed either from art or from a faculty or from thought. Some of them happen also spontaneously or by luck just as natural products sometimes do; for there also the same things sometimes are produced without seed as well as from seed. Concerning these cases, then, we must inquire later, but from art proceed the things of which the form is in the soul of the artist. (By form I mean the essence of each thing and its primary substance.) For even contraries have in a sense the same form; for the substance of a privation is the opposite substance, e.g. health is the substance of disease (for disease is the absence of health); and health is the formula in the soul or the knowledge of it. The healthy subject is produced as the result of the following train of thought: — since this is health, if the subject is to be healthy this must first be present, e.g. a uniform state of body, and if this is to be present, there must be heat; and the physician goes on thinking thus until he reduces the matter to a final something which he himself can produce. Then the process from this point onward, i.e. the process towards health, is called a 'making'. Therefore it follows that in a sense health comes from health and house from house, that with matter from that without matter; for the medical art and the building art are the form of health and of the house, and when I speak of substance without matter I mean the essence.	METAPHYSICS Book VII
Thus, then, are natural products produced; all other productions are called 'makings'. And all makings proceed either from art or from a faculty or from thought. Some of them happen also spontaneously or by luck just as natural products sometimes do; for there also the same things sometimes are produced without seed as well as from seed. Concerning these cases, then, we must inquire later, but from art proceed the things of which the form is in the soul of the artist. (By form I mean the essence of each thing and its primary substance.) For even contraries have in a sense the same form; for the substance of a privation is the opposite substance, e.g. health is the substance of disease (for disease is the absence of health); and health is the formula in the soul or the knowledge of it. The healthy subject is produced as the result of the following train of thought: — since this is health, if the subject is to be healthy this must first be present, e.g. a uniform state of body, and if this is to be present, there must be heat; and the physician goes on thinking thus until he reduces the matter to a final something which he himself can produce. Then the process from this point onward, i.e. the process towards health, is called a 'making'. Therefore it follows that in a sense health comes from health and house from house, that with matter from that without matter; for the medical art and the building art are the form of health and of the house, and when I speak of substance without matter I mean the essence.	METAPHYSICS Book VII
Thus, then, are natural products produced; all other productions are called 'makings'. And all makings proceed either from art or from a faculty or from thought. Some of them happen also spontaneously or by luck just as natural products sometimes do; for there also the same things sometimes are produced without seed as well as from seed. Concerning these cases, then, we must inquire later, but from art proceed the things of which the form is in the soul of the artist. (By form I mean the essence of each thing and its primary substance.) For even contraries have in a sense the same form; for the substance of a privation is the opposite substance, e.g. health is the substance of disease (for disease is the absence of health); and health is the formula in the soul or the knowledge of it. The healthy subject is produced as the result of the following train of thought: — since this is health, if the subject is to be healthy this must first be present, e.g. a uniform state of body, and if this is to be present, there must be heat; and the physician goes on thinking thus until he reduces the matter to a final something which he himself can produce. Then the process from this point onward, i.e. the process towards health, is called a 'making'. Therefore it follows that in a sense health comes from health and house from house, that with matter from that without matter; for the medical art and the building art are the form of health and of the house, and when I speak of substance without matter I mean the essence.	METAPHYSICS Book VII
The active principle then and the starting point for the process of becoming healthy is, if it happens by art, the form in the soul, and if spontaneously, it is that, whatever it is, which starts the making, for the man who makes by art, as in healing the starting-point is perhaps the production of warmth (and this the physician produces by rubbing). Warmth in the body, then, is either a part of health or is followed (either directly or through several intermediate steps) by something similar which is a part of health; and this, viz. that which produces the part of health, is the limiting-point — and so too with a house (the stones are the limiting-point here) and in all other cases. Therefore, as the saying goes, it is impossible that anything should be produced if there were nothing existing before. Obviously then some part of the result will pre-exist of necessity; for the matter is a part; for this is present in the process and it is this that becomes something. But is the matter an element even in the formula? We certainly describe in both ways what brazen circles are; we describe both the matter by saying it is brass, and the form by saying that it is such and such a figure; and figure is the proximate genus in which it is placed. The brazen circle, then, has its matter in its formula.	METAPHYSICS Book VII
The active principle then and the starting point for the process of becoming healthy is, if it happens by art, the form in the soul, and if spontaneously, it is that, whatever it is, which starts the making, for the man who makes by art, as in healing the starting-point is perhaps the production of warmth (and this the physician produces by rubbing). Warmth in the body, then, is either a part of health or is followed (either directly or through several intermediate steps) by something similar which is a part of health; and this, viz. that which produces the part of health, is the limiting-point — and so too with a house (the stones are the limiting-point here) and in all other cases. Therefore, as the saying goes, it is impossible that anything should be produced if there were nothing existing before. Obviously then some part of the result will pre-exist of necessity; for the matter is a part; for this is present in the process and it is this that becomes something. But is the matter an element even in the formula? We certainly describe in both ways what brazen circles are; we describe both the matter by saying it is brass, and the form by saying that it is such and such a figure; and figure is the proximate genus in which it is placed. The brazen circle, then, has its matter in its formula.	METAPHYSICS Book VII
Since anything which is produced is produced by something (and this I call the starting-point of the production), and from something (and let this be taken to be not the privation but the matter; for the meaning we attach to this has already been explained), and since something is produced (and this is either a sphere or a circle or whatever else it may chance to be), just as we do not make the substratum (the brass), so we do not make the sphere, except incidentally, because the brazen sphere is a sphere and we make the forme. For to make a 'this' is to make a 'this' out of the substratum in the full sense of the word. (I mean that to make the brass round is not to make the round or the sphere, but something else, i.e. to produce this form in something different from itself. For if we make the form, we must make it out of something else; for this was assumed. E.g. we make a brazen sphere; and that in the sense that out of this, which is brass, we make this other, which is a sphere.) If, then, we also make the substratum itself, clearly we shall make it in the same way, and the processes of making will regress to infinity. Obviously then the form also, or whatever we ought to call the shape present in the sensible thing, is not produced, nor is there any production of it, nor is the essence produced; for this is that which is made to be in something else either by art or by nature or by some faculty. But that there is a brazen sphere, this we make. For we make it out of brass and the sphere; we bring the form into this particular matter, and the result is a brazen sphere. But if the essence of sphere in general is to be produced, something must be produced out of something. For the product will always have to be divisible, and one part must be this and another that; I mean the one must be matter and the other form. If, then, a sphere is 'the figure whose circumference is at all points equidistant from the centre', part of this will be the medium in which the thing made will be, and part will be in that medium, and the whole will be the thing produced, which corresponds to the brazen sphere. It is obvious, then, from what has been said, that that which is spoken of as form or substance is not produced, but the concrete thing which gets its name from this is produced, and that in everything which is generated matter is present, and one part of the thing is matter and the other form.	METAPHYSICS Book VII
The question might be raised, why some things are produced spontaneously as well as by art, e.g. health, while others are not, e.g. a house. The reason is that in some cases the matter which governs the production in the making and producing of any work of art, and in which a part of the product is present, — some matter is such as to be set in motion by itself and some is not of this nature, and of the former kind some can move itself in the particular way required, while other matter is incapable of this; for many things can be set in motion by themselves but not in some particular way, e.g. that of dancing. The things, then, whose matter is of this sort, e.g. stones, cannot be moved in the particular way required, except by something else, but in another way they can move themselves — and so it is with fire. Therefore some things will not exist apart from some one who has the art of making them, while others will; for motion will be started by these things which have not the art but can themselves be moved by other things which have not the art or with a motion starting from a part of the product.	METAPHYSICS Book VII
The question might be raised, why some things are produced spontaneously as well as by art, e.g. health, while others are not, e.g. a house. The reason is that in some cases the matter which governs the production in the making and producing of any work of art, and in which a part of the product is present, — some matter is such as to be set in motion by itself and some is not of this nature, and of the former kind some can move itself in the particular way required, while other matter is incapable of this; for many things can be set in motion by themselves but not in some particular way, e.g. that of dancing. The things, then, whose matter is of this sort, e.g. stones, cannot be moved in the particular way required, except by something else, but in another way they can move themselves — and so it is with fire. Therefore some things will not exist apart from some one who has the art of making them, while others will; for motion will be started by these things which have not the art but can themselves be moved by other things which have not the art or with a motion starting from a part of the product.	METAPHYSICS Book VII
The question might be raised, why some things are produced spontaneously as well as by art, e.g. health, while others are not, e.g. a house. The reason is that in some cases the matter which governs the production in the making and producing of any work of art, and in which a part of the product is present, — some matter is such as to be set in motion by itself and some is not of this nature, and of the former kind some can move itself in the particular way required, while other matter is incapable of this; for many things can be set in motion by themselves but not in some particular way, e.g. that of dancing. The things, then, whose matter is of this sort, e.g. stones, cannot be moved in the particular way required, except by something else, but in another way they can move themselves — and so it is with fire. Therefore some things will not exist apart from some one who has the art of making them, while others will; for motion will be started by these things which have not the art but can themselves be moved by other things which have not the art or with a motion starting from a part of the product.	METAPHYSICS Book VII
The question might be raised, why some things are produced spontaneously as well as by art, e.g. health, while others are not, e.g. a house. The reason is that in some cases the matter which governs the production in the making and producing of any work of art, and in which a part of the product is present, — some matter is such as to be set in motion by itself and some is not of this nature, and of the former kind some can move itself in the particular way required, while other matter is incapable of this; for many things can be set in motion by themselves but not in some particular way, e.g. that of dancing. The things, then, whose matter is of this sort, e.g. stones, cannot be moved in the particular way required, except by something else, but in another way they can move themselves — and so it is with fire. Therefore some things will not exist apart from some one who has the art of making them, while others will; for motion will be started by these things which have not the art but can themselves be moved by other things which have not the art or with a motion starting from a part of the product.	METAPHYSICS Book VII
The question might be raised, why some things are produced spontaneously as well as by art, e.g. health, while others are not, e.g. a house. The reason is that in some cases the matter which governs the production in the making and producing of any work of art, and in which a part of the product is present, — some matter is such as to be set in motion by itself and some is not of this nature, and of the former kind some can move itself in the particular way required, while other matter is incapable of this; for many things can be set in motion by themselves but not in some particular way, e.g. that of dancing. The things, then, whose matter is of this sort, e.g. stones, cannot be moved in the particular way required, except by something else, but in another way they can move themselves — and so it is with fire. Therefore some things will not exist apart from some one who has the art of making them, while others will; for motion will be started by these things which have not the art but can themselves be moved by other things which have not the art or with a motion starting from a part of the product.	METAPHYSICS Book VII
And it is clear also from what has been said that in a sense every product of art is produced from a thing which shares its name (as natural products are produced), or from a part of itself which shares its name (e.g. the house is produced from a house, qua produced by reason; for the art of building is the form of the house), or from something which contains a art of it, — if we exclude things produced by accident; for the cause of the thing's producing the product directly per se is a part of the product. The heat in the movement caused heat in the body, and this is either health, or a part of health, or is followed by a part of health or by health itself. And so it is said to cause health, because it causes that to which health attaches as a consequence.	METAPHYSICS Book VII
And it is clear also from what has been said that in a sense every product of art is produced from a thing which shares its name (as natural products are produced), or from a part of itself which shares its name (e.g. the house is produced from a house, qua produced by reason; for the art of building is the form of the house), or from something which contains a art of it, — if we exclude things produced by accident; for the cause of the thing's producing the product directly per se is a part of the product. The heat in the movement caused heat in the body, and this is either health, or a part of health, or is followed by a part of health or by health itself. And so it is said to cause health, because it causes that to which health attaches as a consequence.	METAPHYSICS Book VII
And it is clear also from what has been said that in a sense every product of art is produced from a thing which shares its name (as natural products are produced), or from a part of itself which shares its name (e.g. the house is produced from a house, qua produced by reason; for the art of building is the form of the house), or from something which contains a art of it, — if we exclude things produced by accident; for the cause of the thing's producing the product directly per se is a part of the product. The heat in the movement caused heat in the body, and this is either health, or a part of health, or is followed by a part of health or by health itself. And so it is said to cause health, because it causes that to which health attaches as a consequence.	METAPHYSICS Book VII
Things which are formed by nature are in the same case as these products of art. For the seed is productive in the same way as the things that work by art; for it has the form potentially, and that from which the seed comes has in a sense the same name as the offspring only in a sense, for we must not expect parent and offspring always to have exactly the same name, as in the production of 'human being' from 'human' for a 'woman' also can be produced by a 'man' — unless the offspring be an imperfect form; which is the reason why the parent of a mule is not a mule. The natural things which (like the artificial objects previously considered) can be produced spontaneously are those whose matter can be moved even by itself in the way in which the seed usually moves it; those things which have not such matter cannot be produced except from the parent animals themselves.	METAPHYSICS Book VII
Things which are formed by nature are in the same case as these products of art. For the seed is productive in the same way as the things that work by art; for it has the form potentially, and that from which the seed comes has in a sense the same name as the offspring only in a sense, for we must not expect parent and offspring always to have exactly the same name, as in the production of 'human being' from 'human' for a 'woman' also can be produced by a 'man' — unless the offspring be an imperfect form; which is the reason why the parent of a mule is not a mule. The natural things which (like the artificial objects previously considered) can be produced spontaneously are those whose matter can be moved even by itself in the way in which the seed usually moves it; those things which have not such matter cannot be produced except from the parent animals themselves.	METAPHYSICS Book VII
We have stated, then, how matters stand with regard to whole and part, and their priority and posteriority. But when any one asks whether the right angle and the circle and the animal are prior, or the things into which they are divided and of which they consist, i.e. the parts, we must meet the inquiry by saying that the question cannot be answered simply. For if even bare soul is the animal or the living thing, or the soul of each individual is the individual itself, and 'being a circle' is the circle, and 'being a right angle' and the essence of the right angle is the right angle, then the whole in one sense must be called posterior to the art in one sense, i.e. to the parts included in the formula and to the parts of the individual right angle (for both the material right angle which is made of bronze, and that which is formed by individual lines, are posterior to their parts); while the immaterial right angle is posterior to the parts included in the formula, but prior to those included in the particular instance, and the question must not be answered simply. If, however, the soul is something different and is not identical with the animal, even so some parts must, as we have maintained, be called prior and others must not.	METAPHYSICS Book VII
Regarding material substance we must not forget that even if all things come from the same first cause or have the same things for their first causes, and if the same matter serves as starting-point for their generation, yet there is a matter proper to each, e.g. for phlegm the sweet or the fat, and for bile the bitter, or something else; though perhaps these come from the same original matter. And there come to be several matters for the same thing, when the one matter is matter for the other; e.g. phlegm comes from the fat and from the sweet, if the fat comes from the sweet; and it comes from bile by analysis of the bile into its ultimate matter. For one thing comes from another in two senses, either because it will be found at a later stage, or because it is produced if the other is analysed into its original constituents. When the matter is one, different things may be produced owing to difference in the moving cause; e.g. from wood may be made both a chest and a bed. But some different things must have their matter different; e.g. a saw could not be made of wood, nor is this in the power of the moving cause; for it could not make a saw of wool or of wood. But if, as a matter of fact, the same thing can be made of different material, clearly the art, i.e. the moving principle, is the same; for if both the matter and the moving cause were different, the product would be so too.	METAPHYSICS Book VIII
Obviously, then, in a sense the potency of acting and of being acted on is one (for a thing may be 'capable' either because it can itself be acted on or because something else can be acted on by it), but in a sense the potencies are different. For the one is in the thing acted on; it is because it contains a certain originative source, and because even the matter is an originative source, that the thing acted on is acted on, and one thing by one, another by another; for that which is oily can be burnt, and that which yields in a particular way can be crushed; and similarly in all other cases. But the other potency is in the agent, e.g. heat and the art of building are present, one in that which can produce heat and the other in the man who can build. And so, in so far as a thing is an organic unity, it cannot be acted on by itself; for it is one and not two different things. And 'impotence'and 'impotent' stand for the privation which is contrary to potency of this sort, so that every potency belongs to the same subject and refers to the same process as a corresponding impotence. Privation has several senses; for it means (1) that which has not a certain quality and (2) that which might naturally have it but has not it, either (a) in general or (b) when it might naturally have it, and either (a) in some particular way, e.g. when it has not it completely, or (b) when it has not it at all. And in certain cases if things which naturally have a quality lose it by violence, we say they have suffered privation.	METAPHYSICS Book IX
And each of those which are accompanied by a rational formula is alike capable of contrary effects, but one non-rational power produces one effect; e.g. the hot is capable only of heating, but the medical art can produce both disease and health. The reason is that science is a rational formula, and the same rational formula explains a thing and its privation, only not in the same way; and in a sense it applies to both, but in a sense it applies rather to the positive fact. Therefore such sciences must deal with contraries, but with one in virtue of their own nature and with the other not in virtue of their nature; for the rational formula applies to one object in virtue of that object's nature, and to the other, in a sense, accidentally. For it is by denial and removal that it exhibits the contrary; for the contrary is the primary privation, and this is the removal of the positive term. Now since contraries do not occur in the same thing, but science is a potency which depends on the possession of a rational formula, and the soul possesses an originative source of movement; therefore, while the wholesome produces only health and the calorific only heat and the frigorific only cold, the scientific man produces both the contrary effects. For the rational formula is one which applies to both, though not in the same way, and it is in a soul which possesses an originative source of movement; so that the soul will start both processes from the same originative source, having linked them up with the same thing. And so the things whose potency is according to a rational formula act contrariwise to the things whose potency is non-rational; for the products of the former are included under one originative source, the rational formula.	METAPHYSICS Book IX
For it is clear that on this view a man will not be a builder unless he is building (for to be a builder is to be able to build), and so with the other arts. If, then, it is impossible to have such arts if one has not at some time learnt and acquired them, and it is then impossible not to have them if one has not sometime lost them (either by forgetfulness or by some accident or by time; for it cannot be by the destruction of the object, for that lasts for ever), a man will not have the art when he has ceased to use it, and yet he may immediately build again; how then will he have got the art? And similarly with regard to lifeless things; nothing will be either cold or hot or sweet or perceptible at all if people are not perceiving it; so that the upholders of this view will have to maintain the doctrine of Protagoras. But, indeed, nothing will even have perception if it is not perceiving, i.e. exercising its perception. If, then, that is blind which has not sight though it would naturally have it, when it would naturally have it and when it still exists, the same people will be blind many times in the day — and deaf too.	METAPHYSICS Book IX
For it is clear that on this view a man will not be a builder unless he is building (for to be a builder is to be able to build), and so with the other arts. If, then, it is impossible to have such arts if one has not at some time learnt and acquired them, and it is then impossible not to have them if one has not sometime lost them (either by forgetfulness or by some accident or by time; for it cannot be by the destruction of the object, for that lasts for ever), a man will not have the art when he has ceased to use it, and yet he may immediately build again; how then will he have got the art? And similarly with regard to lifeless things; nothing will be either cold or hot or sweet or perceptible at all if people are not perceiving it; so that the upholders of this view will have to maintain the doctrine of Protagoras. But, indeed, nothing will even have perception if it is not perceiving, i.e. exercising its perception. If, then, that is blind which has not sight though it would naturally have it, when it would naturally have it and when it still exists, the same people will be blind many times in the day — and deaf too.	METAPHYSICS Book IX
What, and what kind of thing, the actual is, may be taken as explained by these and similar considerations. But we must distinguish when a thing exists potentially and when it does not; for it is not at any and every time. E.g. is earth potentially a man? No — but rather when it has already become seed, and perhaps not even then. It is just as it is with being healed; not everything can be healed by the medical art or by luck, but there is a certain kind of thing which is capable of it, and only this is potentially healthy. And (1) the delimiting mark of that which as a result of thought comes to exist in complete reality from having existed potentially is that if the agent has willed it it comes to pass if nothing external hinders, while the condition on the other side-viz. in that which is healed — is that nothing in it hinders the result. It is on similar terms that we have what is potentially a house; if nothing in the thing acted on — i.e. in the matter-prevents it from becoming a house, and if there is nothing which must be added or taken away or changed, this is potentially a house; and the same is true of all other things the source of whose becoming is external. And (2) in the cases in which the source of the becoming is in the very thing which comes to be, a thing is potentially all those things which it will be of itself if nothing external hinders it. E.g. the seed is not yet potentially a man; for it must be deposited in something other than itself and undergo a change. But when through its own motive principle it has already got such and such attributes, in this state it is already potentially a man; while in the former state it needs another motive principle, just as earth is not yet potentially a statue (for it must first change in order to become brass.)	METAPHYSICS Book IX
But (3) it is also prior in substantiality; firstly, (a) because the things that are posterior in becoming are prior in form and in substantiality (e.g. man is prior to boy and human being to seed; for the one already has its form, and the other has not), and because everything that comes to be moves towards a principle, i.e. an end (for that for the sake of which a thing is, is its principle, and the becoming is for the sake of the end), and the actuality is the end, and it is for the sake of this that the potency is acquired. For animals do not see in order that they may have sight, but they have sight that they may see. And similarly men have the art of building that they may build, and theoretical science that they may theorize; but they do not theorize that they may have theoretical science, except those who are learning by practice; and these do not theorize except in a limited sense, or because they have no need to theorize. Further, matter exists in a potential state, just because it may come to its form; and when it exists actually, then it is in its form. And the same holds good in all cases, even those in which the end is a movement. And so, as teachers think they have achieved their end when they have exhibited the pupil at work, nature does likewise. For if this is not the case, we shall have Pauson's Hermes over again, since it will be hard to say about the knowledge, as about the figure in the picture, whether it is within or without. For the action is the end, and the actuality is the action. And so even the word 'actuality' is derived from 'action', and points to the complete reality.	METAPHYSICS Book IX
And while in some cases the exercise is the ultimate thing (e.g. in sight the ultimate thing is seeing, and no other product besides this results from sight), but from some things a product follows (e.g. from the art of building there results a house as well as the act of building), yet none the less the act is in the former case the end and in the latter more of an end than the potency is. For the act of building is realized in the thing that is being built, and comes to be, and is, at the same time as the house.	METAPHYSICS Book IX
There is a science of nature, and evidently it must be different both from practical and from productive science. For in the case of productive science the principle of movement is in the producer and not in the product, and is either an art or some other faculty. And similarly in practical science the movement is not in the thing done, but rather in the doers. But the science of the natural philosopher deals with the things that have in themselves a principle of movement. It is clear from these facts, then, that natural science must be neither practical nor productive, but theoretical (for it must fall into some one of these classes). And since each of the sciences must somehow know the 'what' and use this as a principle, we must not fall to observe how the natural philosopher should define things and how he should state the definition of the essence — whether as akin to 'snub' or rather to 'concave'. For of these the definition of 'snub' includes the matter of the thing, but that of 'concave' is independent of the matter; for snubness is found in a nose, so that we look for its definition without eliminating the nose, for what is snub is a concave nose. Evidently then the definition of flesh also and of the eye and of the other parts must always be stated without eliminating the matter.	METAPHYSICS Book XI
Since 'being' in general has several senses, of which one is 'being by accident', we must consider first that which 'is' in this sense. Evidently none of the traditional sciences busies itself about the accidental. For neither does architecture consider what will happen to those who are to use the house (e.g. whether they have a painful life in it or not), nor does weaving, or shoemaking, or the confectioner's art, do the like; but each of these sciences considers only what is peculiar to it, i.e. its proper end. And as for the argument that 'when he who is musical becomes lettered he'll be both at once, not having been both before; and that which is, not always having been, must have come to be; therefore he must have at once become musical and lettered', — this none of the recognized sciences considers, but only sophistic; for this alone busies itself about the accidental, so that Plato is not far wrong when he says that the sophist spends his time on non-being.	METAPHYSICS Book XI
Note, next, that each substance comes into being out of something that shares its name. (Natural objects and other things both rank as substances.) For things come into being either by art or by nature or by luck or by spontaneity. Now art is a principle of movement in something other than the thing moved, nature is a principle in the thing itself (for man begets man), and the other causes are privations of these two.	METAPHYSICS Book XII
Note, next, that each substance comes into being out of something that shares its name. (Natural objects and other things both rank as substances.) For things come into being either by art or by nature or by luck or by spontaneity. Now art is a principle of movement in something other than the thing moved, nature is a principle in the thing itself (for man begets man), and the other causes are privations of these two.	METAPHYSICS Book XII
There are three kinds of substance — the matter, which is a 'this' in appearance (for all things that are characterized by contact and not, by organic unity are matter and substratum, e.g. fire, flesh, head; for these are all matter, and the last matter is the matter of that which is in the full sense substance); the nature, which is a 'this' or positive state towards which movement takes place; and again, thirdly, the particular substance which is composed of these two, e.g. Socrates or Callias. Now in some cases the 'this' does not exist apart from the composite substance, e.g. the form of house does not so exist, unless the art of building exists apart (nor is there generation and destruction of these forms, but it is in another way that the house apart from its matter, and health, and all ideals of art, exist and do not exist); but if the 'this' exists apart from the concrete thing, it is only in the case of natural objects. And so Plato was not far wrong when he said that there are as many Forms as there are kinds of natural object (if there are Forms distinct from the things of this earth). The moving causes exist as things preceding the effects, but causes in the sense of definitions are simultaneous with their effects. For when a man is healthy, then health also exists; and the shape of a bronze sphere exists at the same time as the bronze sphere. (But we must examine whether any form also survives afterwards. For in some cases there is nothing to prevent this; e.g. the soul may be of this sort — not all soul but the reason; for presumably it is impossible that all soul should survive.) Evidently then there is no necessity, on this ground at least, for the existence of the Ideas. For man is begotten by man, a given man by an individual father; and similarly in the arts; for the medical art is the formal cause of health.	METAPHYSICS Book XII
There are three kinds of substance — the matter, which is a 'this' in appearance (for all things that are characterized by contact and not, by organic unity are matter and substratum, e.g. fire, flesh, head; for these are all matter, and the last matter is the matter of that which is in the full sense substance); the nature, which is a 'this' or positive state towards which movement takes place; and again, thirdly, the particular substance which is composed of these two, e.g. Socrates or Callias. Now in some cases the 'this' does not exist apart from the composite substance, e.g. the form of house does not so exist, unless the art of building exists apart (nor is there generation and destruction of these forms, but it is in another way that the house apart from its matter, and health, and all ideals of art, exist and do not exist); but if the 'this' exists apart from the concrete thing, it is only in the case of natural objects. And so Plato was not far wrong when he said that there are as many Forms as there are kinds of natural object (if there are Forms distinct from the things of this earth). The moving causes exist as things preceding the effects, but causes in the sense of definitions are simultaneous with their effects. For when a man is healthy, then health also exists; and the shape of a bronze sphere exists at the same time as the bronze sphere. (But we must examine whether any form also survives afterwards. For in some cases there is nothing to prevent this; e.g. the soul may be of this sort — not all soul but the reason; for presumably it is impossible that all soul should survive.) Evidently then there is no necessity, on this ground at least, for the existence of the Ideas. For man is begotten by man, a given man by an individual father; and similarly in the arts; for the medical art is the formal cause of health.	METAPHYSICS Book XII
There are three kinds of substance — the matter, which is a 'this' in appearance (for all things that are characterized by contact and not, by organic unity are matter and substratum, e.g. fire, flesh, head; for these are all matter, and the last matter is the matter of that which is in the full sense substance); the nature, which is a 'this' or positive state towards which movement takes place; and again, thirdly, the particular substance which is composed of these two, e.g. Socrates or Callias. Now in some cases the 'this' does not exist apart from the composite substance, e.g. the form of house does not so exist, unless the art of building exists apart (nor is there generation and destruction of these forms, but it is in another way that the house apart from its matter, and health, and all ideals of art, exist and do not exist); but if the 'this' exists apart from the concrete thing, it is only in the case of natural objects. And so Plato was not far wrong when he said that there are as many Forms as there are kinds of natural object (if there are Forms distinct from the things of this earth). The moving causes exist as things preceding the effects, but causes in the sense of definitions are simultaneous with their effects. For when a man is healthy, then health also exists; and the shape of a bronze sphere exists at the same time as the bronze sphere. (But we must examine whether any form also survives afterwards. For in some cases there is nothing to prevent this; e.g. the soul may be of this sort — not all soul but the reason; for presumably it is impossible that all soul should survive.) Evidently then there is no necessity, on this ground at least, for the existence of the Ideas. For man is begotten by man, a given man by an individual father; and similarly in the arts; for the medical art is the formal cause of health.	METAPHYSICS Book XII
Since not only the elements present in a thing are causes, but also something external, i.e. the moving cause, clearly while 'principle' and 'element' are different both are causes, and 'principle' is divided into these two kinds; and that which acts as producing movement or rest is a principle and a substance. Therefore analogically there are three elements, and four causes and principles; but the elements are different in different things, and the proximate moving cause is different for different things. Health, disease, body; the moving cause is the medical art. Form, disorder of a particular kind, bricks; the moving cause is the building art. And since the moving cause in the case of natural things is — for man, for instance, man, and in the products of thought the form or its contrary, there will be in a sense three causes, while in a sense there are four. For the medical art is in some sense health, and the building art is the form of the house, and man begets man; further, besides these there is that which as first of all things moves all things.	METAPHYSICS Book XII
Since not only the elements present in a thing are causes, but also something external, i.e. the moving cause, clearly while 'principle' and 'element' are different both are causes, and 'principle' is divided into these two kinds; and that which acts as producing movement or rest is a principle and a substance. Therefore analogically there are three elements, and four causes and principles; but the elements are different in different things, and the proximate moving cause is different for different things. Health, disease, body; the moving cause is the medical art. Form, disorder of a particular kind, bricks; the moving cause is the building art. And since the moving cause in the case of natural things is — for man, for instance, man, and in the products of thought the form or its contrary, there will be in a sense three causes, while in a sense there are four. For the medical art is in some sense health, and the building art is the form of the house, and man begets man; further, besides these there is that which as first of all things moves all things.	METAPHYSICS Book XII
Since not only the elements present in a thing are causes, but also something external, i.e. the moving cause, clearly while 'principle' and 'element' are different both are causes, and 'principle' is divided into these two kinds; and that which acts as producing movement or rest is a principle and a substance. Therefore analogically there are three elements, and four causes and principles; but the elements are different in different things, and the proximate moving cause is different for different things. Health, disease, body; the moving cause is the medical art. Form, disorder of a particular kind, bricks; the moving cause is the building art. And since the moving cause in the case of natural things is — for man, for instance, man, and in the products of thought the form or its contrary, there will be in a sense three causes, while in a sense there are four. For the medical art is in some sense health, and the building art is the form of the house, and man begets man; further, besides these there is that which as first of all things moves all things.	METAPHYSICS Book XII
Since not only the elements present in a thing are causes, but also something external, i.e. the moving cause, clearly while 'principle' and 'element' are different both are causes, and 'principle' is divided into these two kinds; and that which acts as producing movement or rest is a principle and a substance. Therefore analogically there are three elements, and four causes and principles; but the elements are different in different things, and the proximate moving cause is different for different things. Health, disease, body; the moving cause is the medical art. Form, disorder of a particular kind, bricks; the moving cause is the building art. And since the moving cause in the case of natural things is — for man, for instance, man, and in the products of thought the form or its contrary, there will be in a sense three causes, while in a sense there are four. For the medical art is in some sense health, and the building art is the form of the house, and man begets man; further, besides these there is that which as first of all things moves all things.	METAPHYSICS Book XII
Yet if we follow the theologians who generate the world from night, or the natural philosophers who say that 'all things were together', the same impossible result ensues. For how will there be movement, if there is no actually existing cause? Wood will surely not move itself — the carpenter's art must act on it; nor will the menstrual blood nor the earth set themselves in motion, but the seeds must act on the earth and the semen on the menstrual blood.	METAPHYSICS Book XII
(Evidently there is but one heaven. For if there are many heavens as there are many men, the moving principles, of which each heaven will have one, will be one in form but in number many. But all things that are many in number have matter; for one and the same definition, e.g. that of man, applies to many things, while Socrates is one. But the primary essence has not matter; for it is complete reality. So the unmovable first mover is one both in definition and in number; so too, therefore, is that which is moved always and continuously; therefore there is one heaven alone.) Our forefathers in the most remote ages have handed down to their posterity a tradition, in the form of a myth, that these bodies are gods, and that the divine encloses the whole of nature. The rest of the tradition has been added later in mythical form with a view to the persuasion of the multitude and to its legal and utilitarian expediency; they say these gods are in the form of men or like some of the other animals, and they say other things consequent on and similar to these which we have mentioned. But if one were to separate the first point from these additions and take it alone — that they thought the first substances to be gods, one must regard this as an inspired utterance, and reflect that, while probably each art and each science has often been developed as far as possible and has again perished, these opinions, with others, have been preserved until the present like relics of the ancient treasure. Only thus far, then, is the opinion of our ancestors and of our earliest predecessors clear to us.	METAPHYSICS Book XII
Anaxagoras makes the good a motive principle; for his 'reason' moves things. But it moves them for an end, which must be something other than it, except according to our way of stating the case; for, on our view, the medical art is in a sense health. It is paradoxical also not to suppose a contrary to the good, i.e. to reason. But all who speak of the contraries make no use of the contraries, unless we bring their views into shape. And why some things are perishable and others imperishable, no one tells us; for they make all existing things out of the same principles. Further, some make existing things out of the nonexistent; and others to avoid the necessity of this make all things one.	METAPHYSICS Book XII
Broiling is concoction by dry foreign heat. Hence if a man were to boil a thing but the change and concoction in it were due, not to the heat of the liquid but to that of the fire, the thing will have been broiled and not boiled when the process has been carried to completion: if the process has gone too far we use the word 'scorched' to describe it. If the process leaves the thing drier at the end the agent has been dry heat. Hence the outside is drier than the inside, the opposite being true of things boiled. Where the process is artificial, broiling is more difficult than boiling, for it is difficult to heat the inside and the outside uniformly, since the parts nearer to the fire are the first to get dry and consequently get more intensely dry. In this way the outer pores contract and the moisture in the thing cannot be secreted but is shut in by the closing of the pores. Now broiling and boiling are artificial processes, but the same general kind of thing, as we said, is found in nature too. The affections produced are similar though they lack a name; for art imitates nature. For instance, the concoction of food in the body is like boiling, for it takes place in a hot and moist medium and the agent is the heat of the body. So, too, certain forms of indigestion are like imperfect boiling. And it is not true that animals are generated in the concoction of food, as some say. Really they are generated in the excretion which putrefies in the lower belly, and they ascend afterwards. For concoction goes on in the upper belly but the excretion putrefies in the lower: the reason for this has been explained elsewhere.	METEOROLOGY Book IV
Now heat and cold and the motions they set up as the bodies are solidified by the hot and the cold are sufficient to form all such parts as are the homogeneous bodies, flesh, bone, hair, sinew, and the rest. For they are all of them differentiated by the various qualities enumerated above, tension, tractility, comminuibility, hardness, softness, and the rest of them: all of which are derived from the hot and the cold and the mixture of their motions. But no one would go as far as to consider them sufficient in the case of the non-homogeneous parts (like the head, the hand, or the foot) which these homogeneous parts go to make up. Cold and heat and their motion would be admitted to account for the formation of copper or silver, but not for that of a saw, a bowl, or a box. So here, save that in the examples given the cause is art, but in the nonhomogeneous bodies nature or some other cause.	METEOROLOGY Book IV
EVERY art and every inquiry, and similarly every action and pursuit, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim. But a certain difference is found among ends; some are activities, others are products apart from the activities that produce them. Where there are ends apart from the actions, it is the nature of the products to be better than the activities. Now, as there are many actions, arts, and sciences, their ends also are many; the end of the medical art is health, that of shipbuilding a vessel, that of strategy victory, that of economics wealth. But where such arts fall under a single capacity — as bridle-making and the other arts concerned with the equipment of horses fall under the art of riding, and this and every military action under strategy, in the same way other arts fall under yet others — in all of these the ends of the master arts are to be preferred to all the subordinate ends; for it is for the sake of the former that the latter are pursued. It makes no difference whether the activities themselves are the ends of the actions, or something else apart from the activities, as in the case of the sciences just mentioned.	NICOMACHEAN ETHICS Book I
EVERY art and every inquiry, and similarly every action and pursuit, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim. But a certain difference is found among ends; some are activities, others are products apart from the activities that produce them. Where there are ends apart from the actions, it is the nature of the products to be better than the activities. Now, as there are many actions, arts, and sciences, their ends also are many; the end of the medical art is health, that of shipbuilding a vessel, that of strategy victory, that of economics wealth. But where such arts fall under a single capacity — as bridle-making and the other arts concerned with the equipment of horses fall under the art of riding, and this and every military action under strategy, in the same way other arts fall under yet others — in all of these the ends of the master arts are to be preferred to all the subordinate ends; for it is for the sake of the former that the latter are pursued. It makes no difference whether the activities themselves are the ends of the actions, or something else apart from the activities, as in the case of the sciences just mentioned.	NICOMACHEAN ETHICS Book I
EVERY art and every inquiry, and similarly every action and pursuit, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim. But a certain difference is found among ends; some are activities, others are products apart from the activities that produce them. Where there are ends apart from the actions, it is the nature of the products to be better than the activities. Now, as there are many actions, arts, and sciences, their ends also are many; the end of the medical art is health, that of shipbuilding a vessel, that of strategy victory, that of economics wealth. But where such arts fall under a single capacity — as bridle-making and the other arts concerned with the equipment of horses fall under the art of riding, and this and every military action under strategy, in the same way other arts fall under yet others — in all of these the ends of the master arts are to be preferred to all the subordinate ends; for it is for the sake of the former that the latter are pursued. It makes no difference whether the activities themselves are the ends of the actions, or something else apart from the activities, as in the case of the sciences just mentioned.	NICOMACHEAN ETHICS Book I
If, then, there is some end of the things we do, which we desire for its own sake (everything else being desired for the sake of this), and if we do not choose everything for the sake of something else (for at that rate the process would go on to infinity, so that our desire would be empty and vain), clearly this must be the good and the chief good. Will not the knowledge of it, then, have a great influence on life? Shall we not, like archers who have a mark to aim at, be more likely to hit upon what is right? If so, we must try, in outline at least, to determine what it is, and of which of the sciences or capacities it is the object. It would seem to belong to the most authoritative art and that which is most truly the master art. And politics appears to be of this nature; for it is this that ordains which of the sciences should be studied in a state, and which each class of citizens should learn and up to what point they should learn them; and we see even the most highly esteemed of capacities to fall under this, e.g. strategy, economics, rhetoric; now, since politics uses the rest of the sciences, and since, again, it legislates as to what we are to do and what we are to abstain from, the end of this science must include those of the others, so that this end must be the good for man. For even if the end is the same for a single man and for a state, that of the state seems at all events something greater and more complete whether to attain or to preserve; though it is worth while to attain the end merely for one man, it is finer and more godlike to attain it for a nation or for city-states. These, then, are the ends at which our inquiry aims, since it is political science, in one sense of that term.	NICOMACHEAN ETHICS Book I
If, then, there is some end of the things we do, which we desire for its own sake (everything else being desired for the sake of this), and if we do not choose everything for the sake of something else (for at that rate the process would go on to infinity, so that our desire would be empty and vain), clearly this must be the good and the chief good. Will not the knowledge of it, then, have a great influence on life? Shall we not, like archers who have a mark to aim at, be more likely to hit upon what is right? If so, we must try, in outline at least, to determine what it is, and of which of the sciences or capacities it is the object. It would seem to belong to the most authoritative art and that which is most truly the master art. And politics appears to be of this nature; for it is this that ordains which of the sciences should be studied in a state, and which each class of citizens should learn and up to what point they should learn them; and we see even the most highly esteemed of capacities to fall under this, e.g. strategy, economics, rhetoric; now, since politics uses the rest of the sciences, and since, again, it legislates as to what we are to do and what we are to abstain from, the end of this science must include those of the others, so that this end must be the good for man. For even if the end is the same for a single man and for a state, that of the state seems at all events something greater and more complete whether to attain or to preserve; though it is worth while to attain the end merely for one man, it is finer and more godlike to attain it for a nation or for city-states. These, then, are the ends at which our inquiry aims, since it is political science, in one sense of that term.	NICOMACHEAN ETHICS Book I
It will also on this view be very generally shared; for all who are not maimed as regards their potentiality for virtue may win it by a certain kind of study and care. But if it is better to be happy thus than by chance, it is reasonable that the facts should be so, since everything that depends on the action of nature is by nature as good as it can be, and similarly everything that depends on art or any rational cause, and especially if it depends on the best of all causes. To entrust to chance what is greatest and most noble would be a very defective arrangement.	NICOMACHEAN ETHICS Book I
Again, it is from the same causes and by the same means that every virtue is both produced and destroyed, and similarly every art; for it is from playing the lyre that both good and bad lyre-players are produced. And the corresponding statement is true of builders and of all the rest; men will be good or bad builders as a result of building well or badly. For if this were not so, there would have been no need of a teacher, but all men would have been born good or bad at their craft. This, then, is the case with the virtues also; by doing the acts that we do in our transactions with other men we become just or unjust, and by doing the acts that we do in the presence of danger, and being habituated to feel fear or confidence, we become brave or cowardly. The same is true of appetites and feelings of anger; some men become temperate and good-tempered, others self-indulgent and irascible, by behaving in one way or the other in the appropriate circumstances. Thus, in one word, states of character arise out of like activities. This is why the activities we exhibit must be of a certain kind; it is because the states of character correspond to the differences between these. It makes no small difference, then, whether we form habits of one kind or of another from our very youth; it makes a very great difference, or rather all the difference.	NICOMACHEAN ETHICS Book II
Since, then, the present inquiry does not aim at theoretical knowledge like the others (for we are inquiring not in order to know what virtue is, but in order to become good, since otherwise our inquiry would have been of no use), we must examine the nature of actions, namely how we ought to do them; for these determine also the nature of the states of character that are produced, as we have said. Now, that we must act according to the right rule is a common principle and must be assumed — it will be discussed later, i.e. both what the right rule is, and how it is related to the other virtues. But this must be agreed upon beforehand, that the whole account of matters of conduct must be given in outline and not precisely, as we said at the very beginning that the accounts we demand must be in accordance with the subject-matter; matters concerned with conduct and questions of what is good for us have no fixity, any more than matters of health. The general account being of this nature, the account of particular cases is yet more lacking in exactness; for they do not fall under any art or precept but the agents themselves must in each case consider what is appropriate to the occasion, as happens also in the art of medicine or of navigation.	NICOMACHEAN ETHICS Book II
Since, then, the present inquiry does not aim at theoretical knowledge like the others (for we are inquiring not in order to know what virtue is, but in order to become good, since otherwise our inquiry would have been of no use), we must examine the nature of actions, namely how we ought to do them; for these determine also the nature of the states of character that are produced, as we have said. Now, that we must act according to the right rule is a common principle and must be assumed — it will be discussed later, i.e. both what the right rule is, and how it is related to the other virtues. But this must be agreed upon beforehand, that the whole account of matters of conduct must be given in outline and not precisely, as we said at the very beginning that the accounts we demand must be in accordance with the subject-matter; matters concerned with conduct and questions of what is good for us have no fixity, any more than matters of health. The general account being of this nature, the account of particular cases is yet more lacking in exactness; for they do not fall under any art or precept but the agents themselves must in each case consider what is appropriate to the occasion, as happens also in the art of medicine or of navigation.	NICOMACHEAN ETHICS Book II
Again, it is harder to fight with pleasure than with anger, to use Heraclitus' phrase', but both art and virtue are always concerned with what is harder; for even the good is better when it is harder. Therefore for this reason also the whole concern both of virtue and of political science is with pleasures and pains; for the man who uses these well will be good, he who uses them badly bad.	NICOMACHEAN ETHICS Book II
How this is to happen we have stated already, but it will be made plain also by the following consideration of the specific nature of virtue. In everything that is continuous and divisible it is possible to take more, less, or an equal amount, and that either in terms of the thing itself or relatively to us; and the equal is an intermediate between excess and defect. By the intermediate in the object I mean that which is equidistant from each of the extremes, which is one and the same for all men; by the intermediate relatively to us that which is neither too much nor too little — and this is not one, nor the same for all. For instance, if ten is many and two is few, six is the intermediate, taken in terms of the object; for it exceeds and is exceeded by an equal amount; this is intermediate according to arithmetical proportion. But the intermediate relatively to us is not to be taken so; if ten pounds are too much for a particular person to eat and two too little, it does not follow that the trainer will order six pounds; for this also is perhaps too much for the person who is to take it, or too little — too little for Milo, too much for the beginner in athletic exercises. The same is true of running and wrestling. Thus a master of any art avoids excess and defect, but seeks the intermediate and chooses this — the intermediate not in the object but relatively to us.	NICOMACHEAN ETHICS Book II
If it is thus, then, that every art does its work well — by looking to the intermediate and judgling its works by this standard (so that we often say of good works of art that it is not possible either to take away or to add anything, implying that excess and defect destroy the goodness of works of art, while the mean preserves it; and good artists, as we say, look to this in their work), and if, further, virtue is more exact and better than any art, as nature also is, then virtue must have the quality of aiming at the intermediate. I mean moral virtue; for it is this that is concerned with passions and actions, and in these there is excess, defect, and the intermediate. For instance, both fear and confidence and appetite and anger and pity and in general pleasure and pain may be felt both too much and too little, and in both cases not well; but to feel them at the right times, with reference to the right objects, towards the right people, with the right motive, and in the right way, is what is both intermediate and best, and this is characteristic of virtue. Similarly with regard to actions also there is excess, defect, and the intermediate. Now virtue is concerned with passions and actions, in which excess is a form of failure, and so is defect, while the intermediate is praised and is a form of success; and being praised and being successful are both characteristics of virtue. Therefore virtue is a kind of mean, since, as we have seen, it aims at what is intermediate.	NICOMACHEAN ETHICS Book II
If it is thus, then, that every art does its work well — by looking to the intermediate and judgling its works by this standard (so that we often say of good works of art that it is not possible either to take away or to add anything, implying that excess and defect destroy the goodness of works of art, while the mean preserves it; and good artists, as we say, look to this in their work), and if, further, virtue is more exact and better than any art, as nature also is, then virtue must have the quality of aiming at the intermediate. I mean moral virtue; for it is this that is concerned with passions and actions, and in these there is excess, defect, and the intermediate. For instance, both fear and confidence and appetite and anger and pity and in general pleasure and pain may be felt both too much and too little, and in both cases not well; but to feel them at the right times, with reference to the right objects, towards the right people, with the right motive, and in the right way, is what is both intermediate and best, and this is characteristic of virtue. Similarly with regard to actions also there is excess, defect, and the intermediate. Now virtue is concerned with passions and actions, in which excess is a form of failure, and so is defect, while the intermediate is praised and is a form of success; and being praised and being successful are both characteristics of virtue. Therefore virtue is a kind of mean, since, as we have seen, it aims at what is intermediate.	NICOMACHEAN ETHICS Book II
If it is thus, then, that every art does its work well — by looking to the intermediate and judgling its works by this standard (so that we often say of good works of art that it is not possible either to take away or to add anything, implying that excess and defect destroy the goodness of works of art, while the mean preserves it; and good artists, as we say, look to this in their work), and if, further, virtue is more exact and better than any art, as nature also is, then virtue must have the quality of aiming at the intermediate. I mean moral virtue; for it is this that is concerned with passions and actions, and in these there is excess, defect, and the intermediate. For instance, both fear and confidence and appetite and anger and pity and in general pleasure and pain may be felt both too much and too little, and in both cases not well; but to feel them at the right times, with reference to the right objects, towards the right people, with the right motive, and in the right way, is what is both intermediate and best, and this is characteristic of virtue. Similarly with regard to actions also there is excess, defect, and the intermediate. Now virtue is concerned with passions and actions, in which excess is a form of failure, and so is defect, while the intermediate is praised and is a form of success; and being praised and being successful are both characteristics of virtue. Therefore virtue is a kind of mean, since, as we have seen, it aims at what is intermediate.	NICOMACHEAN ETHICS Book II
If it is thus, then, that every art does its work well — by looking to the intermediate and judgling its works by this standard (so that we often say of good works of art that it is not possible either to take away or to add anything, implying that excess and defect destroy the goodness of works of art, while the mean preserves it; and good artists, as we say, look to this in their work), and if, further, virtue is more exact and better than any art, as nature also is, then virtue must have the quality of aiming at the intermediate. I mean moral virtue; for it is this that is concerned with passions and actions, and in these there is excess, defect, and the intermediate. For instance, both fear and confidence and appetite and anger and pity and in general pleasure and pain may be felt both too much and too little, and in both cases not well; but to feel them at the right times, with reference to the right objects, towards the right people, with the right motive, and in the right way, is what is both intermediate and best, and this is characteristic of virtue. Similarly with regard to actions also there is excess, defect, and the intermediate. Now virtue is concerned with passions and actions, in which excess is a form of failure, and so is defect, while the intermediate is praised and is a form of success; and being praised and being successful are both characteristics of virtue. Therefore virtue is a kind of mean, since, as we have seen, it aims at what is intermediate.	NICOMACHEAN ETHICS Book II
We deliberate about things that are in our power and can be done; and these are in fact what is left. For nature, necessity, and chance are thought to be causes, and also reason and everything that depends on man. Now every class of men deliberates about the things that can be done by their own efforts. And in the case of exact and self-contained sciences there is no deliberation, e.g. about the letters of the alphabet (for we have no doubt how they should be written); but the things that are brought about by our own efforts, but not always in the same way, are the things about which we deliberate, e.g. questions of medical treatment or of money-making. And we do so more in the case of the art of navigation than in that of gymnastics, inasmuch as it has been less exactly worked out, and again about other things in the same ratio, and more also in the case of the arts than in that of the sciences; for we have more doubt about the former. Deliberation is concerned with things that happen in a certain way for the most part, but in which the event is obscure, and with things in which it is indeterminate. We call in others to aid us in deliberation on important questions, distrusting ourselves as not being equal to deciding.	NICOMACHEAN ETHICS Book III
The magnificent man is like an artist; for he can see what is fitting and spend large sums tastefully. For, as we said at the begining, a state of character is determined by its activities and by its objects. Now the expenses of the magnificent man are large and fitting. Such, therefore, are also his results; for thus there will be a great expenditure and one that is fitting to its result. Therefore the result should be worthy of the expense, and the expense should be worthy of the result, or should even exceed it. And the magnificent man will spend such sums for honour's sake; for this is common to the virtues. And further he will do so gladly and lavishly; for nice calculation is a niggardly thing. And he will consider how the result can be made most beautiful and most becoming rather than for how much it can be produced and how it can be produced most cheaply. It is necessary, then, that the magnificent man be also liberal. For the liberal man also will spend what he ought and as he ought; and it is in these matters that the greatness implied in the name of the magnificent man — his bigness, as it were — is manifested, since liberality is concerned with these matters; and at an equal expense he will produce a more magnificent work of art. For a possession and a work of art have not the same excellence. The most valuable possession is that which is worth most, e.g. gold, but the most valuable work of art is that which is great and beautiful (for the contemplation of such a work inspires admiration, and so does magnificence); and a work has an excellence-viz. magnificence — which involves magnitude. Magnificence is an attribute of expenditures of the kind which we call honourable, e.g. those connected with the gods-votive offerings, buildings, and sacrifices — and similarly with any form of religious worship, and all those that are proper objects of public-spirited ambition, as when people think they ought to equip a chorus or a trireme, or entertain the city, in a brilliant way. But in all cases, as has been said, we have regard to the agent as well and ask who he is and what means he has; for the expenditure should be worthy of his means, and suit not only the result but also the producer. Hence a poor man cannot be magnificent, since he has not the means with which to spend large sums fittingly; and he who tries is a fool, since he spends beyond what can be expected of him and what is proper, but it is right expenditure that is virtuous. But great expenditure is becoming to those who have suitable means to start with, acquired by their own efforts or from ancestors or connexions, and to people of high birth or reputation, and so on; for all these things bring with them greatness and prestige. Primarily, then, the magnificent man is of this sort, and magnificence is shown in expenditures of this sort, as has been said; for these are the greatest and most honourable. Of private occasions of expenditure the most suitable are those that take place once for all, e.g. a wedding or anything of the kind, or anything that interests the whole city or the people of position in it, and also the receiving of foreign guests and the sending of them on their way, and gifts and counter-gifts; for the magnificent man spends not on himself but on public objects, and gifts bear some resemblance to votive offerings. A magnificent man will also furnish his house suitably to his wealth (for even a house is a sort of public ornament), and will spend by preference on those works that are lasting (for these are the most beautiful), and on every class of things he will spend what is becoming; for the same things are not suitable for gods and for men, nor in a temple and in a tomb. And since each expenditure may be great of its kind, and what is most magnificent absolutely is great expenditure on a great object, but what is magnificent here is what is great in these circumstances, and greatness in the work differs from greatness in the expense (for the most beautiful ball or bottle is magnificent as a gift to a child, but the price of it is small and mean), — the refore it is characteristic of the magnificent man, whatever kind of result he is producing, to produce it magnificently (for such a result is not easily surpassed) and to make it worthy of the expenditure.	NICOMACHEAN ETHICS Book IV
The magnificent man is like an artist; for he can see what is fitting and spend large sums tastefully. For, as we said at the begining, a state of character is determined by its activities and by its objects. Now the expenses of the magnificent man are large and fitting. Such, therefore, are also his results; for thus there will be a great expenditure and one that is fitting to its result. Therefore the result should be worthy of the expense, and the expense should be worthy of the result, or should even exceed it. And the magnificent man will spend such sums for honour's sake; for this is common to the virtues. And further he will do so gladly and lavishly; for nice calculation is a niggardly thing. And he will consider how the result can be made most beautiful and most becoming rather than for how much it can be produced and how it can be produced most cheaply. It is necessary, then, that the magnificent man be also liberal. For the liberal man also will spend what he ought and as he ought; and it is in these matters that the greatness implied in the name of the magnificent man — his bigness, as it were — is manifested, since liberality is concerned with these matters; and at an equal expense he will produce a more magnificent work of art. For a possession and a work of art have not the same excellence. The most valuable possession is that which is worth most, e.g. gold, but the most valuable work of art is that which is great and beautiful (for the contemplation of such a work inspires admiration, and so does magnificence); and a work has an excellence-viz. magnificence — which involves magnitude. Magnificence is an attribute of expenditures of the kind which we call honourable, e.g. those connected with the gods-votive offerings, buildings, and sacrifices — and similarly with any form of religious worship, and all those that are proper objects of public-spirited ambition, as when people think they ought to equip a chorus or a trireme, or entertain the city, in a brilliant way. But in all cases, as has been said, we have regard to the agent as well and ask who he is and what means he has; for the expenditure should be worthy of his means, and suit not only the result but also the producer. Hence a poor man cannot be magnificent, since he has not the means with which to spend large sums fittingly; and he who tries is a fool, since he spends beyond what can be expected of him and what is proper, but it is right expenditure that is virtuous. But great expenditure is becoming to those who have suitable means to start with, acquired by their own efforts or from ancestors or connexions, and to people of high birth or reputation, and so on; for all these things bring with them greatness and prestige. Primarily, then, the magnificent man is of this sort, and magnificence is shown in expenditures of this sort, as has been said; for these are the greatest and most honourable. Of private occasions of expenditure the most suitable are those that take place once for all, e.g. a wedding or anything of the kind, or anything that interests the whole city or the people of position in it, and also the receiving of foreign guests and the sending of them on their way, and gifts and counter-gifts; for the magnificent man spends not on himself but on public objects, and gifts bear some resemblance to votive offerings. A magnificent man will also furnish his house suitably to his wealth (for even a house is a sort of public ornament), and will spend by preference on those works that are lasting (for these are the most beautiful), and on every class of things he will spend what is becoming; for the same things are not suitable for gods and for men, nor in a temple and in a tomb. And since each expenditure may be great of its kind, and what is most magnificent absolutely is great expenditure on a great object, but what is magnificent here is what is great in these circumstances, and greatness in the work differs from greatness in the expense (for the most beautiful ball or bottle is magnificent as a gift to a child, but the price of it is small and mean), — the refore it is characteristic of the magnificent man, whatever kind of result he is producing, to produce it magnificently (for such a result is not easily surpassed) and to make it worthy of the expenditure.	NICOMACHEAN ETHICS Book IV
The magnificent man is like an artist; for he can see what is fitting and spend large sums tastefully. For, as we said at the begining, a state of character is determined by its activities and by its objects. Now the expenses of the magnificent man are large and fitting. Such, therefore, are also his results; for thus there will be a great expenditure and one that is fitting to its result. Therefore the result should be worthy of the expense, and the expense should be worthy of the result, or should even exceed it. And the magnificent man will spend such sums for honour's sake; for this is common to the virtues. And further he will do so gladly and lavishly; for nice calculation is a niggardly thing. And he will consider how the result can be made most beautiful and most becoming rather than for how much it can be produced and how it can be produced most cheaply. It is necessary, then, that the magnificent man be also liberal. For the liberal man also will spend what he ought and as he ought; and it is in these matters that the greatness implied in the name of the magnificent man — his bigness, as it were — is manifested, since liberality is concerned with these matters; and at an equal expense he will produce a more magnificent work of art. For a possession and a work of art have not the same excellence. The most valuable possession is that which is worth most, e.g. gold, but the most valuable work of art is that which is great and beautiful (for the contemplation of such a work inspires admiration, and so does magnificence); and a work has an excellence-viz. magnificence — which involves magnitude. Magnificence is an attribute of expenditures of the kind which we call honourable, e.g. those connected with the gods-votive offerings, buildings, and sacrifices — and similarly with any form of religious worship, and all those that are proper objects of public-spirited ambition, as when people think they ought to equip a chorus or a trireme, or entertain the city, in a brilliant way. But in all cases, as has been said, we have regard to the agent as well and ask who he is and what means he has; for the expenditure should be worthy of his means, and suit not only the result but also the producer. Hence a poor man cannot be magnificent, since he has not the means with which to spend large sums fittingly; and he who tries is a fool, since he spends beyond what can be expected of him and what is proper, but it is right expenditure that is virtuous. But great expenditure is becoming to those who have suitable means to start with, acquired by their own efforts or from ancestors or connexions, and to people of high birth or reputation, and so on; for all these things bring with them greatness and prestige. Primarily, then, the magnificent man is of this sort, and magnificence is shown in expenditures of this sort, as has been said; for these are the greatest and most honourable. Of private occasions of expenditure the most suitable are those that take place once for all, e.g. a wedding or anything of the kind, or anything that interests the whole city or the people of position in it, and also the receiving of foreign guests and the sending of them on their way, and gifts and counter-gifts; for the magnificent man spends not on himself but on public objects, and gifts bear some resemblance to votive offerings. A magnificent man will also furnish his house suitably to his wealth (for even a house is a sort of public ornament), and will spend by preference on those works that are lasting (for these are the most beautiful), and on every class of things he will spend what is becoming; for the same things are not suitable for gods and for men, nor in a temple and in a tomb. And since each expenditure may be great of its kind, and what is most magnificent absolutely is great expenditure on a great object, but what is magnificent here is what is great in these circumstances, and greatness in the work differs from greatness in the expense (for the most beautiful ball or bottle is magnificent as a gift to a child, but the price of it is small and mean), — the refore it is characteristic of the magnificent man, whatever kind of result he is producing, to produce it magnificently (for such a result is not easily surpassed) and to make it worthy of the expenditure.	NICOMACHEAN ETHICS Book IV
Since the lawless man was seen to be unjust and the law-abiding man just, evidently all lawful acts are in a sense just acts; for the acts laid down by the legislative art are lawful, and each of these, we say, is just. Now the laws in their enactments on all subjects aim at the common advantage either of all or of the best or of those who hold power, or something of the sort; so that in one sense we call those acts just that tend to produce and preserve happiness and its components for the political society. And the law bids us do both the acts of a brave man (e.g. not to desert our post nor take to flight nor throw away our arms), and those of a temperate man (e.g. not to commit adultery nor to gratify one's lust), and those of a good-tempered man (e.g. not to strike another nor to speak evil), and similarly with regard to the other virtues and forms of wickedness, commanding some acts and forbidding others; and the rightly-framed law does this rightly, and the hastily conceived one less well. This form of justice, then, is complete virtue, but not absolutely, but in relation to our neighbour. And therefore justice is often thought to be the greatest of virtues, and 'neither evening nor morning star' is so wonderful; and proverbially 'in justice is every virtue comprehended'. And it is complete virtue in its fullest sense, because it is the actual exercise of complete virtue. It is complete because he who possesses it can exercise his virtue not only in himself but towards his neighbour also; for many men can exercise virtue in their own affairs, but not in their relations to their neighbour. This is why the saying of Bias is thought to be true, that 'rule will show the man'; for a ruler is necessarily in relation to other men and a member of a society. For this same reason justice, alone of the virtues, is thought to be 'another's good', because it is related to our neighbour; for it does what is advantageous to another, either a ruler or a copartner. Now the worst man is he who exercises his wickedness both towards himself and towards his friends, and the best man is not he who exercises his virtue towards himself but he who exercises it towards another; for this is a difficult task. Justice in this sense, then, is not part of virtue but virtue entire, nor is the contrary injustice a part of vice but vice entire. What the difference is between virtue and justice in this sense is plain from what we have said; they are the same but their essence is not the same; what, as a relation to one's neighbour, is justice is, as a certain kind of state without qualification, virtue.	NICOMACHEAN ETHICS Book V
The unjust has been divided into the unlawful and the unfair, and the just into the lawful and the fair. To the unlawful answers the afore-mentioned sense of injustice. But since unfair and the unlawful are not the same, but are different as a part is from its whole (for all that is unfair is unlawful, but not all that is unlawful is unfair), the unjust and injustice in the sense of the unfair are not the same as but different from the former kind, as part from whole; for injustice in this sense is a part of injustice in the wide sense, and similarly justice in the one sense of justice in the other. Therefore we must speak also about particular justice and particular and similarly about the just and the unjust. The justice, then, which answers to the whole of virtue, and the corresponding injustice, one being the exercise of virtue as a whole, and the other that of vice as a whole, towards one's neighbour, we may leave on one side. And how the meanings of 'just' and 'unjust' which answer to these are to be distinguished is evident; for practically the majority of the acts commanded by the law are those which are prescribed from the point of view of virtue taken as a whole; for the law bids us practise every virtue and forbids us to practise any vice. And the things that tend to produce virtue taken as a whole are those of the acts prescribed by the law which have been prescribed with a view to education for the common good. But with regard to the education of the individual as such, which makes him without qualification a good man, we must determine later whether this is the function of the political art or of another; for perhaps it is not the same to be a good man and a good citizen of any state taken at random.	NICOMACHEAN ETHICS Book V
(It is evident too that both are bad, being unjustly treated and acting unjustly; for the one means having less and the other having more than the intermediate amount, which plays the part here that the healthy does in the medical art, and that good condition does in the art of bodily training. But still acting unjustly is the worse, for it involves vice and is blameworthy-involves vice which is either of the complete and unqualified kind or almost so (we must admit the latter alternative, because not all voluntary unjust action implies injustice as a state of character), while being unjustly treated does not involve vice and injustice in oneself. In itself, then, being unjustly treated is less bad, but there is nothing to prevent its being incidentally a greater evil. But theory cares nothing for this; it calls pleurisy a more serious mischief than a stumble; yet the latter may become incidentally the more serious, if the fall due to it leads to your being taken prisoner or put to death the enemy.)	NICOMACHEAN ETHICS Book V
(It is evident too that both are bad, being unjustly treated and acting unjustly; for the one means having less and the other having more than the intermediate amount, which plays the part here that the healthy does in the medical art, and that good condition does in the art of bodily training. But still acting unjustly is the worse, for it involves vice and is blameworthy-involves vice which is either of the complete and unqualified kind or almost so (we must admit the latter alternative, because not all voluntary unjust action implies injustice as a state of character), while being unjustly treated does not involve vice and injustice in oneself. In itself, then, being unjustly treated is less bad, but there is nothing to prevent its being incidentally a greater evil. But theory cares nothing for this; it calls pleurisy a more serious mischief than a stumble; yet the latter may become incidentally the more serious, if the fall due to it leads to your being taken prisoner or put to death the enemy.)	NICOMACHEAN ETHICS Book V
SINCE we have previously said that one ought to choose that which is intermediate, not the excess nor the defect, and that the intermediate is determined by the dictates of the right rule, let us discuss the nature of these dictates. In all the states of character we have mentioned, as in all other matters, there is a mark to which the man who has the rule looks, and heightens or relaxes his activity accordingly, and there is a standard which determines the mean states which we say are intermediate between excess and defect, being in accordance with the right rule. But such a statement, though true, is by no means clear; for not only here but in all other pursuits which are objects of knowledge it is indeed true to say that we must not exert ourselves nor relax our efforts too much nor too little, but to an intermediate extent and as the right rule dictates; but if a man had only this knowledge he would be none the wiser e.g. we should not know what sort of medicines to apply to our body if some one were to say 'all those which the medical art prescribes, and which agree with the practice of one who possesses the art'. Hence it is necessary with regard to the states of the soul also not only that this true statement should be made, but also that it should be determined what is the right rule and what is the standard that fixes it.	NICOMACHEAN ETHICS Book VI
SINCE we have previously said that one ought to choose that which is intermediate, not the excess nor the defect, and that the intermediate is determined by the dictates of the right rule, let us discuss the nature of these dictates. In all the states of character we have mentioned, as in all other matters, there is a mark to which the man who has the rule looks, and heightens or relaxes his activity accordingly, and there is a standard which determines the mean states which we say are intermediate between excess and defect, being in accordance with the right rule. But such a statement, though true, is by no means clear; for not only here but in all other pursuits which are objects of knowledge it is indeed true to say that we must not exert ourselves nor relax our efforts too much nor too little, but to an intermediate extent and as the right rule dictates; but if a man had only this knowledge he would be none the wiser e.g. we should not know what sort of medicines to apply to our body if some one were to say 'all those which the medical art prescribes, and which agree with the practice of one who possesses the art'. Hence it is necessary with regard to the states of the soul also not only that this true statement should be made, but also that it should be determined what is the right rule and what is the standard that fixes it.	NICOMACHEAN ETHICS Book VI
Let us begin, then, from the beginning, and discuss these states once more. Let it be assumed that the states by virtue of which the soul possesses truth by way of affirmation or denial are five in number, i.e. art, scientific knowledge, practical wisdom, philosophic wisdom, intuitive reason; we do not include judgement and opinion because in these we may be mistaken.	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
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
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
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
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
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
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
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
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
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
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
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
Regarding practical wisdom we shall get at the truth by considering who are the persons we credit with it. Now it is thought to be the mark of a man of practical wisdom to be able to deliberate well about what is good and expedient for himself, not in some particular respect, e.g. about what sorts of thing conduce to health or to strength, but about what sorts of thing conduce to the good life in general. This is shown by the fact that we credit men with practical wisdom in some particular respect when they have calculated well with a view to some good end which is one of those that are not the object of any art. It follows that in the general sense also the man who is capable of deliberating has practical wisdom. Now no one deliberates about things that are invariable, nor about things that it is impossible for him to do. Therefore, since scientific knowledge involves demonstration, but there is no demonstration of things whose first principles are variable (for all such things might actually be otherwise), and since it is impossible to deliberate about things that are of necessity, practical wisdom cannot be scientific knowledge nor art; not science because that which can be done is capable of being otherwise, not art because action and making are different kinds of thing. The remaining alternative, then, is that it is a true and reasoned state of capacity to act with regard to the things that are good or bad for man. For while making has an end other than itself, action cannot; for good action itself is its end. It is for this reason that we think Pericles and men like him have practical wisdom, viz. because they can see what is good for themselves and what is good for men in general; we consider that those can do this who are good at managing households or states. (This is why we call temperance (sophrosune) by this name; we imply that it preserves one's practical wisdom (sozousa tan phronsin). Now what it preserves is a judgement of the kind we have described. For it is not any and every judgement that pleasant and painful objects destroy and pervert, e.g. the judgement that the triangle has or has not its angles equal to two right angles, but only judgements about what is to be done. For the originating causes of the things that are done consist in the end at which they are aimed; but the man who has been ruined by pleasure or pain forthwith fails to see any such originating cause — to see that for the sake of this or because of this he ought to choose and do whatever he chooses and does; for vice is destructive of the originating cause of action.) Practical wisdom, then, must be a reasoned and true state of capacity to act with regard to human goods. But further, while there is such a thing as excellence in art, there is no such thing as excellence in practical wisdom; and in art he who errs willingly is preferable, but in practical wisdom, as in the virtues, he is the reverse. Plainly, then, practical wisdom is a virtue and not an art. There being two parts of the soul that can follow a course of reasoning, it must be the virtue of one of the two, i.e. of that part which forms opinions; for opinion is about the variable and so is practical wisdom. But yet it is not only a reasoned state; this is shown by the fact that a state of that sort may forgotten but practical wisdom cannot.	NICOMACHEAN ETHICS Book VI
Regarding practical wisdom we shall get at the truth by considering who are the persons we credit with it. Now it is thought to be the mark of a man of practical wisdom to be able to deliberate well about what is good and expedient for himself, not in some particular respect, e.g. about what sorts of thing conduce to health or to strength, but about what sorts of thing conduce to the good life in general. This is shown by the fact that we credit men with practical wisdom in some particular respect when they have calculated well with a view to some good end which is one of those that are not the object of any art. It follows that in the general sense also the man who is capable of deliberating has practical wisdom. Now no one deliberates about things that are invariable, nor about things that it is impossible for him to do. Therefore, since scientific knowledge involves demonstration, but there is no demonstration of things whose first principles are variable (for all such things might actually be otherwise), and since it is impossible to deliberate about things that are of necessity, practical wisdom cannot be scientific knowledge nor art; not science because that which can be done is capable of being otherwise, not art because action and making are different kinds of thing. The remaining alternative, then, is that it is a true and reasoned state of capacity to act with regard to the things that are good or bad for man. For while making has an end other than itself, action cannot; for good action itself is its end. It is for this reason that we think Pericles and men like him have practical wisdom, viz. because they can see what is good for themselves and what is good for men in general; we consider that those can do this who are good at managing households or states. (This is why we call temperance (sophrosune) by this name; we imply that it preserves one's practical wisdom (sozousa tan phronsin). Now what it preserves is a judgement of the kind we have described. For it is not any and every judgement that pleasant and painful objects destroy and pervert, e.g. the judgement that the triangle has or has not its angles equal to two right angles, but only judgements about what is to be done. For the originating causes of the things that are done consist in the end at which they are aimed; but the man who has been ruined by pleasure or pain forthwith fails to see any such originating cause — to see that for the sake of this or because of this he ought to choose and do whatever he chooses and does; for vice is destructive of the originating cause of action.) Practical wisdom, then, must be a reasoned and true state of capacity to act with regard to human goods. But further, while there is such a thing as excellence in art, there is no such thing as excellence in practical wisdom; and in art he who errs willingly is preferable, but in practical wisdom, as in the virtues, he is the reverse. Plainly, then, practical wisdom is a virtue and not an art. There being two parts of the soul that can follow a course of reasoning, it must be the virtue of one of the two, i.e. of that part which forms opinions; for opinion is about the variable and so is practical wisdom. But yet it is not only a reasoned state; this is shown by the fact that a state of that sort may forgotten but practical wisdom cannot.	NICOMACHEAN ETHICS Book VI
Regarding practical wisdom we shall get at the truth by considering who are the persons we credit with it. Now it is thought to be the mark of a man of practical wisdom to be able to deliberate well about what is good and expedient for himself, not in some particular respect, e.g. about what sorts of thing conduce to health or to strength, but about what sorts of thing conduce to the good life in general. This is shown by the fact that we credit men with practical wisdom in some particular respect when they have calculated well with a view to some good end which is one of those that are not the object of any art. It follows that in the general sense also the man who is capable of deliberating has practical wisdom. Now no one deliberates about things that are invariable, nor about things that it is impossible for him to do. Therefore, since scientific knowledge involves demonstration, but there is no demonstration of things whose first principles are variable (for all such things might actually be otherwise), and since it is impossible to deliberate about things that are of necessity, practical wisdom cannot be scientific knowledge nor art; not science because that which can be done is capable of being otherwise, not art because action and making are different kinds of thing. The remaining alternative, then, is that it is a true and reasoned state of capacity to act with regard to the things that are good or bad for man. For while making has an end other than itself, action cannot; for good action itself is its end. It is for this reason that we think Pericles and men like him have practical wisdom, viz. because they can see what is good for themselves and what is good for men in general; we consider that those can do this who are good at managing households or states. (This is why we call temperance (sophrosune) by this name; we imply that it preserves one's practical wisdom (sozousa tan phronsin). Now what it preserves is a judgement of the kind we have described. For it is not any and every judgement that pleasant and painful objects destroy and pervert, e.g. the judgement that the triangle has or has not its angles equal to two right angles, but only judgements about what is to be done. For the originating causes of the things that are done consist in the end at which they are aimed; but the man who has been ruined by pleasure or pain forthwith fails to see any such originating cause — to see that for the sake of this or because of this he ought to choose and do whatever he chooses and does; for vice is destructive of the originating cause of action.) Practical wisdom, then, must be a reasoned and true state of capacity to act with regard to human goods. But further, while there is such a thing as excellence in art, there is no such thing as excellence in practical wisdom; and in art he who errs willingly is preferable, but in practical wisdom, as in the virtues, he is the reverse. Plainly, then, practical wisdom is a virtue and not an art. There being two parts of the soul that can follow a course of reasoning, it must be the virtue of one of the two, i.e. of that part which forms opinions; for opinion is about the variable and so is practical wisdom. But yet it is not only a reasoned state; this is shown by the fact that a state of that sort may forgotten but practical wisdom cannot.	NICOMACHEAN ETHICS Book VI
Regarding practical wisdom we shall get at the truth by considering who are the persons we credit with it. Now it is thought to be the mark of a man of practical wisdom to be able to deliberate well about what is good and expedient for himself, not in some particular respect, e.g. about what sorts of thing conduce to health or to strength, but about what sorts of thing conduce to the good life in general. This is shown by the fact that we credit men with practical wisdom in some particular respect when they have calculated well with a view to some good end which is one of those that are not the object of any art. It follows that in the general sense also the man who is capable of deliberating has practical wisdom. Now no one deliberates about things that are invariable, nor about things that it is impossible for him to do. Therefore, since scientific knowledge involves demonstration, but there is no demonstration of things whose first principles are variable (for all such things might actually be otherwise), and since it is impossible to deliberate about things that are of necessity, practical wisdom cannot be scientific knowledge nor art; not science because that which can be done is capable of being otherwise, not art because action and making are different kinds of thing. The remaining alternative, then, is that it is a true and reasoned state of capacity to act with regard to the things that are good or bad for man. For while making has an end other than itself, action cannot; for good action itself is its end. It is for this reason that we think Pericles and men like him have practical wisdom, viz. because they can see what is good for themselves and what is good for men in general; we consider that those can do this who are good at managing households or states. (This is why we call temperance (sophrosune) by this name; we imply that it preserves one's practical wisdom (sozousa tan phronsin). Now what it preserves is a judgement of the kind we have described. For it is not any and every judgement that pleasant and painful objects destroy and pervert, e.g. the judgement that the triangle has or has not its angles equal to two right angles, but only judgements about what is to be done. For the originating causes of the things that are done consist in the end at which they are aimed; but the man who has been ruined by pleasure or pain forthwith fails to see any such originating cause — to see that for the sake of this or because of this he ought to choose and do whatever he chooses and does; for vice is destructive of the originating cause of action.) Practical wisdom, then, must be a reasoned and true state of capacity to act with regard to human goods. But further, while there is such a thing as excellence in art, there is no such thing as excellence in practical wisdom; and in art he who errs willingly is preferable, but in practical wisdom, as in the virtues, he is the reverse. Plainly, then, practical wisdom is a virtue and not an art. There being two parts of the soul that can follow a course of reasoning, it must be the virtue of one of the two, i.e. of that part which forms opinions; for opinion is about the variable and so is practical wisdom. But yet it is not only a reasoned state; this is shown by the fact that a state of that sort may forgotten but practical wisdom cannot.	NICOMACHEAN ETHICS Book VI
Regarding practical wisdom we shall get at the truth by considering who are the persons we credit with it. Now it is thought to be the mark of a man of practical wisdom to be able to deliberate well about what is good and expedient for himself, not in some particular respect, e.g. about what sorts of thing conduce to health or to strength, but about what sorts of thing conduce to the good life in general. This is shown by the fact that we credit men with practical wisdom in some particular respect when they have calculated well with a view to some good end which is one of those that are not the object of any art. It follows that in the general sense also the man who is capable of deliberating has practical wisdom. Now no one deliberates about things that are invariable, nor about things that it is impossible for him to do. Therefore, since scientific knowledge involves demonstration, but there is no demonstration of things whose first principles are variable (for all such things might actually be otherwise), and since it is impossible to deliberate about things that are of necessity, practical wisdom cannot be scientific knowledge nor art; not science because that which can be done is capable of being otherwise, not art because action and making are different kinds of thing. The remaining alternative, then, is that it is a true and reasoned state of capacity to act with regard to the things that are good or bad for man. For while making has an end other than itself, action cannot; for good action itself is its end. It is for this reason that we think Pericles and men like him have practical wisdom, viz. because they can see what is good for themselves and what is good for men in general; we consider that those can do this who are good at managing households or states. (This is why we call temperance (sophrosune) by this name; we imply that it preserves one's practical wisdom (sozousa tan phronsin). Now what it preserves is a judgement of the kind we have described. For it is not any and every judgement that pleasant and painful objects destroy and pervert, e.g. the judgement that the triangle has or has not its angles equal to two right angles, but only judgements about what is to be done. For the originating causes of the things that are done consist in the end at which they are aimed; but the man who has been ruined by pleasure or pain forthwith fails to see any such originating cause — to see that for the sake of this or because of this he ought to choose and do whatever he chooses and does; for vice is destructive of the originating cause of action.) Practical wisdom, then, must be a reasoned and true state of capacity to act with regard to human goods. But further, while there is such a thing as excellence in art, there is no such thing as excellence in practical wisdom; and in art he who errs willingly is preferable, but in practical wisdom, as in the virtues, he is the reverse. Plainly, then, practical wisdom is a virtue and not an art. There being two parts of the soul that can follow a course of reasoning, it must be the virtue of one of the two, i.e. of that part which forms opinions; for opinion is about the variable and so is practical wisdom. But yet it is not only a reasoned state; this is shown by the fact that a state of that sort may forgotten but practical wisdom cannot.	NICOMACHEAN ETHICS Book VI
Regarding practical wisdom we shall get at the truth by considering who are the persons we credit with it. Now it is thought to be the mark of a man of practical wisdom to be able to deliberate well about what is good and expedient for himself, not in some particular respect, e.g. about what sorts of thing conduce to health or to strength, but about what sorts of thing conduce to the good life in general. This is shown by the fact that we credit men with practical wisdom in some particular respect when they have calculated well with a view to some good end which is one of those that are not the object of any art. It follows that in the general sense also the man who is capable of deliberating has practical wisdom. Now no one deliberates about things that are invariable, nor about things that it is impossible for him to do. Therefore, since scientific knowledge involves demonstration, but there is no demonstration of things whose first principles are variable (for all such things might actually be otherwise), and since it is impossible to deliberate about things that are of necessity, practical wisdom cannot be scientific knowledge nor art; not science because that which can be done is capable of being otherwise, not art because action and making are different kinds of thing. The remaining alternative, then, is that it is a true and reasoned state of capacity to act with regard to the things that are good or bad for man. For while making has an end other than itself, action cannot; for good action itself is its end. It is for this reason that we think Pericles and men like him have practical wisdom, viz. because they can see what is good for themselves and what is good for men in general; we consider that those can do this who are good at managing households or states. (This is why we call temperance (sophrosune) by this name; we imply that it preserves one's practical wisdom (sozousa tan phronsin). Now what it preserves is a judgement of the kind we have described. For it is not any and every judgement that pleasant and painful objects destroy and pervert, e.g. the judgement that the triangle has or has not its angles equal to two right angles, but only judgements about what is to be done. For the originating causes of the things that are done consist in the end at which they are aimed; but the man who has been ruined by pleasure or pain forthwith fails to see any such originating cause — to see that for the sake of this or because of this he ought to choose and do whatever he chooses and does; for vice is destructive of the originating cause of action.) Practical wisdom, then, must be a reasoned and true state of capacity to act with regard to human goods. But further, while there is such a thing as excellence in art, there is no such thing as excellence in practical wisdom; and in art he who errs willingly is preferable, but in practical wisdom, as in the virtues, he is the reverse. Plainly, then, practical wisdom is a virtue and not an art. There being two parts of the soul that can follow a course of reasoning, it must be the virtue of one of the two, i.e. of that part which forms opinions; for opinion is about the variable and so is practical wisdom. But yet it is not only a reasoned state; this is shown by the fact that a state of that sort may forgotten but practical wisdom cannot.	NICOMACHEAN ETHICS Book VI
Scientific knowledge is judgement about things that are universal and necessary, and the conclusions of demonstration, and all scientific knowledge, follow from first principles (for scientific knowledge involves apprehension of a rational ground). This being so, the first principle from which what is scientifically known follows cannot be an object of scientific knowledge, of art, or of practical wisdom; for that which can be scientifically known can be demonstrated, and art and practical wisdom deal with things that are variable. Nor are these first principles the objects of philosophic wisdom, for it is a mark of the philosopher to have demonstration about some things. If, then, the states of mind by which we have truth and are never deceived about things invariable or even variable are scientific knowlededge, practical wisdom, philosophic wisdom, and intuitive reason, and it cannot be any of the three (i.e. practical wisdom, scientific knowledge, or philosophic wisdom), the remaining alternative is that it is intuitive reason that grasps the first principles.	NICOMACHEAN ETHICS Book VI
Scientific knowledge is judgement about things that are universal and necessary, and the conclusions of demonstration, and all scientific knowledge, follow from first principles (for scientific knowledge involves apprehension of a rational ground). This being so, the first principle from which what is scientifically known follows cannot be an object of scientific knowledge, of art, or of practical wisdom; for that which can be scientifically known can be demonstrated, and art and practical wisdom deal with things that are variable. Nor are these first principles the objects of philosophic wisdom, for it is a mark of the philosopher to have demonstration about some things. If, then, the states of mind by which we have truth and are never deceived about things invariable or even variable are scientific knowlededge, practical wisdom, philosophic wisdom, and intuitive reason, and it cannot be any of the three (i.e. practical wisdom, scientific knowledge, or philosophic wisdom), the remaining alternative is that it is intuitive reason that grasps the first principles.	NICOMACHEAN ETHICS Book VI
Wisdom (1) in the arts we ascribe to their most finished exponents, e.g. to Phidias as a sculptor and to Polyclitus as a maker of portrait-statues, and here we mean nothing by wisdom except excellence in art; but (2) we think that some people are wise in general, not in some particular field or in any other limited respect, as Homer says in the Margites, "Him did the gods make neither a digger nor yet a ploughman / Nor wise in anything else."	NICOMACHEAN ETHICS Book VI
Of the highest objects, we say; for it would be strange to think that the art of politics, or practical wisdom, is the best knowledge, since man is not the best thing in the world. Now if what is healthy or good is different for men and for fishes, but what is white or straight is always the same, any one would say that what is wise is the same but what is practically wise is different; for it is to that which observes well the various matters concerning itself that one ascribes practical wisdom, and it is to this that one will entrust such matters. This is why we say that some even of the lower animals have practical wisdom, viz. those which are found to have a power of foresight with regard to their own life. It is evident also that philosophic wisdom and the art of politics cannot be the same; for if the state of mind concerned with a man's own interests is to be called philosophic wisdom, there will be many philosophic wisdoms; there will not be one concerned with the good of all animals (any more than there is one art of medicine for all existing things), but a different philosophic wisdom about the good of each species.	NICOMACHEAN ETHICS Book VI
Of the highest objects, we say; for it would be strange to think that the art of politics, or practical wisdom, is the best knowledge, since man is not the best thing in the world. Now if what is healthy or good is different for men and for fishes, but what is white or straight is always the same, any one would say that what is wise is the same but what is practically wise is different; for it is to that which observes well the various matters concerning itself that one ascribes practical wisdom, and it is to this that one will entrust such matters. This is why we say that some even of the lower animals have practical wisdom, viz. those which are found to have a power of foresight with regard to their own life. It is evident also that philosophic wisdom and the art of politics cannot be the same; for if the state of mind concerned with a man's own interests is to be called philosophic wisdom, there will be many philosophic wisdoms; there will not be one concerned with the good of all animals (any more than there is one art of medicine for all existing things), but a different philosophic wisdom about the good of each species.	NICOMACHEAN ETHICS Book VI
Of the highest objects, we say; for it would be strange to think that the art of politics, or practical wisdom, is the best knowledge, since man is not the best thing in the world. Now if what is healthy or good is different for men and for fishes, but what is white or straight is always the same, any one would say that what is wise is the same but what is practically wise is different; for it is to that which observes well the various matters concerning itself that one ascribes practical wisdom, and it is to this that one will entrust such matters. This is why we say that some even of the lower animals have practical wisdom, viz. those which are found to have a power of foresight with regard to their own life. It is evident also that philosophic wisdom and the art of politics cannot be the same; for if the state of mind concerned with a man's own interests is to be called philosophic wisdom, there will be many philosophic wisdoms; there will not be one concerned with the good of all animals (any more than there is one art of medicine for all existing things), but a different philosophic wisdom about the good of each species.	NICOMACHEAN ETHICS Book VI
Political wisdom and practical wisdom are the same state of mind, but their essence is not the same. Of the wisdom concerned with the city, the practical wisdom which plays a controlling part is legislative wisdom, while that which is related to this as particulars to their universal is known by the general name 'political wisdom'; this has to do with action and deliberation, for a decree is a thing to be carried out in the form of an individual act. This is why the exponents of this art are alone said to 'take part in politics'; for these alone 'do things' as manual labourers 'do things'.	NICOMACHEAN ETHICS Book VI
Difficulties might be raised as to the utility of these qualities of mind. For (1) philosophic wisdom will contemplate none of the things that will make a man happy (for it is not concerned with any coming into being), and though practical wisdom has this merit, for what purpose do we need it? Practical wisdom is the quality of mind concerned with things just and noble and good for man, but these are the things which it is the mark of a good man to do, and we are none the more able to act for knowing them if the virtues are states of character, just as we are none the better able to act for knowing the things that are healthy and sound, in the sense not of producing but of issuing from the state of health; for we are none the more able to act for having the art of medicine or of gymnastics. But (2) if we are to say that a man should have practical wisdom not for the sake of knowing moral truths but for the sake of becoming good, practical wisdom will be of no use to those who are good; again it is of no use to those who have not virtue; for it will make no difference whether they have practical wisdom themselves or obey others who have it, and it would be enough for us to do what we do in the case of health; though we wish to become healthy, yet we do not learn the art of medicine. (3) Besides this, it would be thought strange if practical wisdom, being inferior to philosophic wisdom, is to be put in authority over it, as seems to be implied by the fact that the art which produces anything rules and issues commands about that thing.	NICOMACHEAN ETHICS Book VI
Difficulties might be raised as to the utility of these qualities of mind. For (1) philosophic wisdom will contemplate none of the things that will make a man happy (for it is not concerned with any coming into being), and though practical wisdom has this merit, for what purpose do we need it? Practical wisdom is the quality of mind concerned with things just and noble and good for man, but these are the things which it is the mark of a good man to do, and we are none the more able to act for knowing them if the virtues are states of character, just as we are none the better able to act for knowing the things that are healthy and sound, in the sense not of producing but of issuing from the state of health; for we are none the more able to act for having the art of medicine or of gymnastics. But (2) if we are to say that a man should have practical wisdom not for the sake of knowing moral truths but for the sake of becoming good, practical wisdom will be of no use to those who are good; again it is of no use to those who have not virtue; for it will make no difference whether they have practical wisdom themselves or obey others who have it, and it would be enough for us to do what we do in the case of health; though we wish to become healthy, yet we do not learn the art of medicine. (3) Besides this, it would be thought strange if practical wisdom, being inferior to philosophic wisdom, is to be put in authority over it, as seems to be implied by the fact that the art which produces anything rules and issues commands about that thing.	NICOMACHEAN ETHICS Book VI
Difficulties might be raised as to the utility of these qualities of mind. For (1) philosophic wisdom will contemplate none of the things that will make a man happy (for it is not concerned with any coming into being), and though practical wisdom has this merit, for what purpose do we need it? Practical wisdom is the quality of mind concerned with things just and noble and good for man, but these are the things which it is the mark of a good man to do, and we are none the more able to act for knowing them if the virtues are states of character, just as we are none the better able to act for knowing the things that are healthy and sound, in the sense not of producing but of issuing from the state of health; for we are none the more able to act for having the art of medicine or of gymnastics. But (2) if we are to say that a man should have practical wisdom not for the sake of knowing moral truths but for the sake of becoming good, practical wisdom will be of no use to those who are good; again it is of no use to those who have not virtue; for it will make no difference whether they have practical wisdom themselves or obey others who have it, and it would be enough for us to do what we do in the case of health; though we wish to become healthy, yet we do not learn the art of medicine. (3) Besides this, it would be thought strange if practical wisdom, being inferior to philosophic wisdom, is to be put in authority over it, as seems to be implied by the fact that the art which produces anything rules and issues commands about that thing.	NICOMACHEAN ETHICS Book VI
(2) Secondly, they do produce something, not as the art of medicine produces health, however, but as health produces health; so does philosophic wisdom produce happiness; for, being a part of virtue entire, by being possessed and by actualizing itself it makes a man happy.	NICOMACHEAN ETHICS Book VI
But again it is not supreme over philosophic wisdom, i.e. over the superior part of us, any more than the art of medicine is over health; for it does not use it but provides for its coming into being; it issues orders, then, for its sake, but not to it. Further, to maintain its supremacy would be like saying that the art of politics rules the gods because it issues orders about all the affairs of the state.	NICOMACHEAN ETHICS Book VI
But again it is not supreme over philosophic wisdom, i.e. over the superior part of us, any more than the art of medicine is over health; for it does not use it but provides for its coming into being; it issues orders, then, for its sake, but not to it. Further, to maintain its supremacy would be like saying that the art of politics rules the gods because it issues orders about all the affairs of the state.	NICOMACHEAN ETHICS Book VI
Now (1) some people think that no pleasure is a good, either in itself or incidentally, since the good and pleasure are not the same; (2) others think that some pleasures are good but that most are bad. (3) Again there is a third view, that even if all pleasures are good, yet the best thing in the world cannot be pleasure. (1) The reasons given for the view that pleasure is not a good at all are (a) that every pleasure is a perceptible process to a natural state, and that no process is of the same kind as its end, e.g. no process of building of the same kind as a house. (b) A temperate man avoids pleasures. (c) A man of practical wisdom pursues what is free from pain, not what is pleasant. (d) The pleasures are a hindrance to thought, and the more so the more one delights in them, e.g. in sexual pleasure; for no one could think of anything while absorbed in this. (e) There is no art of pleasure; but every good is the product of some art. (f) Children and the brutes pursue pleasures. (2) The reasons for the view that not all pleasures are good are that (a) there are pleasures that are actually base and objects of reproach, and (b) there are harmful pleasures; for some pleasant things are unhealthy. (3) The reason for the view that the best thing in the world is not pleasure is that pleasure is not an end but a process.	NICOMACHEAN ETHICS Book VII
Now (1) some people think that no pleasure is a good, either in itself or incidentally, since the good and pleasure are not the same; (2) others think that some pleasures are good but that most are bad. (3) Again there is a third view, that even if all pleasures are good, yet the best thing in the world cannot be pleasure. (1) The reasons given for the view that pleasure is not a good at all are (a) that every pleasure is a perceptible process to a natural state, and that no process is of the same kind as its end, e.g. no process of building of the same kind as a house. (b) A temperate man avoids pleasures. (c) A man of practical wisdom pursues what is free from pain, not what is pleasant. (d) The pleasures are a hindrance to thought, and the more so the more one delights in them, e.g. in sexual pleasure; for no one could think of anything while absorbed in this. (e) There is no art of pleasure; but every good is the product of some art. (f) Children and the brutes pursue pleasures. (2) The reasons for the view that not all pleasures are good are that (a) there are pleasures that are actually base and objects of reproach, and (b) there are harmful pleasures; for some pleasant things are unhealthy. (3) The reason for the view that the best thing in the world is not pleasure is that pleasure is not an end but a process.	NICOMACHEAN ETHICS Book VII
(C) The fact that no pleasure is the product of any art arises naturally enough; there is no art of any other activity either, but only of the corresponding faculty; though for that matter the arts of the perfumer and the cook are thought to be arts of pleasure.	NICOMACHEAN ETHICS Book VII
(C) The fact that no pleasure is the product of any art arises naturally enough; there is no art of any other activity either, but only of the corresponding faculty; though for that matter the arts of the perfumer and the cook are thought to be arts of pleasure.	NICOMACHEAN ETHICS Book VII
For this reason pleasures seem, too, to differ in kind. For things different in kind are, we think, completed by different things (we see this to be true both of natural objects and of things produced by art, e.g. animals, trees, a painting, a sculpture, a house, an implement); and, similarly, we think that activities differing in kind are completed by things differing in kind. Now the activities of thought differ from those of the senses, and both differ among themselves, in kind; so, therefore, do the pleasures that complete them.	NICOMACHEAN ETHICS Book X
But the details can be best looked after, one by one, by a doctor or gymnastic instructor or any one else who has the general knowledge of what is good for every one or for people of a certain kind (for the sciences both are said to be, and are, concerned with what is universal); not but what some particular detail may perhaps be well looked after by an unscientific person, if he has studied accurately in the light of experience what happens in each case, just as some people seem to be their own best doctors, though they could give no help to any one else. None the less, it will perhaps be agreed that if a man does wish to become master of an art or science he must go to the universal, and come to know it as well as possible; for, as we have said, it is with this that the sciences are concerned.	NICOMACHEAN ETHICS Book X
Must we not, then, next examine whence or how one can learn how to legislate? Is it, as in all other cases, from statesmen? Certainly it was thought to be a part of statesmanship. Or is a difference apparent between statesmanship and the other sciences and arts? In the others the same people are found offering to teach the arts and practising them, e.g. doctors or painters; but while the sophists profess to teach politics, it is practised not by any of them but by the politicians, who would seem to do so by dint of a certain skill and experience rather than of thought; for they are not found either writing or speaking about such matters (though it were a nobler occupation perhaps than composing speeches for the law-courts and the assembly), nor again are they found to have made statesmen of their own sons or any other of their friends. But it was to be expected that they should if they could; for there is nothing better than such a skill that they could have left to their cities, or could prefer to have for themselves, or, therefore, for those dearest to them. Still, experience seems to contribute not a little; else they could not have become politicians by familiarity with politics; and so it seems that those who aim at knowing about the art of politics need experience as well.	NICOMACHEAN ETHICS Book X
But those of the sophists who profess the art seem to be very far from teaching it. For, to put the matter generally, they do not even know what kind of thing it is nor what kinds of things it is about; otherwise they would not have classed it as identical with rhetoric or even inferior to it, nor have thought it easy to legislate by collecting the laws that are thought well of; they say it is possible to select the best laws, as though even the selection did not demand intelligence and as though right judgement were not the greatest thing, as in matters of music. For while people experienced in any department judge rightly the works produced in it, and understand by what means or how they are achieved, and what harmonizes with what, the inexperienced must be content if they do not fail to see whether the work has been well or ill made — as in the case of painting. Now laws are as it were the' works' of the political art; how then can one learn from them to be a legislator, or judge which are best? Even medical men do not seem to be made by a study of text-books. Yet people try, at any rate, to state not only the treatments, but also how particular classes of people can be cured and should be treated-distinguishing the various habits of body; but while this seems useful to experienced people, to the inexperienced it is valueless. Surely, then, while collections of laws, and of constitutions also, may be serviceable to those who can study them and judge what is good or bad and what enactments suit what circumstances, those who go through such collections without a practised faculty will not have right judgement (unless it be as a spontaneous gift of nature), though they may perhaps become more intelligent in such matters.	NICOMACHEAN ETHICS Book X
But those of the sophists who profess the art seem to be very far from teaching it. For, to put the matter generally, they do not even know what kind of thing it is nor what kinds of things it is about; otherwise they would not have classed it as identical with rhetoric or even inferior to it, nor have thought it easy to legislate by collecting the laws that are thought well of; they say it is possible to select the best laws, as though even the selection did not demand intelligence and as though right judgement were not the greatest thing, as in matters of music. For while people experienced in any department judge rightly the works produced in it, and understand by what means or how they are achieved, and what harmonizes with what, the inexperienced must be content if they do not fail to see whether the work has been well or ill made — as in the case of painting. Now laws are as it were the' works' of the political art; how then can one learn from them to be a legislator, or judge which are best? Even medical men do not seem to be made by a study of text-books. Yet people try, at any rate, to state not only the treatments, but also how particular classes of people can be cured and should be treated-distinguishing the various habits of body; but while this seems useful to experienced people, to the inexperienced it is valueless. Surely, then, while collections of laws, and of constitutions also, may be serviceable to those who can study them and judge what is good or bad and what enactments suit what circumstances, those who go through such collections without a practised faculty will not have right judgement (unless it be as a spontaneous gift of nature), though they may perhaps become more intelligent in such matters.	NICOMACHEAN ETHICS Book X
We can now understand why fire heats and the cold thing cools, and in general why the active thing assimilates to itself the patient. For agent and patient are contrary to one another, and coming-to-be is a process into the contrary: hence the patient must change into the agent, since it is only thus that coming — to be will be a process into the contrary. And, again, it is intelligible that the advocates of both views, although their theories are not the same, are yet in contact with the nature of the facts. For sometimes we speak of the substratum as suffering action (e.g. of 'the man' as being healed, being warmed and chilled, and similarly in all the other cases), but at other times we say 'what is cold is 'being warmed', 'what is sick is being healed': and in both these ways of speaking we express the truth, since in one sense it is the 'matter', while in another sense it is the 'contrary', which suffers action. (We make the same distinction in speaking of the agent: for sometimes we say that 'the man', but at other times that 'what is hot', produces heat.) Now the one group of thinkers supposed that agent and patient must possess something identical, because they fastened their attention on the substratum: while the other group maintained the opposite because their attention was concentrated on the 'contraries'. We must conceive the same account to hold of action and passion as that which is true of 'being moved' and 'imparting motion'. For the 'mover', like the 'agent', has two meanings. Both (a) that which contains the originative source of the motion is thought to 'impart motion' (for the originative source is first amongst the causes), and also (b) that which is last, i.e. immediately next to the moved thing and to the coming-to-be. A similar distinction holds also of the agent: for we speak not only (a) of the doctor, but also (b) of the wine, as healing. Now, in motion, there is nothing to prevent the firs; mover being unmoved (indeed, as regards some 'first' movers' this is actually necessary) although the last mover always imparts motion by being itself moved: and, in action, there is nothing to prevent the first agent being unaffected, while the last agent only acts by suffering action itself. For agent and patient have not the same matter, agent acts without being affected: thus the art of healing produces health without itself being acted upon in any way by that which is being healed. But (b) the food, in acting, is itself in some way acted upon: for, in acting, it is simultaneously heated or cooled or otherwise affected. Now the art of healing corresponds to an 'originative source', while the food corresponds to 'the last' (i.e. 'continuous') mover.	ON GENERATION AND CORRUPTION Book I
We can now understand why fire heats and the cold thing cools, and in general why the active thing assimilates to itself the patient. For agent and patient are contrary to one another, and coming-to-be is a process into the contrary: hence the patient must change into the agent, since it is only thus that coming — to be will be a process into the contrary. And, again, it is intelligible that the advocates of both views, although their theories are not the same, are yet in contact with the nature of the facts. For sometimes we speak of the substratum as suffering action (e.g. of 'the man' as being healed, being warmed and chilled, and similarly in all the other cases), but at other times we say 'what is cold is 'being warmed', 'what is sick is being healed': and in both these ways of speaking we express the truth, since in one sense it is the 'matter', while in another sense it is the 'contrary', which suffers action. (We make the same distinction in speaking of the agent: for sometimes we say that 'the man', but at other times that 'what is hot', produces heat.) Now the one group of thinkers supposed that agent and patient must possess something identical, because they fastened their attention on the substratum: while the other group maintained the opposite because their attention was concentrated on the 'contraries'. We must conceive the same account to hold of action and passion as that which is true of 'being moved' and 'imparting motion'. For the 'mover', like the 'agent', has two meanings. Both (a) that which contains the originative source of the motion is thought to 'impart motion' (for the originative source is first amongst the causes), and also (b) that which is last, i.e. immediately next to the moved thing and to the coming-to-be. A similar distinction holds also of the agent: for we speak not only (a) of the doctor, but also (b) of the wine, as healing. Now, in motion, there is nothing to prevent the firs; mover being unmoved (indeed, as regards some 'first' movers' this is actually necessary) although the last mover always imparts motion by being itself moved: and, in action, there is nothing to prevent the first agent being unaffected, while the last agent only acts by suffering action itself. For agent and patient have not the same matter, agent acts without being affected: thus the art of healing produces health without itself being acted upon in any way by that which is being healed. But (b) the food, in acting, is itself in some way acted upon: for, in acting, it is simultaneously heated or cooled or otherwise affected. Now the art of healing corresponds to an 'originative source', while the food corresponds to 'the last' (i.e. 'continuous') mover.	ON GENERATION AND CORRUPTION Book I
Now, as we maintain, some things are such as to act and others such as to suffer action from them. Moreover, some things-viz. those Which have the same matter-'reciprocate', i.e. are such as to act upon one another and to suffer action from one another; while other things, viz. agents which have not the same matter as their patients, act without themselves suffering action. Such agents cannot 'combine' — that is why neither the art of healing nor health produces health by 'combining' with the bodies of the patients. Amongst those things, however, which are reciprocally active and passive, some are easily-divisible. Now (i) if a great quantity (or a large bulk) of one of these easily-divisible 'reciprocating' materials be brought together with a little (or with a small piece) of another, the effect produced is not 'combination', but increase of the dominant: for the other material is transformed into the dominant. (That is why a drop of wine does not 'combine' with ten thousand gallons of water: for its form is dissolved, and it is changed so as to merge in the total volume of water.) On the other hand (ii) when there is a certain equilibrium between their 'powers of action', then each of them changes out of its own nature towards the dominant: yet neither becomes the other, but both become an intermediate with properties common to both.	ON GENERATION AND CORRUPTION Book I
Neither of these theories, however, is sound. For (a) if the Forms are causes, why is their generating activity intermittent instead of perpetual and continuous — since there always are Participants as well as Forms? Besides, in some instances we see that the cause is other than the Form. For it is the doctor who implants health and the man of science who implants science, although 'Health itself' and 'Science itself' are as well as the Participants: and the same principle applies to everything else that is produced in accordance with an art. On the other hand (b) to say that 'matter generates owing to its movement' would be, no doubt, more scientific than to make such statements as are made by the thinkers we have been criticizing. For what 'alters' and transfigures plays a greater part in bringing, things into being; and we are everywhere accustomed, in the products of nature and of art alike, to look upon that which can initiate movement as the producing cause. Nevertheless this second theory is not right either.	ON GENERATION AND CORRUPTION Book II
Neither of these theories, however, is sound. For (a) if the Forms are causes, why is their generating activity intermittent instead of perpetual and continuous — since there always are Participants as well as Forms? Besides, in some instances we see that the cause is other than the Form. For it is the doctor who implants health and the man of science who implants science, although 'Health itself' and 'Science itself' are as well as the Participants: and the same principle applies to everything else that is produced in accordance with an art. On the other hand (b) to say that 'matter generates owing to its movement' would be, no doubt, more scientific than to make such statements as are made by the thinkers we have been criticizing. For what 'alters' and transfigures plays a greater part in bringing, things into being; and we are everywhere accustomed, in the products of nature and of art alike, to look upon that which can initiate movement as the producing cause. Nevertheless this second theory is not right either.	ON GENERATION AND CORRUPTION Book II
For, to begin with, it is characteristic of matter to suffer action, i.e. to be moved: but to move, i.e. to act, belongs to a different 'power'. This is obvious both in the things that come-to-be by art and in those that come to-be by nature. Water does not of itself produce out of itself an animal: and it is the art, not the wood, that makes a bed. Nor is this their only error. They make a second mistake in omitting the more controlling cause: for they eliminate the essential nature, i.e. the 'form'. And what is more, since they remove the formal cause, they invest the forces they assign to the 'simple' bodies — the forces which enable these bodies to bring things into being — with too instrumental a character. For 'since' (as they say) 'it is the nature of the hot to dissociate, of the cold to bring together, and of each remaining contrary either to act or to suffer action', it is out of such materials and by their agency (so they maintain) that everything else comes-to-be and passes-away. Yet (a) it is evident that even Fire is itself moved, i.e. suffers action. Moreover (b) their procedure is virtually the same as if one were to treat the saw (and the various instruments of carpentry) as 'the cause' of the things that come-to-be: for the wood must be divided if a man saws, must become smooth if he planes, and so on with the remaining tools. Hence, however true it may be that Fire is active, i.e. sets things moving, there is a further point they fail to observe-viz. that Fire is inferior to the tools or instruments in the manner in which it sets things moving.	ON GENERATION AND CORRUPTION Book II
For, to begin with, it is characteristic of matter to suffer action, i.e. to be moved: but to move, i.e. to act, belongs to a different 'power'. This is obvious both in the things that come-to-be by art and in those that come to-be by nature. Water does not of itself produce out of itself an animal: and it is the art, not the wood, that makes a bed. Nor is this their only error. They make a second mistake in omitting the more controlling cause: for they eliminate the essential nature, i.e. the 'form'. And what is more, since they remove the formal cause, they invest the forces they assign to the 'simple' bodies — the forces which enable these bodies to bring things into being — with too instrumental a character. For 'since' (as they say) 'it is the nature of the hot to dissociate, of the cold to bring together, and of each remaining contrary either to act or to suffer action', it is out of such materials and by their agency (so they maintain) that everything else comes-to-be and passes-away. Yet (a) it is evident that even Fire is itself moved, i.e. suffers action. Moreover (b) their procedure is virtually the same as if one were to treat the saw (and the various instruments of carpentry) as 'the cause' of the things that come-to-be: for the wood must be divided if a man saws, must become smooth if he planes, and so on with the remaining tools. Hence, however true it may be that Fire is active, i.e. sets things moving, there is a further point they fail to observe-viz. that Fire is inferior to the tools or instruments in the manner in which it sets things moving.	ON GENERATION AND CORRUPTION Book II
But it behoves the Physical Philosopher to obtain also a clear view of the first principles of health and disease, inasmuch as neither health nor disease can exist in lifeless things. Indeed we may say of most physical inquirers, and of those physicians who study their art philosophically, that while the former complete their works with a disquisition on medicine, the latter usually base their medical theories on principles derived from Physics.	ON SENSE AND THE SENSIBLE
That some reasonings are genuine, while others seem to be so but are not, is evident. This happens with arguments, as also elsewhere, through a certain likeness between the genuine and the sham. For physically some people are in a vigorous condition, while others merely seem to be so by blowing and rigging themselves out as the tribesmen do their victims for sacrifice; and some people are beautiful thanks to their beauty, while others seem to be so, by dint of embellishing themselves. So it is, too, with inanimate things; for of these, too, some are really silver and others gold, while others are not and merely seem to be such to our sense; e.g. things made of litharge and tin seem to be of silver, while those made of yellow metal look golden. In the same way both reasoning and refutation are sometimes genuine, sometimes not, though inexperience may make them appear so: for inexperienced people obtain only, as it were, a distant view of these things. For reasoning rests on certain statements such that they involve necessarily the assertion of something other than what has been stated, through what has been stated: refutation is reasoning involving the contradictory of the given conclusion. Now some of them do not really achieve this, though they seem to do so for a number of reasons; and of these the most prolific and usual domain is the argument that turns upon names only. It is impossible in a discussion to bring in the actual things discussed: we use their names as symbols instead of them; and therefore we suppose that what follows in the names, follows in the things as well, just as people who calculate suppose in regard to their counters. But the two cases (names and things) are not alike. For names are finite and so is the sum-total of formulae, while things are infinite in number. Inevitably, then, the same formulae, and a single name, have a number of meanings. Accordingly just as, in counting, those who are not clever in manipulating their counters are taken in by the experts, in the same way in arguments too those who are not well acquainted with the force of names misreason both in their own discussions and when they listen to others. For this reason, then, and for others to be mentioned later, there exists both reasoning and refutation that is apparent but not real. Now for some people it is better worth while to seem to be wise, than to be wise without seeming to be (for the art of the sophist is the semblance of wisdom without the reality, and the sophist is one who makes money from an apparent but unreal wisdom); for them, then, it is clearly essential also to seem to accomplish the task of a wise man rather than to accomplish it without seeming to do so. To reduce it to a single point of contrast it is the business of one who knows a thing, himself to avoid fallacies in the subjects which he knows and to be able to show up the man who makes them; and of these accomplishments the one depends on the faculty to render an answer, and the other upon the securing of one. Those, then, who would be sophists are bound to study the class of arguments aforesaid: for it is worth their while: for a faculty of this kind will make a man seem to be wise, and this is the purpose they happen to have in view.	ON SOPHISTICAL REFUTATIONS Book I
Clearly, then, there exists a class of arguments of this kind, and it is at this kind of ability that those aim whom we call sophists. Let us now go on to discuss how many kinds there are of sophistical arguments, and how many in number are the elements of which this faculty is composed, and how many branches there happen to be of this inquiry, and the other factors that contribute to this art.	ON SOPHISTICAL REFUTATIONS Book I
Since we know on how many points apparent syllogisms depend, we know also on how many sophistical syllogisms and refutations may depend. By a sophistical refutation and syllogism I mean not only a syllogism or refutation which appears to be valid but is not, but also one which, though it is valid, only appears to be appropriate to the thing in question. These are those which fail to refute and prove people to be ignorant according to the nature of the thing in question, which was the function of the art of examination. Now the art of examining is a branch of dialectic: and this may prove a false conclusion because of the ignorance of the answerer. Sophistic refutations on the other hand, even though they prove the contradictory of his thesis, do not make clear whether he is ignorant: for sophists entangle the scientist as well with these arguments.	ON SOPHISTICAL REFUTATIONS Book I
Since we know on how many points apparent syllogisms depend, we know also on how many sophistical syllogisms and refutations may depend. By a sophistical refutation and syllogism I mean not only a syllogism or refutation which appears to be valid but is not, but also one which, though it is valid, only appears to be appropriate to the thing in question. These are those which fail to refute and prove people to be ignorant according to the nature of the thing in question, which was the function of the art of examination. Now the art of examining is a branch of dialectic: and this may prove a false conclusion because of the ignorance of the answerer. Sophistic refutations on the other hand, even though they prove the contradictory of his thesis, do not make clear whether he is ignorant: for sophists entangle the scientist as well with these arguments.	ON SOPHISTICAL REFUTATIONS Book I
The number of considerations on which depend the refutations of those who are refuted, we ought not to try to grasp without a knowledge of everything that is. This, however, is not the province of any special study: for possibly the sciences are infinite in number, so that obviously demonstrations may be infinite too. Now refutations may be true as well as false: for whenever it is possible to demonstrate something, it is also possible to refute the man who maintains the contradictory of the truth; e.g. if a man has stated that the diagonal is commensurate with the side of the square, one might refute him by demonstrating that it is incommensurate. Accordingly, to exhaust all possible refutations we shall have to have scientific knowledge of everything: for some refutations depend upon the principles that rule in geometry and the conclusions that follow from these, others upon those that rule in medicine, and others upon those of the other sciences. For the matter of that, the false refutations likewise belong to the number of the infinite: for according to every art there is false proof, e.g. according to geometry there is false geometrical proof, and according to medicine there is false medical proof. By 'according to the art', I mean 'according to the principles of it'. Clearly, then, it is not of all refutations, but only of those that depend upon dialectic that we need to grasp the common-place rules: for these stand in a common relation to every art and faculty. And as regards the refutation that is according to one or other of the particular sciences it is the task of that particular scientist to examine whether it is merely apparent without being real, and, if it be real, what is the reason for it: whereas it is the business of dialecticians so to examine the refutation that proceeds from the common first principles that fall under no particular special study. For if we grasp the startingpoints of the accepted proofs on any subject whatever we grasp those of the refutations current on that subject. For a refutation is the proof of the contradictory of a given thesis, so that either one or two proofs of the contradictory constitute a refutation. We grasp, then, the number of considerations on which all such depend: if, however, we grasp this, we also grasp their solutions as well; for the objections to these are the solutions of them. We also grasp the number of considerations on which those refutations depend, that are merely apparent-apparent, I mean, not to everybody, but to people of a certain stamp; for it is an indefinite task if one is to inquire how many are the considerations that make them apparent to the man in the street. Accordingly it is clear that the dialectician's business is to be able to grasp on how many considerations depends the formation, through the common first principles, of a refutation that is either real or apparent, i.e. either dialectical or apparently dialectical, or suitable for an examination.	ON SOPHISTICAL REFUTATIONS Book I
The number of considerations on which depend the refutations of those who are refuted, we ought not to try to grasp without a knowledge of everything that is. This, however, is not the province of any special study: for possibly the sciences are infinite in number, so that obviously demonstrations may be infinite too. Now refutations may be true as well as false: for whenever it is possible to demonstrate something, it is also possible to refute the man who maintains the contradictory of the truth; e.g. if a man has stated that the diagonal is commensurate with the side of the square, one might refute him by demonstrating that it is incommensurate. Accordingly, to exhaust all possible refutations we shall have to have scientific knowledge of everything: for some refutations depend upon the principles that rule in geometry and the conclusions that follow from these, others upon those that rule in medicine, and others upon those of the other sciences. For the matter of that, the false refutations likewise belong to the number of the infinite: for according to every art there is false proof, e.g. according to geometry there is false geometrical proof, and according to medicine there is false medical proof. By 'according to the art', I mean 'according to the principles of it'. Clearly, then, it is not of all refutations, but only of those that depend upon dialectic that we need to grasp the common-place rules: for these stand in a common relation to every art and faculty. And as regards the refutation that is according to one or other of the particular sciences it is the task of that particular scientist to examine whether it is merely apparent without being real, and, if it be real, what is the reason for it: whereas it is the business of dialecticians so to examine the refutation that proceeds from the common first principles that fall under no particular special study. For if we grasp the startingpoints of the accepted proofs on any subject whatever we grasp those of the refutations current on that subject. For a refutation is the proof of the contradictory of a given thesis, so that either one or two proofs of the contradictory constitute a refutation. We grasp, then, the number of considerations on which all such depend: if, however, we grasp this, we also grasp their solutions as well; for the objections to these are the solutions of them. We also grasp the number of considerations on which those refutations depend, that are merely apparent-apparent, I mean, not to everybody, but to people of a certain stamp; for it is an indefinite task if one is to inquire how many are the considerations that make them apparent to the man in the street. Accordingly it is clear that the dialectician's business is to be able to grasp on how many considerations depends the formation, through the common first principles, of a refutation that is either real or apparent, i.e. either dialectical or apparently dialectical, or suitable for an examination.	ON SOPHISTICAL REFUTATIONS Book I
The number of considerations on which depend the refutations of those who are refuted, we ought not to try to grasp without a knowledge of everything that is. This, however, is not the province of any special study: for possibly the sciences are infinite in number, so that obviously demonstrations may be infinite too. Now refutations may be true as well as false: for whenever it is possible to demonstrate something, it is also possible to refute the man who maintains the contradictory of the truth; e.g. if a man has stated that the diagonal is commensurate with the side of the square, one might refute him by demonstrating that it is incommensurate. Accordingly, to exhaust all possible refutations we shall have to have scientific knowledge of everything: for some refutations depend upon the principles that rule in geometry and the conclusions that follow from these, others upon those that rule in medicine, and others upon those of the other sciences. For the matter of that, the false refutations likewise belong to the number of the infinite: for according to every art there is false proof, e.g. according to geometry there is false geometrical proof, and according to medicine there is false medical proof. By 'according to the art', I mean 'according to the principles of it'. Clearly, then, it is not of all refutations, but only of those that depend upon dialectic that we need to grasp the common-place rules: for these stand in a common relation to every art and faculty. And as regards the refutation that is according to one or other of the particular sciences it is the task of that particular scientist to examine whether it is merely apparent without being real, and, if it be real, what is the reason for it: whereas it is the business of dialecticians so to examine the refutation that proceeds from the common first principles that fall under no particular special study. For if we grasp the startingpoints of the accepted proofs on any subject whatever we grasp those of the refutations current on that subject. For a refutation is the proof of the contradictory of a given thesis, so that either one or two proofs of the contradictory constitute a refutation. We grasp, then, the number of considerations on which all such depend: if, however, we grasp this, we also grasp their solutions as well; for the objections to these are the solutions of them. We also grasp the number of considerations on which those refutations depend, that are merely apparent-apparent, I mean, not to everybody, but to people of a certain stamp; for it is an indefinite task if one is to inquire how many are the considerations that make them apparent to the man in the street. Accordingly it is clear that the dialectician's business is to be able to grasp on how many considerations depends the formation, through the common first principles, of a refutation that is either real or apparent, i.e. either dialectical or apparently dialectical, or suitable for an examination.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
Moreover, to claim a 'Yes' or 'No' answer is the business not of a man who is showing something, but of one who is holding an examination. For the art of examining is a branch of dialectic and has in view not the man who has knowledge, but the ignorant pretender. He, then, is a dialectician who regards the common principles with their application to the particular matter in hand, while he who only appears to do this is a sophist. Now for contentious and sophistical reasoning: (1) one such is a merely apparent reasoning, on subjects on which dialectical reasoning is the proper method of examination, even though its conclusion be true: for it misleads us in regard to the cause: also (2) there are those misreasonings which do not conform to the line of inquiry proper to the particular subject, but are generally thought to conform to the art in question. For false diagrams of geometrical figures are not contentious (for the resulting fallacies conform to the subject of the art) — any more than is any false diagram that may be offered in proof of a truth — e.g. Hippocrates' figure or the squaring of the circle by means of the lunules. But Bryson's method of squaring the circle, even if the circle is thereby squared, is still sophistical because it does not conform to the subject in hand. So, then, any merely apparent reasoning about these things is a contentious argument, and any reasoning that merely appears to conform to the subject in hand, even though it be genuine reasoning, is a contentious argument: for it is merely apparent in its conformity to the subject-matter, so that it is deceptive and plays foul. For just as a foul in a race is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation: for in the former case those who are resolved to win at all costs snatch at everything, and so in the latter case do contentious reasoners. Those, then, who do this in order to win the mere victory are generally considered to be contentious and quarrelsome persons, while those who do it to win a reputation with a view to making money are sophistical. For the art of sophistry is, as we said,' a kind of art of money-making from a merely apparent wisdom, and this is why they aim at a merely apparent demonstration: and quarrelsome persons and sophists both employ the same arguments, but not with the same motives: and the same argument will be sophistical and contentious, but not in the same respect; rather, it will be contentious in so far as its aim is an apparent victory, while in so far as its aim is an apparent wisdom, it will be sophistical: for the art of sophistry is a certain appearance of wisdom without the reality. The contentious argument stands in somewhat the same relation to the dialectical as the drawer of false diagrams to the geometrician; for it beguiles by misreasoning from the same principles as dialectic uses, just as the drawer of a false diagram beguiles the geometrician. But whereas the latter is not a contentious reasoner, because he bases his false diagram on the principles and conclusions that fall under the art of geometry, the argument which is subordinate to the principles of dialectic will yet clearly be contentious as regards other subjects. Thus, e.g. though the squaring of the circle by means of the lunules is not contentious, Bryson's solution is contentious: and the former argument cannot be adapted to any subject except geometry, because it proceeds from principles that are peculiar to geometry, whereas the latter can be adapted as an argument against all the number of people who do not know what is or is not possible in each particular context: for it will apply to them all. Or there is the method whereby Antiphon squared the circle. Or again, an argument which denied that it was better to take a walk after dinner, because of Zeno's argument, would not be a proper argument for a doctor, because Zeno's argument is of general application. If, then, the relation of the contentious argument to the dialectical were exactly like that of the drawer of false diagrams to the geometrician, a contentious argument upon the aforesaid subjects could not have existed. But, as it is, the dialectical argument is not concerned with any definite kind of being, nor does it show anything, nor is it even an argument such as we find in the general philosophy of being. For all beings are not contained in any one kind, nor, if they were, could they possibly fall under the same principles. Accordingly, no art that is a method of showing the nature of anything proceeds by asking questions: for it does not permit a man to grant whichever he likes of the two alternatives in the question: for they will not both of them yield a proof. Dialectic, on the other hand, does proceed by questioning, whereas if it were concerned to show things, it would have refrained from putting questions, even if not about everything, at least about the first principles and the special principles that apply to the particular subject in hand. For suppose the answerer not to grant these, it would then no longer have had any grounds from which to argue any longer against the objection. Dialectic is at the same time a mode of examination as well. For neither is the art of examination an accomplishment of the same kind as geometry, but one which a man may possess, even though he has not knowledge. For it is possible even for one without knowledge to hold an examination of one who is without knowledge, if also the latter grants him points taken not from thing that he knows or from the special principles of the subject under discussion but from all that range of consequences attaching to the subject which a man may indeed know without knowing the theory of the subject, but which if he do not know, he is bound to be ignorant of the theory. So then clearly the art of examining does not consist in knowledge of any definite subject. For this reason, too, it deals with everything: for every 'theory' of anything employs also certain common principles. Hence everybody, including even amateurs, makes use in a way of dialectic and the practice of examining: for all undertake to some extent a rough trial of those who profess to know things. What serves them here is the general principles: for they know these of themselves just as well as the scientist, even if in what they say they seem to the latter to go wildly astray from them. All, then, are engaged in refutation; for they take a hand as amateurs in the same task with which dialectic is concerned professionally; and he is a dialectician who examines by the help of a theory of reasoning. Now there are many identical principles which are true of everything, though they are not such as to constitute a particular nature, i.e. a particular kind of being, but are like negative terms, while other principles are not of this kind but are special to particular subjects; accordingly it is possible from these general principles to hold an examination on everything, and that there should be a definite art of so doing, and, moreover, an art which is not of the same kind as those which demonstrate. This is why the contentious reasoner does not stand in the same condition in all respects as the drawer of a false diagram: for the contentious reasoner will not be given to misreasoning from any definite class of principles, but will deal with every class.	ON SOPHISTICAL REFUTATIONS Book I
We have said before what kind of thing 'solecism' is.' It is possible both to commit it, and to seem to do so without doing so, and to do so without seeming to do so. Suppose, as Protagoras used to say that menis ('wrath') and pelex ('helmet') are masculine: according to him a man who calls wrath a 'destructress' (oulomenen) commits a solecism, though he does not seem to do so to other people, where he who calls it a 'destructor' (oulomenon) commits no solecism though he seems to do so. It is clear, then, that any one could produce this effect by art as well: and for this reason many arguments seem to lead to solecism which do not really do so, as happens in the case of refutations.	ON SOPHISTICAL REFUTATIONS Book I
In dealing with arguments that depend on Accident, one and the same solution meets all cases. For since it is indeterminate when an attribute should be ascribed to a thing, in cases where it belongs to the accident of the thing, and since in some cases it is generally agreed and people admit that it belongs, while in others they deny that it need belong, we should therefore, as soon as the conclusion has been drawn, say in answer to them all alike, that there is no need for such an attribute to belong. One must, however, be prepared to adduce an example of the kind of attribute meant. All arguments such as the following depend upon Accident. 'Do you know what I am going to ask you? you know the man who is approaching', or 'the man in the mask'? 'Is the statue your work of art?' or 'Is the dog your father?' 'Is the product of a small number with a small number a small number?' For it is evident in all these cases that there is no necessity for the attribute which is true of the thing's accident to be true of the thing as well. For only to things that are indistinguishable and one in essence is it generally agreed that all the same attributes belong; whereas in the case of a good thing, to be good is not the same as to be going to be the subject of a question; nor in the case of a man approaching, or wearing a mask, is 'to be approaching' the same thing as 'to be Coriscus', so that suppose I know Coriscus, but do not know the man who is approaching, it still isn't the case that I both know and do not know the same man; nor, again, if this is mine and is also a work of art, is it therefore my work of art, but my property or thing or something else. (The solution is after the same manner in the other cases as well.)	ON SOPHISTICAL REFUTATIONS Book I
In dealing with arguments that depend on Accident, one and the same solution meets all cases. For since it is indeterminate when an attribute should be ascribed to a thing, in cases where it belongs to the accident of the thing, and since in some cases it is generally agreed and people admit that it belongs, while in others they deny that it need belong, we should therefore, as soon as the conclusion has been drawn, say in answer to them all alike, that there is no need for such an attribute to belong. One must, however, be prepared to adduce an example of the kind of attribute meant. All arguments such as the following depend upon Accident. 'Do you know what I am going to ask you? you know the man who is approaching', or 'the man in the mask'? 'Is the statue your work of art?' or 'Is the dog your father?' 'Is the product of a small number with a small number a small number?' For it is evident in all these cases that there is no necessity for the attribute which is true of the thing's accident to be true of the thing as well. For only to things that are indistinguishable and one in essence is it generally agreed that all the same attributes belong; whereas in the case of a good thing, to be good is not the same as to be going to be the subject of a question; nor in the case of a man approaching, or wearing a mask, is 'to be approaching' the same thing as 'to be Coriscus', so that suppose I know Coriscus, but do not know the man who is approaching, it still isn't the case that I both know and do not know the same man; nor, again, if this is mine and is also a work of art, is it therefore my work of art, but my property or thing or something else. (The solution is after the same manner in the other cases as well.)	ON SOPHISTICAL REFUTATIONS Book I
In dealing with arguments that depend on Accident, one and the same solution meets all cases. For since it is indeterminate when an attribute should be ascribed to a thing, in cases where it belongs to the accident of the thing, and since in some cases it is generally agreed and people admit that it belongs, while in others they deny that it need belong, we should therefore, as soon as the conclusion has been drawn, say in answer to them all alike, that there is no need for such an attribute to belong. One must, however, be prepared to adduce an example of the kind of attribute meant. All arguments such as the following depend upon Accident. 'Do you know what I am going to ask you? you know the man who is approaching', or 'the man in the mask'? 'Is the statue your work of art?' or 'Is the dog your father?' 'Is the product of a small number with a small number a small number?' For it is evident in all these cases that there is no necessity for the attribute which is true of the thing's accident to be true of the thing as well. For only to things that are indistinguishable and one in essence is it generally agreed that all the same attributes belong; whereas in the case of a good thing, to be good is not the same as to be going to be the subject of a question; nor in the case of a man approaching, or wearing a mask, is 'to be approaching' the same thing as 'to be Coriscus', so that suppose I know Coriscus, but do not know the man who is approaching, it still isn't the case that I both know and do not know the same man; nor, again, if this is mine and is also a work of art, is it therefore my work of art, but my property or thing or something else. (The solution is after the same manner in the other cases as well.)	ON SOPHISTICAL REFUTATIONS Book I
Our programme was, then, to discover some faculty of reasoning about any theme put before us from the most generally accepted premisses that there are. For that is the essential task of the art of discussion (dialectic) and of examination (peirastic). Inasmuch, however, as it is annexed to it, on account of the near presence of the art of sophistry (sophistic), not only to be able to conduct an examination dialectically but also with a show of knowledge, we therefore proposed for our treatise not only the aforesaid aim of being able to exact an account of any view, but also the aim of ensuring that in standing up to an argument we shall defend our thesis in the same manner by means of views as generally held as possible. The reason of this we have explained; for this, too, was why Socrates used to ask questions and not to answer them; for he used to confess that he did not know. We have made clear, in the course of what precedes, the number both of the points with reference to which, and of the materials from which, this will be accomplished, and also from what sources we can become well supplied with these: we have shown, moreover, how to question or arrange the questioning as a whole, and the problems concerning the answers and solutions to be used against the reasonings of the questioner. We have also cleared up the problems concerning all other matters that belong to the same inquiry into arguments. In addition to this we have been through the subject of Fallacies, as we have already stated above.	ON SOPHISTICAL REFUTATIONS Book I
Our programme was, then, to discover some faculty of reasoning about any theme put before us from the most generally accepted premisses that there are. For that is the essential task of the art of discussion (dialectic) and of examination (peirastic). Inasmuch, however, as it is annexed to it, on account of the near presence of the art of sophistry (sophistic), not only to be able to conduct an examination dialectically but also with a show of knowledge, we therefore proposed for our treatise not only the aforesaid aim of being able to exact an account of any view, but also the aim of ensuring that in standing up to an argument we shall defend our thesis in the same manner by means of views as generally held as possible. The reason of this we have explained; for this, too, was why Socrates used to ask questions and not to answer them; for he used to confess that he did not know. We have made clear, in the course of what precedes, the number both of the points with reference to which, and of the materials from which, this will be accomplished, and also from what sources we can become well supplied with these: we have shown, moreover, how to question or arrange the questioning as a whole, and the problems concerning the answers and solutions to be used against the reasonings of the questioner. We have also cleared up the problems concerning all other matters that belong to the same inquiry into arguments. In addition to this we have been through the subject of Fallacies, as we have already stated above.	ON SOPHISTICAL REFUTATIONS Book I
That our programme, then, has been adequately completed is clear. But we must not omit to notice what has happened in regard to this inquiry. For in the case of all discoveries the results of previous labours that have been handed down from others have been advanced bit by bit by those who have taken them on, whereas the original discoveries generally make advance that is small at first though much more useful than the development which later springs out of them. For it may be that in everything, as the saying is, 'the first start is the main part': and for this reason also it is the most difficult; for in proportion as it is most potent in its influence, so it is smallest in its compass and therefore most difficult to see: whereas when this is once discovered, it is easier to add and develop the remainder in connexion with it. This is in fact what has happened in regard to rhetorical speeches and to practically all the other arts: for those who discovered the beginnings of them advanced them in all only a little way, whereas the celebrities of to-day are the heirs (so to speak) of a long succession of men who have advanced them bit by bit, and so have developed them to their present form, Tisias coming next after the first founders, then Thrasymachus after Tisias, and Theodorus next to him, while several people have made their several contributions to it: and therefore it is not to be wondered at that the art has attained considerable dimensions. Of this inquiry, on the other hand, it was not the case that part of the work had been thoroughly done before, while part had not. Nothing existed at all. For the training given by the paid professors of contentious arguments was like the treatment of the matter by Gorgias. For they used to hand out speeches to be learned by heart, some rhetorical, others in the form of question and answer, each side supposing that their arguments on either side generally fall among them. And therefore the teaching they gave their pupils was ready but rough. For they used to suppose that they trained people by imparting to them not the art but its products, as though any one professing that he would impart a form of knowledge to obviate any pain in the feet, were then not to teach a man the art of shoe-making or the sources whence he can acquire anything of the kind, but were to present him with several kinds of shoes of all sorts: for he has helped him to meet his need, but has not imparted an art to him. Moreover, on the subject of Rhetoric there exists much that has been said long ago, whereas on the subject of reasoning we had nothing else of an earlier date to speak of at all, but were kept at work for a long time in experimental researches. If, then, it seems to you after inspection that, such being the situation as it existed at the start, our investigation is in a satisfactory condition compared with the other inquiries that have been developed by tradition, there must remain for all of you, or for our students, the task of extending us your pardon for the shortcomings of the inquiry, and for the discoveries thereof your warm thanks.	ON SOPHISTICAL REFUTATIONS Book I
That our programme, then, has been adequately completed is clear. But we must not omit to notice what has happened in regard to this inquiry. For in the case of all discoveries the results of previous labours that have been handed down from others have been advanced bit by bit by those who have taken them on, whereas the original discoveries generally make advance that is small at first though much more useful than the development which later springs out of them. For it may be that in everything, as the saying is, 'the first start is the main part': and for this reason also it is the most difficult; for in proportion as it is most potent in its influence, so it is smallest in its compass and therefore most difficult to see: whereas when this is once discovered, it is easier to add and develop the remainder in connexion with it. This is in fact what has happened in regard to rhetorical speeches and to practically all the other arts: for those who discovered the beginnings of them advanced them in all only a little way, whereas the celebrities of to-day are the heirs (so to speak) of a long succession of men who have advanced them bit by bit, and so have developed them to their present form, Tisias coming next after the first founders, then Thrasymachus after Tisias, and Theodorus next to him, while several people have made their several contributions to it: and therefore it is not to be wondered at that the art has attained considerable dimensions. Of this inquiry, on the other hand, it was not the case that part of the work had been thoroughly done before, while part had not. Nothing existed at all. For the training given by the paid professors of contentious arguments was like the treatment of the matter by Gorgias. For they used to hand out speeches to be learned by heart, some rhetorical, others in the form of question and answer, each side supposing that their arguments on either side generally fall among them. And therefore the teaching they gave their pupils was ready but rough. For they used to suppose that they trained people by imparting to them not the art but its products, as though any one professing that he would impart a form of knowledge to obviate any pain in the feet, were then not to teach a man the art of shoe-making or the sources whence he can acquire anything of the kind, but were to present him with several kinds of shoes of all sorts: for he has helped him to meet his need, but has not imparted an art to him. Moreover, on the subject of Rhetoric there exists much that has been said long ago, whereas on the subject of reasoning we had nothing else of an earlier date to speak of at all, but were kept at work for a long time in experimental researches. If, then, it seems to you after inspection that, such being the situation as it existed at the start, our investigation is in a satisfactory condition compared with the other inquiries that have been developed by tradition, there must remain for all of you, or for our students, the task of extending us your pardon for the shortcomings of the inquiry, and for the discoveries thereof your warm thanks.	ON SOPHISTICAL REFUTATIONS Book I
That our programme, then, has been adequately completed is clear. But we must not omit to notice what has happened in regard to this inquiry. For in the case of all discoveries the results of previous labours that have been handed down from others have been advanced bit by bit by those who have taken them on, whereas the original discoveries generally make advance that is small at first though much more useful than the development which later springs out of them. For it may be that in everything, as the saying is, 'the first start is the main part': and for this reason also it is the most difficult; for in proportion as it is most potent in its influence, so it is smallest in its compass and therefore most difficult to see: whereas when this is once discovered, it is easier to add and develop the remainder in connexion with it. This is in fact what has happened in regard to rhetorical speeches and to practically all the other arts: for those who discovered the beginnings of them advanced them in all only a little way, whereas the celebrities of to-day are the heirs (so to speak) of a long succession of men who have advanced them bit by bit, and so have developed them to their present form, Tisias coming next after the first founders, then Thrasymachus after Tisias, and Theodorus next to him, while several people have made their several contributions to it: and therefore it is not to be wondered at that the art has attained considerable dimensions. Of this inquiry, on the other hand, it was not the case that part of the work had been thoroughly done before, while part had not. Nothing existed at all. For the training given by the paid professors of contentious arguments was like the treatment of the matter by Gorgias. For they used to hand out speeches to be learned by heart, some rhetorical, others in the form of question and answer, each side supposing that their arguments on either side generally fall among them. And therefore the teaching they gave their pupils was ready but rough. For they used to suppose that they trained people by imparting to them not the art but its products, as though any one professing that he would impart a form of knowledge to obviate any pain in the feet, were then not to teach a man the art of shoe-making or the sources whence he can acquire anything of the kind, but were to present him with several kinds of shoes of all sorts: for he has helped him to meet his need, but has not imparted an art to him. Moreover, on the subject of Rhetoric there exists much that has been said long ago, whereas on the subject of reasoning we had nothing else of an earlier date to speak of at all, but were kept at work for a long time in experimental researches. If, then, it seems to you after inspection that, such being the situation as it existed at the start, our investigation is in a satisfactory condition compared with the other inquiries that have been developed by tradition, there must remain for all of you, or for our students, the task of extending us your pardon for the shortcomings of the inquiry, and for the discoveries thereof your warm thanks.	ON SOPHISTICAL REFUTATIONS Book I
That our programme, then, has been adequately completed is clear. But we must not omit to notice what has happened in regard to this inquiry. For in the case of all discoveries the results of previous labours that have been handed down from others have been advanced bit by bit by those who have taken them on, whereas the original discoveries generally make advance that is small at first though much more useful than the development which later springs out of them. For it may be that in everything, as the saying is, 'the first start is the main part': and for this reason also it is the most difficult; for in proportion as it is most potent in its influence, so it is smallest in its compass and therefore most difficult to see: whereas when this is once discovered, it is easier to add and develop the remainder in connexion with it. This is in fact what has happened in regard to rhetorical speeches and to practically all the other arts: for those who discovered the beginnings of them advanced them in all only a little way, whereas the celebrities of to-day are the heirs (so to speak) of a long succession of men who have advanced them bit by bit, and so have developed them to their present form, Tisias coming next after the first founders, then Thrasymachus after Tisias, and Theodorus next to him, while several people have made their several contributions to it: and therefore it is not to be wondered at that the art has attained considerable dimensions. Of this inquiry, on the other hand, it was not the case that part of the work had been thoroughly done before, while part had not. Nothing existed at all. For the training given by the paid professors of contentious arguments was like the treatment of the matter by Gorgias. For they used to hand out speeches to be learned by heart, some rhetorical, others in the form of question and answer, each side supposing that their arguments on either side generally fall among them. And therefore the teaching they gave their pupils was ready but rough. For they used to suppose that they trained people by imparting to them not the art but its products, as though any one professing that he would impart a form of knowledge to obviate any pain in the feet, were then not to teach a man the art of shoe-making or the sources whence he can acquire anything of the kind, but were to present him with several kinds of shoes of all sorts: for he has helped him to meet his need, but has not imparted an art to him. Moreover, on the subject of Rhetoric there exists much that has been said long ago, whereas on the subject of reasoning we had nothing else of an earlier date to speak of at all, but were kept at work for a long time in experimental researches. If, then, it seems to you after inspection that, such being the situation as it existed at the start, our investigation is in a satisfactory condition compared with the other inquiries that have been developed by tradition, there must remain for all of you, or for our students, the task of extending us your pardon for the shortcomings of the inquiry, and for the discoveries thereof your warm thanks.	ON SOPHISTICAL REFUTATIONS Book I
The view we have just been examining, in company with most theories about the soul, involves the following absurdity: they all join the soul to a body, or place it in a body, without adding any specification of the reason of their union, or of the bodily conditions required for it. Yet such explanation can scarcely be omitted; for some community of nature is presupposed by the fact that the one acts and the other is acted upon, the one moves and the other is moved; interaction always implies a special nature in the two interagents. All, however, that these thinkers do is to describe the specific characteristics of the soul; they do not try to determine anything about the body which is to contain it, as if it were possible, as in the Pythagorean myths, that any soul could be clothed upon with any body — an absurd view, for each body seems to have a form and shape of its own. It is as absurd as to say that the art of carpentry could embody itself in flutes; each art must use its tools, each soul its body.	ON THE SOUL Book I
The view we have just been examining, in company with most theories about the soul, involves the following absurdity: they all join the soul to a body, or place it in a body, without adding any specification of the reason of their union, or of the bodily conditions required for it. Yet such explanation can scarcely be omitted; for some community of nature is presupposed by the fact that the one acts and the other is acted upon, the one moves and the other is moved; interaction always implies a special nature in the two interagents. All, however, that these thinkers do is to describe the specific characteristics of the soul; they do not try to determine anything about the body which is to contain it, as if it were possible, as in the Pythagorean myths, that any soul could be clothed upon with any body — an absurd view, for each body seems to have a form and shape of its own. It is as absurd as to say that the art of carpentry could embody itself in flutes; each art must use its tools, each soul its body.	ON THE SOUL Book I
Since in every class of things, as in nature as a whole, we find two factors involved, (1) a matter which is potentially all the particulars included in the class, (2) a cause which is productive in the sense that it makes them all (the latter standing to the former, as e.g. an art to its material), these distinct elements must likewise be found within the soul.	ON THE SOUL Book III
Now the subject is one numerically, though it is two in form. (For it is the man, the gold — the 'matter' generally — that is counted, for it is more of the nature of a 'this', and what comes to be does not come from it in virtue of a concomitant attribute; the privation, on the other hand, and the contrary are incidental in the process.) And the positive form is one — the order, the acquired art of music, or any similar predicate.	PHYSICS Book I
I say 'not in virtue of a concomitant attribute', because (for instance) a man who is a doctor might cure himself. Nevertheless it is not in so far as he is a patient that he possesses the art of medicine: it merely has happened that the same man is doctor and patient — and that is why these attributes are not always found together. So it is with all other artificial products. None of them has in itself the source of its own production. But while in some cases (for instance houses and the other products of manual labour) that principle is in something else external to the thing, in others those which may cause a change in themselves in virtue of a concomitant attribute — it lies in the things themselves (but not in virtue of what they are).	PHYSICS Book II
As an indication of this Antiphon points out that if you planted a bed and the rotting wood acquired the power of sending up a shoot, it would not be a bed that would come up, but wood — which shows that the arrangement in accordance with the rules of the art is merely an incidental attribute, whereas the real nature is the other, which, further, persists continuously through the process of making.	PHYSICS Book II
For the word 'nature' is applied to what is according to nature and the natural in the same way as 'art' is applied to what is artistic or a work of art. We should not say in the latter case that there is anything artistic about a thing, if it is a bed only potentially, not yet having the form of a bed; nor should we call it a work of art. The same is true of natural compounds. What is potentially flesh or bone has not yet its own 'nature', and does not exist until it receives the form specified in the definition, which we name in defining what flesh or bone is. Thus in the second sense of 'nature' it would be the shape or form (not separable except in statement) of things which have in themselves a source of motion. (The combination of the two, e.g. man, is not 'nature' but 'by nature' or 'natural'.)	PHYSICS Book II
For the word 'nature' is applied to what is according to nature and the natural in the same way as 'art' is applied to what is artistic or a work of art. We should not say in the latter case that there is anything artistic about a thing, if it is a bed only potentially, not yet having the form of a bed; nor should we call it a work of art. The same is true of natural compounds. What is potentially flesh or bone has not yet its own 'nature', and does not exist until it receives the form specified in the definition, which we name in defining what flesh or bone is. Thus in the second sense of 'nature' it would be the shape or form (not separable except in statement) of things which have in themselves a source of motion. (The combination of the two, e.g. man, is not 'nature' but 'by nature' or 'natural'.)	PHYSICS Book II
For the word 'nature' is applied to what is according to nature and the natural in the same way as 'art' is applied to what is artistic or a work of art. We should not say in the latter case that there is anything artistic about a thing, if it is a bed only potentially, not yet having the form of a bed; nor should we call it a work of art. The same is true of natural compounds. What is potentially flesh or bone has not yet its own 'nature', and does not exist until it receives the form specified in the definition, which we name in defining what flesh or bone is. Thus in the second sense of 'nature' it would be the shape or form (not separable except in statement) of things which have in themselves a source of motion. (The combination of the two, e.g. man, is not 'nature' but 'by nature' or 'natural'.)	PHYSICS Book II
The form indeed is 'nature' rather than the matter; for a thing is more properly said to be what it is when it has attained to fulfilment than when it exists potentially. Again man is born from man, but not bed from bed. That is why people say that the figure is not the nature of a bed, but the wood is — if the bed sprouted not a bed but wood would come up. But even if the figure is art, then on the same principle the shape of man is his nature. For man is born from man.	PHYSICS Book II
We also speak of a thing's nature as being exhibited in the process of growth by which its nature is attained. The 'nature' in this sense is not like 'doctoring', which leads not to the art of doctoring but to health. Doctoring must start from the art, not lead to it. But it is not in this way that nature (in the one sense) is related to nature (in the other). What grows qua growing grows from something into something. Into what then does it grow? Not into that from which it arose but into that to which it tends. The shape then is nature.	PHYSICS Book II
We also speak of a thing's nature as being exhibited in the process of growth by which its nature is attained. The 'nature' in this sense is not like 'doctoring', which leads not to the art of doctoring but to health. Doctoring must start from the art, not lead to it. But it is not in this way that nature (in the one sense) is related to nature (in the other). What grows qua growing grows from something into something. Into what then does it grow? Not into that from which it arose but into that to which it tends. The shape then is nature.	PHYSICS Book II
But if on the other hand art imitates nature, and it is the part of the same discipline to know the form and the matter up to a point (e.g. the doctor has a knowledge of health and also of bile and phlegm, in which health is realized, and the builder both of the form of the house and of the matter, namely that it is bricks and beams, and so forth): if this is so, it would be the part of physics also to know nature in both its senses.	PHYSICS Book II
For the arts make their material (some simply 'make' it, others make it serviceable), and we use everything as if it was there for our sake. (We also are in a sense an end. 'That for the sake of which' has two senses: the distinction is made in our work On Philosophy.) The arts, therefore, which govern the matter and have knowledge are two, namely the art which uses the product and the art which directs the production of it. That is why the using art also is in a sense directive; but it differs in that it knows the form, whereas the art which is directive as being concerned with production knows the matter. For the helmsman knows and prescribes what sort of form a helm should have, the other from what wood it should be made and by means of what operations. In the products of art, however, we make the material with a view to the function, whereas in the products of nature the matter is there all along.	PHYSICS Book II
For the arts make their material (some simply 'make' it, others make it serviceable), and we use everything as if it was there for our sake. (We also are in a sense an end. 'That for the sake of which' has two senses: the distinction is made in our work On Philosophy.) The arts, therefore, which govern the matter and have knowledge are two, namely the art which uses the product and the art which directs the production of it. That is why the using art also is in a sense directive; but it differs in that it knows the form, whereas the art which is directive as being concerned with production knows the matter. For the helmsman knows and prescribes what sort of form a helm should have, the other from what wood it should be made and by means of what operations. In the products of art, however, we make the material with a view to the function, whereas in the products of nature the matter is there all along.	PHYSICS Book II
For the arts make their material (some simply 'make' it, others make it serviceable), and we use everything as if it was there for our sake. (We also are in a sense an end. 'That for the sake of which' has two senses: the distinction is made in our work On Philosophy.) The arts, therefore, which govern the matter and have knowledge are two, namely the art which uses the product and the art which directs the production of it. That is why the using art also is in a sense directive; but it differs in that it knows the form, whereas the art which is directive as being concerned with production knows the matter. For the helmsman knows and prescribes what sort of form a helm should have, the other from what wood it should be made and by means of what operations. In the products of art, however, we make the material with a view to the function, whereas in the products of nature the matter is there all along.	PHYSICS Book II
For the arts make their material (some simply 'make' it, others make it serviceable), and we use everything as if it was there for our sake. (We also are in a sense an end. 'That for the sake of which' has two senses: the distinction is made in our work On Philosophy.) The arts, therefore, which govern the matter and have knowledge are two, namely the art which uses the product and the art which directs the production of it. That is why the using art also is in a sense directive; but it differs in that it knows the form, whereas the art which is directive as being concerned with production knows the matter. For the helmsman knows and prescribes what sort of form a helm should have, the other from what wood it should be made and by means of what operations. In the products of art, however, we make the material with a view to the function, whereas in the products of nature the matter is there all along.	PHYSICS Book II
For the arts make their material (some simply 'make' it, others make it serviceable), and we use everything as if it was there for our sake. (We also are in a sense an end. 'That for the sake of which' has two senses: the distinction is made in our work On Philosophy.) The arts, therefore, which govern the matter and have knowledge are two, namely the art which uses the product and the art which directs the production of it. That is why the using art also is in a sense directive; but it differs in that it knows the form, whereas the art which is directive as being concerned with production knows the matter. For the helmsman knows and prescribes what sort of form a helm should have, the other from what wood it should be made and by means of what operations. In the products of art, however, we make the material with a view to the function, whereas in the products of nature the matter is there all along.	PHYSICS Book II
As the word has several senses, it follows that there are several causes of the same thing not merely in virtue of a concomitant attribute), e.g. both the art of the sculptor and the bronze are causes of the statue. These are causes of the statue qua statue, not in virtue of anything else that it may be — only not in the same way, the one being the material cause, the other the cause whence the motion comes. Some things cause each other reciprocally, e.g. hard work causes fitness and vice versa, but again not in the same way, but the one as end, the other as the origin of change. Further the same thing is the cause of contrary results. For that which by its presence brings about one result is sometimes blamed for bringing about the contrary by its absence. Thus we ascribe the wreck of a ship to the absence of the pilot whose presence was the cause of its safety.	PHYSICS Book II
In investigating the cause of each thing it is always necessary to seek what is most precise (as also in other things): thus man builds because he is a builder, and a builder builds in virtue of his art of building. This last cause then is prior: and so generally.	PHYSICS Book II
Further, where a series has a completion, all the preceding steps are for the sake of that. Now surely as in intelligent action, so in nature; and as in nature, so it is in each action, if nothing interferes. Now intelligent action is for the sake of an end; therefore the nature of things also is so. Thus if a house, e.g. had been a thing made by nature, it would have been made in the same way as it is now by art; and if things made by nature were made also by art, they would come to be in the same way as by nature. Each step then in the series is for the sake of the next; and generally art partly completes what nature cannot bring to a finish, and partly imitates her. If, therefore, artificial products are for the sake of an end, so clearly also are natural products. The relation of the later to the earlier terms of the series is the same in both. This is most obvious in the animals other than man: they make things neither by art nor after inquiry or deliberation. Wherefore people discuss whether it is by intelligence or by some other faculty that these creatures work,spiders, ants, and the like. By gradual advance in this direction we come to see clearly that in plants too that is produced which is conducive to the end-leaves, e.g. grow to provide shade for the fruit. If then it is both by nature and for an end that the swallow makes its nest and the spider its web, and plants grow leaves for the sake of the fruit and send their roots down (not up) for the sake of nourishment, it is plain that this kind of cause is operative in things which come to be and are by nature. And since 'nature' means two things, the matter and the form, of which the latter is the end, and since all the rest is for the sake of the end, the form must be the cause in the sense of 'that for the sake of which'.	PHYSICS Book II
Further, where a series has a completion, all the preceding steps are for the sake of that. Now surely as in intelligent action, so in nature; and as in nature, so it is in each action, if nothing interferes. Now intelligent action is for the sake of an end; therefore the nature of things also is so. Thus if a house, e.g. had been a thing made by nature, it would have been made in the same way as it is now by art; and if things made by nature were made also by art, they would come to be in the same way as by nature. Each step then in the series is for the sake of the next; and generally art partly completes what nature cannot bring to a finish, and partly imitates her. If, therefore, artificial products are for the sake of an end, so clearly also are natural products. The relation of the later to the earlier terms of the series is the same in both. This is most obvious in the animals other than man: they make things neither by art nor after inquiry or deliberation. Wherefore people discuss whether it is by intelligence or by some other faculty that these creatures work,spiders, ants, and the like. By gradual advance in this direction we come to see clearly that in plants too that is produced which is conducive to the end-leaves, e.g. grow to provide shade for the fruit. If then it is both by nature and for an end that the swallow makes its nest and the spider its web, and plants grow leaves for the sake of the fruit and send their roots down (not up) for the sake of nourishment, it is plain that this kind of cause is operative in things which come to be and are by nature. And since 'nature' means two things, the matter and the form, of which the latter is the end, and since all the rest is for the sake of the end, the form must be the cause in the sense of 'that for the sake of which'.	PHYSICS Book II
Further, where a series has a completion, all the preceding steps are for the sake of that. Now surely as in intelligent action, so in nature; and as in nature, so it is in each action, if nothing interferes. Now intelligent action is for the sake of an end; therefore the nature of things also is so. Thus if a house, e.g. had been a thing made by nature, it would have been made in the same way as it is now by art; and if things made by nature were made also by art, they would come to be in the same way as by nature. Each step then in the series is for the sake of the next; and generally art partly completes what nature cannot bring to a finish, and partly imitates her. If, therefore, artificial products are for the sake of an end, so clearly also are natural products. The relation of the later to the earlier terms of the series is the same in both. This is most obvious in the animals other than man: they make things neither by art nor after inquiry or deliberation. Wherefore people discuss whether it is by intelligence or by some other faculty that these creatures work,spiders, ants, and the like. By gradual advance in this direction we come to see clearly that in plants too that is produced which is conducive to the end-leaves, e.g. grow to provide shade for the fruit. If then it is both by nature and for an end that the swallow makes its nest and the spider its web, and plants grow leaves for the sake of the fruit and send their roots down (not up) for the sake of nourishment, it is plain that this kind of cause is operative in things which come to be and are by nature. And since 'nature' means two things, the matter and the form, of which the latter is the end, and since all the rest is for the sake of the end, the form must be the cause in the sense of 'that for the sake of which'.	PHYSICS Book II
Further, where a series has a completion, all the preceding steps are for the sake of that. Now surely as in intelligent action, so in nature; and as in nature, so it is in each action, if nothing interferes. Now intelligent action is for the sake of an end; therefore the nature of things also is so. Thus if a house, e.g. had been a thing made by nature, it would have been made in the same way as it is now by art; and if things made by nature were made also by art, they would come to be in the same way as by nature. Each step then in the series is for the sake of the next; and generally art partly completes what nature cannot bring to a finish, and partly imitates her. If, therefore, artificial products are for the sake of an end, so clearly also are natural products. The relation of the later to the earlier terms of the series is the same in both. This is most obvious in the animals other than man: they make things neither by art nor after inquiry or deliberation. Wherefore people discuss whether it is by intelligence or by some other faculty that these creatures work,spiders, ants, and the like. By gradual advance in this direction we come to see clearly that in plants too that is produced which is conducive to the end-leaves, e.g. grow to provide shade for the fruit. If then it is both by nature and for an end that the swallow makes its nest and the spider its web, and plants grow leaves for the sake of the fruit and send their roots down (not up) for the sake of nourishment, it is plain that this kind of cause is operative in things which come to be and are by nature. And since 'nature' means two things, the matter and the form, of which the latter is the end, and since all the rest is for the sake of the end, the form must be the cause in the sense of 'that for the sake of which'.	PHYSICS Book II
Now mistakes come to pass even in the operations of art: the grammarian makes a mistake in writing and the doctor pours out the wrong dose. Hence clearly mistakes are possible in the operations of nature also. If then in art there are cases in which what is rightly produced serves a purpose, and if where mistakes occur there was a purpose in what was attempted, only it was not attained, so must it be also in natural products, and monstrosities will be failures in the purposive effort. Thus in the original combinations the 'ox-progeny' if they failed to reach a determinate end must have arisen through the corruption of some principle corresponding to what is now the seed.	PHYSICS Book II
Now mistakes come to pass even in the operations of art: the grammarian makes a mistake in writing and the doctor pours out the wrong dose. Hence clearly mistakes are possible in the operations of nature also. If then in art there are cases in which what is rightly produced serves a purpose, and if where mistakes occur there was a purpose in what was attempted, only it was not attained, so must it be also in natural products, and monstrosities will be failures in the purposive effort. Thus in the original combinations the 'ox-progeny' if they failed to reach a determinate end must have arisen through the corruption of some principle corresponding to what is now the seed.	PHYSICS Book II
It is absurd to suppose that purpose is not present because we do not observe the agent deliberating. Art does not deliberate. If the ship-building art were in the wood, it would produce the same results by nature. If, therefore, purpose is present in art, it is present also in nature. The best illustration is a doctor doctoring himself: nature is like that.	PHYSICS Book II
It is absurd to suppose that purpose is not present because we do not observe the agent deliberating. Art does not deliberate. If the ship-building art were in the wood, it would produce the same results by nature. If, therefore, purpose is present in art, it is present also in nature. The best illustration is a doctor doctoring himself: nature is like that.	PHYSICS Book II
It is absurd to suppose that purpose is not present because we do not observe the agent deliberating. Art does not deliberate. If the ship-building art were in the wood, it would produce the same results by nature. If, therefore, purpose is present in art, it is present also in nature. The best illustration is a doctor doctoring himself: nature is like that.	PHYSICS Book II
For as there are persons who, by conscious art or mere habit, imitate and represent various objects through the medium of color and form, or again by the voice; so in the arts above mentioned, taken as a whole, the imitation is produced by rhythm, language, or 'harmony,' either singly or combined.	POETICS I
There is another art which imitates by means of language alone, and that either in prose or verse — which verse, again, may either combine different meters or consist of but one kind — but this has hitherto been without a name. For there is no common term we could apply to the mimes of Sophron and Xenarchus and the Socratic dialogues on the one hand; and, on the other, to poetic imitations in iambic, elegiac, or any similar meter. People do, indeed, add the word 'maker' or 'poet' to the name of the meter, and speak of elegiac poets, or epic (that is, hexameter) poets, as if it were not the imitation that makes the poet, but the verse that entitles them all to the name. Even when a treatise on medicine or natural science is brought out in verse, the name of poet is by custom given to the author; and yet Homer and Empedocles have nothing in common but the meter, so that it would be right to call the one poet, the other physicist rather than poet. On the same principle, even if a writer in his poetic imitation were to combine all meters, as Chaeremon did in his Centaur, which is a medley composed of meters of all kinds, we should bring him too under the general term poet.	POETICS I
As, in the serious style, Homer is pre-eminent among poets, for he alone combined dramatic form with excellence of imitation so he too first laid down the main lines of comedy, by dramatizing the ludicrous instead of writing personal satire. His Margites bears the same relation to comedy that the Iliad and Odyssey do to tragedy. But when Tragedy and Comedy came to light, the two classes of poets still followed their natural bent: the lampooners became writers of Comedy, and the Epic poets were succeeded by Tragedians, since the drama was a larger and higher form of art.	POETICS IV
But most important of all is the structure of the incidents. For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation of character: character comes in as subsidiary to the actions. Hence the incidents and the plot are the end of a tragedy; and the end is the chief thing of all. Again, without action there cannot be a tragedy; there may be without character. The tragedies of most of our modern poets fail in the rendering of character; and of poets in general this is often true. It is the same in painting; and here lies the difference between Zeuxis and Polygnotus. Polygnotus delineates character well; the style of Zeuxis is devoid of ethical quality. Again, if you string together a set of speeches expressive of character, and well finished in point of diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents. Besides which, the most powerful elements of emotional interest in Tragedy — Peripeteia or Reversal of the Situation, and Recognition scenes — are parts of the plot. A further proof is, that novices in the art attain to finish of diction and precision of portraiture before they can construct the plot. It is the same with almost all the early poets.	POETICS VI
Third in order is Thought — that is, the faculty of saying what is possible and pertinent in given circumstances. In the case of oratory, this is the function of the political art and of the art of rhetoric: and so indeed the older poets make their characters speak the language of civic life; the poets of our time, the language of the rhetoricians. Character is that which reveals moral purpose, showing what kind of things a man chooses or avoids. Speeches, therefore, which do not make this manifest, or in which the speaker does not choose or avoid anything whatever, are not expressive of character. Thought, on the other hand, is found where something is proved to be or not to be, or a general maxim is enunciated.	POETICS VI
Third in order is Thought — that is, the faculty of saying what is possible and pertinent in given circumstances. In the case of oratory, this is the function of the political art and of the art of rhetoric: and so indeed the older poets make their characters speak the language of civic life; the poets of our time, the language of the rhetoricians. Character is that which reveals moral purpose, showing what kind of things a man chooses or avoids. Speeches, therefore, which do not make this manifest, or in which the speaker does not choose or avoid anything whatever, are not expressive of character. Thought, on the other hand, is found where something is proved to be or not to be, or a general maxim is enunciated.	POETICS VI
The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet.	POETICS VI
The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet.	POETICS VI
Unity of plot does not, as some persons think, consist in the unity of the hero. For infinitely various are the incidents in one man's life which cannot be reduced to unity; and so, too, there are many actions of one man out of which we cannot make one action. Hence the error, as it appears, of all poets who have composed a Heracleid, a Theseid, or other poems of the kind. They imagine that as Heracles was one man, the story of Heracles must also be a unity. But Homer, as in all else he is of surpassing merit, here too — whether from art or natural genius — seems to have happily discerned the truth. In composing the Odyssey he did not include all the adventures of Odysseus — such as his wound on Parnassus, or his feigned madness at the mustering of the host — incidents between which there was no necessary or probable connection: but he made the Odyssey, and likewise the Iliad, to center round an action that in our sense of the word is one. As therefore, in the other imitative arts, the imitation is one when the object imitated is one, so the plot, being an imitation of an action, must imitate one action and that a whole, the structural union of the parts being such that, if any one of them is displaced or removed, the whole will be disjointed and disturbed. For a thing whose presence or absence makes no visible difference, is not an organic part of the whole.	POETICS VIII
A well-constructed plot should, therefore, be single in its issue, rather than double as some maintain. The change of fortune should be not from bad to good, but, reversely, from good to bad. It should come about as the result not of vice, but of some great error or frailty, in a character either such as we have described, or better rather than worse. The practice of the stage bears out our view. At first the poets recounted any legend that came in their way. Now, the best tragedies are founded on the story of a few houses — on the fortunes of Alcmaeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, and those others who have done or suffered something terrible. A tragedy, then, to be perfect according to the rules of art should be of this construction. Hence they are in error who censure Euripides just because he follows this principle in his plays, many of which end unhappily. It is, as we have said, the right ending. The best proof is that on the stage and in dramatic competition, such plays, if well worked out, are the most tragic in effect; and Euripides, faulty though he may be in the general management of his subject, yet is felt to be the most tragic of the poets.	POETICS XIII
The action may be done consciously and with knowledge of the persons, in the manner of the older poets. It is thus too that Euripides makes Medea slay her children. Or, again, the deed of horror may be done, but done in ignorance, and the tie of kinship or friendship be discovered afterwards. The Oedipus of Sophocles is an example. Here, indeed, the incident is outside the drama proper; but cases occur where it falls within the action of the play: one may cite the Alcmaeon of Astydamas, or Telegonus in the Wounded Odysseus. Again, there is a third case — [to be about to act with knowledge of the persons and then not to act. The fourth case] is when some one is about to do an irreparable deed through ignorance, and makes the discovery before it is done. These are the only possible ways. For the deed must either be done or not done — and that wittingly or unwittingly. But of all these ways, to be about to act knowing the persons, and then not to act, is the worst. It is shocking without being tragic, for no disaster follows It is, therefore, never, or very rarely, found in poetry. One instance, however, is in the Antigone, where Haemon threatens to kill Creon. The next and better way is that the deed should be perpetrated. Still better, that it should be perpetrated in ignorance, and the discovery made afterwards. There is then nothing to shock us, while the discovery produces a startling effect. The last case is the best, as when in the Cresphontes Merope is about to slay her son, but, recognizing who he is, spares his life. So in the Iphigenia, the sister recognizes the brother just in time. Again in the Helle, the son recognizes the mother when on the point of giving her up. This, then, is why a few families only, as has been already observed, furnish the subjects of tragedy. It was not art, but happy chance, that led the poets in search of subjects to impress the tragic quality upon their plots. They are compelled, therefore, to have recourse to those houses whose history contains moving incidents like these.	POETICS XIV
Next come the recognitions invented at will by the poet, and on that account wanting in art. For example, Orestes in the Iphigenia reveals the fact that he is Orestes. She, indeed, makes herself known by the letter; but he, by speaking himself, and saying what the poet, not what the plot requires. This, therefore, is nearly allied to the fault above mentioned — for Orestes might as well have brought tokens with him. Another similar instance is the 'voice of the shuttle' in the Tereus of Sophocles.	POETICS XVI
Next, as regards Diction. One branch of the inquiry treats of the Modes of Utterance. But this province of knowledge belongs to the art of Delivery and to the masters of that science. It includes, for instance — what is a command, a prayer, a statement, a threat, a question, an answer, and so forth. To know or not to know these things involves no serious censure upon the poet's art. For who can admit the fault imputed to Homer by Protagoras — that in the words, 'Sing, goddess, of the wrath, he gives a command under the idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command. We may, therefore, pass this over as an inquiry that belongs to another art, not to poetry.	POETICS XIX
Next, as regards Diction. One branch of the inquiry treats of the Modes of Utterance. But this province of knowledge belongs to the art of Delivery and to the masters of that science. It includes, for instance — what is a command, a prayer, a statement, a threat, a question, an answer, and so forth. To know or not to know these things involves no serious censure upon the poet's art. For who can admit the fault imputed to Homer by Protagoras — that in the words, 'Sing, goddess, of the wrath, he gives a command under the idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command. We may, therefore, pass this over as an inquiry that belongs to another art, not to poetry.	POETICS XIX
Next, as regards Diction. One branch of the inquiry treats of the Modes of Utterance. But this province of knowledge belongs to the art of Delivery and to the masters of that science. It includes, for instance — what is a command, a prayer, a statement, a threat, a question, an answer, and so forth. To know or not to know these things involves no serious censure upon the poet's art. For who can admit the fault imputed to Homer by Protagoras — that in the words, 'Sing, goddess, of the wrath, he gives a command under the idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command. We may, therefore, pass this over as an inquiry that belongs to another art, not to poetry.	POETICS XIX
The element of the wonderful is required in Tragedy. The irrational, on which the wonderful depends for its chief effects, has wider scope in Epic poetry, because there the person acting is not seen. Thus, the pursuit of Hector would be ludicrous if placed upon the stage — the Greeks standing still and not joining in the pursuit, and Achilles waving them back. But in the Epic poem the absurdity passes unnoticed. Now the wonderful is pleasing, as may be inferred from the fact that every one tells a story with some addition of his knowing that his hearers like it. It is Homer who has chiefly taught other poets the art of telling lies skilfully. The secret of it lies in a fallacy For, assuming that if one thing is or becomes, a second is or becomes, men imagine that, if the second is, the first likewise is or becomes. But this is a false inference. Hence, where the first thing is untrue, it is quite unnecessary, provided the second be true, to add that the first is or has become. For the mind, knowing the second to be true, falsely infers the truth of the first. There is an example of this in the Bath Scene of the Odyssey.	POETICS XXIV
The poet being an imitator, like a painter or any other artist, must of necessity imitate one of three objects — things as they were or are, things as they are said or thought to be, or things as they ought to be. The vehicle of expression is language — either current terms or, it may be, rare words or metaphors. There are also many modifications of language, which we concede to the poets. Add to this, that the standard of correctness is not the same in poetry and politics, any more than in poetry and any other art. Within the art of poetry itself there are two kinds of faults — those which touch its essence, and those which are accidental. If a poet has chosen to imitate something, [but has imitated it incorrectly] through want of capacity, the error is inherent in the poetry. But if the failure is due to a wrong choice — if he has represented a horse as throwing out both his off legs at once, or introduced technical inaccuracies in medicine, for example, or in any other art — the error is not essential to the poetry. These are the points of view from which we should consider and answer the objections raised by the critics.	POETICS XXV
The poet being an imitator, like a painter or any other artist, must of necessity imitate one of three objects — things as they were or are, things as they are said or thought to be, or things as they ought to be. The vehicle of expression is language — either current terms or, it may be, rare words or metaphors. There are also many modifications of language, which we concede to the poets. Add to this, that the standard of correctness is not the same in poetry and politics, any more than in poetry and any other art. Within the art of poetry itself there are two kinds of faults — those which touch its essence, and those which are accidental. If a poet has chosen to imitate something, [but has imitated it incorrectly] through want of capacity, the error is inherent in the poetry. But if the failure is due to a wrong choice — if he has represented a horse as throwing out both his off legs at once, or introduced technical inaccuracies in medicine, for example, or in any other art — the error is not essential to the poetry. These are the points of view from which we should consider and answer the objections raised by the critics.	POETICS XXV
The poet being an imitator, like a painter or any other artist, must of necessity imitate one of three objects — things as they were or are, things as they are said or thought to be, or things as they ought to be. The vehicle of expression is language — either current terms or, it may be, rare words or metaphors. There are also many modifications of language, which we concede to the poets. Add to this, that the standard of correctness is not the same in poetry and politics, any more than in poetry and any other art. Within the art of poetry itself there are two kinds of faults — those which touch its essence, and those which are accidental. If a poet has chosen to imitate something, [but has imitated it incorrectly] through want of capacity, the error is inherent in the poetry. But if the failure is due to a wrong choice — if he has represented a horse as throwing out both his off legs at once, or introduced technical inaccuracies in medicine, for example, or in any other art — the error is not essential to the poetry. These are the points of view from which we should consider and answer the objections raised by the critics.	POETICS XXV
First as to matters which concern the poet's own art. If he describes the impossible, he is guilty of an error; but the error may be justified, if the end of the art be thereby attained (the end being that already mentioned) — if, that is, the effect of this or any other part of the poem is thus rendered more striking. A case in point is the pursuit of Hector. if, however, the end might have been as well, or better, attained without violating the special rules of the poetic art, the error is not justified: for every kind of error should, if possible, be avoided.	POETICS XXV
First as to matters which concern the poet's own art. If he describes the impossible, he is guilty of an error; but the error may be justified, if the end of the art be thereby attained (the end being that already mentioned) — if, that is, the effect of this or any other part of the poem is thus rendered more striking. A case in point is the pursuit of Hector. if, however, the end might have been as well, or better, attained without violating the special rules of the poetic art, the error is not justified: for every kind of error should, if possible, be avoided.	POETICS XXV
First as to matters which concern the poet's own art. If he describes the impossible, he is guilty of an error; but the error may be justified, if the end of the art be thereby attained (the end being that already mentioned) — if, that is, the effect of this or any other part of the poem is thus rendered more striking. A case in point is the pursuit of Hector. if, however, the end might have been as well, or better, attained without violating the special rules of the poetic art, the error is not justified: for every kind of error should, if possible, be avoided.	POETICS XXV
Again, does the error touch the essentials of the poetic art, or some accident of it? For example, not to know that a hind has no horns is a less serious matter than to paint it inartistically.	POETICS XXV
In general, the impossible must be justified by reference to artistic requirements, or to the higher reality, or to received opinion. With respect to the requirements of art, a probable impossibility is to be preferred to a thing improbable and yet possible. Again, it may be impossible that there should be men such as Zeuxis painted. 'Yes,' we say, 'but the impossible is the higher thing; for the ideal type must surpass the realty.' To justify the irrational, we appeal to what is commonly said to be. In addition to which, we urge that the irrational sometimes does not violate reason; just as 'it is probable that a thing may happen contrary to probability.'	POETICS XXV
The question may be raised whether the Epic or Tragic mode of imitation is the higher. If the more refined art is the higher, and the more refined in every case is that which appeals to the better sort of audience, the art which imitates anything and everything is manifestly most unrefined. The audience is supposed to be too dull to comprehend unless something of their own is thrown by the performers, who therefore indulge in restless movements. Bad flute-players twist and twirl, if they have to represent 'the quoit-throw,' or hustle the coryphaeus when they perform the Scylla. Tragedy, it is said, has this same defect. We may compare the opinion that the older actors entertained of their successors. Mynniscus used to call Callippides 'ape' on account of the extravagance of his action, and the same view was held of Pindarus. Tragic art, then, as a whole, stands to Epic in the same relation as the younger to the elder actors. So we are told that Epic poetry is addressed to a cultivated audience, who do not need gesture; Tragedy, to an inferior public. Being then unrefined, it is evidently the lower of the two.	POETICS XXVI
The question may be raised whether the Epic or Tragic mode of imitation is the higher. If the more refined art is the higher, and the more refined in every case is that which appeals to the better sort of audience, the art which imitates anything and everything is manifestly most unrefined. The audience is supposed to be too dull to comprehend unless something of their own is thrown by the performers, who therefore indulge in restless movements. Bad flute-players twist and twirl, if they have to represent 'the quoit-throw,' or hustle the coryphaeus when they perform the Scylla. Tragedy, it is said, has this same defect. We may compare the opinion that the older actors entertained of their successors. Mynniscus used to call Callippides 'ape' on account of the extravagance of his action, and the same view was held of Pindarus. Tragic art, then, as a whole, stands to Epic in the same relation as the younger to the elder actors. So we are told that Epic poetry is addressed to a cultivated audience, who do not need gesture; Tragedy, to an inferior public. Being then unrefined, it is evidently the lower of the two.	POETICS XXVI
The question may be raised whether the Epic or Tragic mode of imitation is the higher. If the more refined art is the higher, and the more refined in every case is that which appeals to the better sort of audience, the art which imitates anything and everything is manifestly most unrefined. The audience is supposed to be too dull to comprehend unless something of their own is thrown by the performers, who therefore indulge in restless movements. Bad flute-players twist and twirl, if they have to represent 'the quoit-throw,' or hustle the coryphaeus when they perform the Scylla. Tragedy, it is said, has this same defect. We may compare the opinion that the older actors entertained of their successors. Mynniscus used to call Callippides 'ape' on account of the extravagance of his action, and the same view was held of Pindarus. Tragic art, then, as a whole, stands to Epic in the same relation as the younger to the elder actors. So we are told that Epic poetry is addressed to a cultivated audience, who do not need gesture; Tragedy, to an inferior public. Being then unrefined, it is evidently the lower of the two.	POETICS XXVI
Now, in the first place, this censure attaches not to the poetic but to the histrionic art; for gesticulation may be equally overdone in epic recitation, as by Sosistratus, or in lyrical competition, as by Mnasitheus the Opuntian. Next, all action is not to be condemned — any more than all dancing — but only that of bad performers. Such was the fault found in Callippides, as also in others of our own day, who are censured for representing degraded women. Again, Tragedy like Epic poetry produces its effect even without action; it reveals its power by mere reading. If, then, in all other respects it is superior, this fault, we say, is not inherent in it.	POETICS XXVI
And superior it is, because it has an the epic elements — it may even use the epic meter — with the music and spectacular effects as important accessories; and these produce the most vivid of pleasures. Further, it has vividness of impression in reading as well as in representation. Moreover, the art attains its end within narrower limits for the concentrated effect is more pleasurable than one which is spread over a long time and so diluted. What, for example, would be the effect of the Oedipus of Sophocles, if it were cast into a form as long as the Iliad? Once more, the Epic imitation has less unity; as is shown by this, that any Epic poem will furnish subjects for several tragedies. Thus if the story adopted by the poet has a strict unity, it must either be concisely told and appear truncated; or, if it conforms to the Epic canon of length, it must seem weak and watery. [Such length implies some loss of unity,] if, I mean, the poem is constructed out of several actions, like the Iliad and the Odyssey, which have many such parts, each with a certain magnitude of its own. Yet these poems are as perfect as possible in structure; each is, in the highest degree attainable, an imitation of a single action.	POETICS XXVI
If, then, tragedy is superior to epic poetry in all these respects, and, moreover, fulfills its specific function better as an art — for each art ought to produce, not any chance pleasure, but the pleasure proper to it, as already stated — it plainly follows that tragedy is the higher art, as attaining its end more perfectly.	POETICS XXVI
If, then, tragedy is superior to epic poetry in all these respects, and, moreover, fulfills its specific function better as an art — for each art ought to produce, not any chance pleasure, but the pleasure proper to it, as already stated — it plainly follows that tragedy is the higher art, as attaining its end more perfectly.	POETICS XXVI
If, then, tragedy is superior to epic poetry in all these respects, and, moreover, fulfills its specific function better as an art — for each art ought to produce, not any chance pleasure, but the pleasure proper to it, as already stated — it plainly follows that tragedy is the higher art, as attaining its end more perfectly.	POETICS XXVI
Seeing then that the state is made up of households, before speaking of the state we must speak of the management of the household. The parts of household management correspond to the persons who compose the household, and a complete household consists of slaves and freemen. Now we should begin by examining everything in its fewest possible elements; and the first and fewest possible parts of a family are master and slave, husband and wife, father and children. We have therefore to consider what each of these three relations is and ought to be: I mean the relation of master and servant, the marriage relation (the conjunction of man and wife has no name of its own), and thirdly, the procreative relation (this also has no proper name). And there is another element of a household, the so-called art of getting wealth, which, according to some, is identical with household management, according to others, a principal part of it; the nature of this art will also have to be considered by us.	POLITICS BOOK ONE
Seeing then that the state is made up of households, before speaking of the state we must speak of the management of the household. The parts of household management correspond to the persons who compose the household, and a complete household consists of slaves and freemen. Now we should begin by examining everything in its fewest possible elements; and the first and fewest possible parts of a family are master and slave, husband and wife, father and children. We have therefore to consider what each of these three relations is and ought to be: I mean the relation of master and servant, the marriage relation (the conjunction of man and wife has no name of its own), and thirdly, the procreative relation (this also has no proper name). And there is another element of a household, the so-called art of getting wealth, which, according to some, is identical with household management, according to others, a principal part of it; the nature of this art will also have to be considered by us.	POLITICS BOOK ONE
Property is a part of the household, and the art of acquiring property is a part of the art of managing the household; for no man can live well, or indeed live at all, unless he be provided with necessaries. And as in the arts which have a definite sphere the workers must have their own proper instruments for the accomplishment of their work, so it is in the management of a household. Now instruments are of various sorts; some are living, others lifeless; in the rudder, the pilot of a ship has a lifeless, in the look-out man, a living instrument; for in the arts the servant is a kind of instrument. Thus, too, a possession is an instrument for maintaining life. And so, in the arrangement of the family, a slave is a living possession, and property a number of such instruments; and the servant is himself an instrument which takes precedence of all other instruments. For if every instrument could accomplish its own work, obeying or anticipating the will of others, like the statues of Daedalus, or the tripods of Hephaestus, which, says the poet, of their own accord entered the assembly of the Gods; if, in like manner, the shuttle would weave and the plectrum touch the lyre without a hand to guide them, chief workmen would not want servants, nor masters slaves. Here, however, another distinction must be drawn; the instruments commonly so called are instruments of production, whilst a possession is an instrument of action. The shuttle, for example, is not only of use; but something else is made by it, whereas of a garment or of a bed there is only the use. Further, as production and action are different in kind, and both require instruments, the instruments which they employ must likewise differ in kind. But life is action and not production, and therefore the slave is the minister of action. Again, a possession is spoken of as a part is spoken of; for the part is not only a part of something else, but wholly belongs to it; and this is also true of a possession. The master is only the master of the slave; he does not belong to him, whereas the slave is not only the slave of his master, but wholly belongs to him. Hence we see what is the nature and office of a slave; he who is by nature not his own but another's man, is by nature a slave; and he may be said to be another's man who, being a human being, is also a possession. And a possession may be defined as an instrument of action, separable from the possessor.	POLITICS BOOK ONE
Property is a part of the household, and the art of acquiring property is a part of the art of managing the household; for no man can live well, or indeed live at all, unless he be provided with necessaries. And as in the arts which have a definite sphere the workers must have their own proper instruments for the accomplishment of their work, so it is in the management of a household. Now instruments are of various sorts; some are living, others lifeless; in the rudder, the pilot of a ship has a lifeless, in the look-out man, a living instrument; for in the arts the servant is a kind of instrument. Thus, too, a possession is an instrument for maintaining life. And so, in the arrangement of the family, a slave is a living possession, and property a number of such instruments; and the servant is himself an instrument which takes precedence of all other instruments. For if every instrument could accomplish its own work, obeying or anticipating the will of others, like the statues of Daedalus, or the tripods of Hephaestus, which, says the poet, of their own accord entered the assembly of the Gods; if, in like manner, the shuttle would weave and the plectrum touch the lyre without a hand to guide them, chief workmen would not want servants, nor masters slaves. Here, however, another distinction must be drawn; the instruments commonly so called are instruments of production, whilst a possession is an instrument of action. The shuttle, for example, is not only of use; but something else is made by it, whereas of a garment or of a bed there is only the use. Further, as production and action are different in kind, and both require instruments, the instruments which they employ must likewise differ in kind. But life is action and not production, and therefore the slave is the minister of action. Again, a possession is spoken of as a part is spoken of; for the part is not only a part of something else, but wholly belongs to it; and this is also true of a possession. The master is only the master of the slave; he does not belong to him, whereas the slave is not only the slave of his master, but wholly belongs to him. Hence we see what is the nature and office of a slave; he who is by nature not his own but another's man, is by nature a slave; and he may be said to be another's man who, being a human being, is also a possession. And a possession may be defined as an instrument of action, separable from the possessor.	POLITICS BOOK ONE
The previous remarks are quite enough to show that the rule of a master is not a constitutional rule, and that all the different kinds of rule are not, as some affirm, the same with each other. For there is one rule exercised over subjects who are by nature free, another over subjects who are by nature slaves. The rule of a household is a monarchy, for every house is under one head: whereas constitutional rule is a government of freemen and equals. The master is not called a master because he has science, but because he is of a certain character, and the same remark applies to the slave and the freeman. Still there may be a science for the master and science for the slave. The science of the slave would be such as the man of Syracuse taught, who made money by instructing slaves in their ordinary duties. And such a knowledge may be carried further, so as to include cookery and similar menial arts. For some duties are of the more necessary, others of the more honorable sort; as the proverb says, 'slave before slave, master before master.' But all such branches of knowledge are servile. There is likewise a science of the master, which teaches the use of slaves; for the master as such is concerned, not with the acquisition, but with the use of them. Yet this so-called science is not anything great or wonderful; for the master need only know how to order that which the slave must know how to execute. Hence those who are in a position which places them above toil have stewards who attend to their households while they occupy themselves with philosophy or with politics. But the art of acquiring slaves, I mean of justly acquiring them, differs both from the art of the master and the art of the slave, being a species of hunting or war. Enough of the distinction between master and slave.	POLITICS BOOK ONE
The previous remarks are quite enough to show that the rule of a master is not a constitutional rule, and that all the different kinds of rule are not, as some affirm, the same with each other. For there is one rule exercised over subjects who are by nature free, another over subjects who are by nature slaves. The rule of a household is a monarchy, for every house is under one head: whereas constitutional rule is a government of freemen and equals. The master is not called a master because he has science, but because he is of a certain character, and the same remark applies to the slave and the freeman. Still there may be a science for the master and science for the slave. The science of the slave would be such as the man of Syracuse taught, who made money by instructing slaves in their ordinary duties. And such a knowledge may be carried further, so as to include cookery and similar menial arts. For some duties are of the more necessary, others of the more honorable sort; as the proverb says, 'slave before slave, master before master.' But all such branches of knowledge are servile. There is likewise a science of the master, which teaches the use of slaves; for the master as such is concerned, not with the acquisition, but with the use of them. Yet this so-called science is not anything great or wonderful; for the master need only know how to order that which the slave must know how to execute. Hence those who are in a position which places them above toil have stewards who attend to their households while they occupy themselves with philosophy or with politics. But the art of acquiring slaves, I mean of justly acquiring them, differs both from the art of the master and the art of the slave, being a species of hunting or war. Enough of the distinction between master and slave.	POLITICS BOOK ONE
The previous remarks are quite enough to show that the rule of a master is not a constitutional rule, and that all the different kinds of rule are not, as some affirm, the same with each other. For there is one rule exercised over subjects who are by nature free, another over subjects who are by nature slaves. The rule of a household is a monarchy, for every house is under one head: whereas constitutional rule is a government of freemen and equals. The master is not called a master because he has science, but because he is of a certain character, and the same remark applies to the slave and the freeman. Still there may be a science for the master and science for the slave. The science of the slave would be such as the man of Syracuse taught, who made money by instructing slaves in their ordinary duties. And such a knowledge may be carried further, so as to include cookery and similar menial arts. For some duties are of the more necessary, others of the more honorable sort; as the proverb says, 'slave before slave, master before master.' But all such branches of knowledge are servile. There is likewise a science of the master, which teaches the use of slaves; for the master as such is concerned, not with the acquisition, but with the use of them. Yet this so-called science is not anything great or wonderful; for the master need only know how to order that which the slave must know how to execute. Hence those who are in a position which places them above toil have stewards who attend to their households while they occupy themselves with philosophy or with politics. But the art of acquiring slaves, I mean of justly acquiring them, differs both from the art of the master and the art of the slave, being a species of hunting or war. Enough of the distinction between master and slave.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Let us now inquire into property generally, and into the art of getting wealth, in accordance with our usual method, for a slave has been shown to be a part of property. The first question is whether the art of getting wealth is the same with the art of managing a household or a part of it, or instrumental to it; and if the last, whether in the way that the art of making shuttles is instrumental to the art of weaving, or in the way that the casting of bronze is instrumental to the art of the statuary, for they are not instrumental in the same way, but the one provides tools and the other material; and by material I mean the substratum out of which any work is made; thus wool is the material of the weaver, bronze of the statuary. Now it is easy to see that the art of household management is not identical with the art of getting wealth, for the one uses the material which the other provides. For the art which uses household stores can be no other than the art of household management. There is, however, a doubt whether the art of getting wealth is a part of household management or a distinct art. If the getter of wealth has to consider whence wealth and property can be procured, but there are many sorts of property and riches, then are husbandry, and the care and provision of food in general, parts of the wealth-getting art or distinct arts? Again, there are many sorts of food, and therefore there are many kinds of lives both of animals and men; they must all have food, and the differences in their food have made differences in their ways of life. For of beasts, some are gregarious, others are solitary; they live in the way which is best adapted to sustain them, accordingly as they are carnivorous or herbivorous or omnivorous: and their habits are determined for them by nature in such a manner that they may obtain with greater facility the food of their choice. But, as different species have different tastes, the same things are not naturally pleasant to all of them; and therefore the lives of carnivorous or herbivorous animals further differ among themselves. In the lives of men too there is a great difference. The laziest are shepherds, who lead an idle life, and get their subsistence without trouble from tame animals; their flocks having to wander from place to place in search of pasture, they are compelled to follow them, cultivating a sort of living farm. Others support themselves by hunting, which is of different kinds. Some, for example, are brigands, others, who dwell near lakes or marshes or rivers or a sea in which there are fish, are fishermen, and others live by the pursuit of birds or wild beasts. The greater number obtain a living from the cultivated fruits of the soil. Such are the modes of subsistence which prevail among those whose industry springs up of itself, and whose food is not acquired by exchange and retail trade — there is the shepherd, the husbandman, the brigand, the fisherman, the hunter. Some gain a comfortable maintenance out of two employments, eking out the deficiencies of one of them by another: thus the life of a shepherd may be combined with that of a brigand, the life of a farmer with that of a hunter. Other modes of life are similarly combined in any way which the needs of men may require. Property, in the sense of a bare livelihood, seems to be given by nature herself to all, both when they are first born, and when they are grown up. For some animals bring forth, together with their offspring, so much food as will last until they are able to supply themselves; of this the vermiparous or oviparous animals are an instance; and the viviparous animals have up to a certain time a supply of food for their young in themselves, which is called milk. In like manner we may infer that, after the birth of animals, plants exist for their sake, and that the other animals exist for the sake of man, the tame for use and food, the wild, if not all at least the greater part of them, for food, and for the provision of clothing and various instruments. Now if nature makes nothing incomplete, and nothing in vain, the inference must be that she has made all animals for the sake of man. And so, in one point of view, the art of war is a natural art of acquisition, for the art of acquisition includes hunting, an art which we ought to practice against wild beasts, and against men who, though intended by nature to be governed, will not submit; for war of such a kind is naturally just.	POLITICS BOOK ONE
Of the art of acquisition then there is one kind which by nature is a part of the management of a household, in so far as the art of household management must either find ready to hand, or itself provide, such things necessary to life, and useful for the community of the family or state, as can be stored. They are the elements of true riches; for the amount of property which is needed for a good life is not unlimited, although Solon in one of his poems says that: No bound to riches has been fixed for man. But there is a boundary fixed, just as there is in the other arts; for the instruments of any art are never unlimited, either in number or size, and riches may be defined as a number of instruments to be used in a household or in a state. And so we see that there is a natural art of acquisition which is practiced by managers of households and by statesmen, and what is the reason of this.	POLITICS BOOK ONE
Of the art of acquisition then there is one kind which by nature is a part of the management of a household, in so far as the art of household management must either find ready to hand, or itself provide, such things necessary to life, and useful for the community of the family or state, as can be stored. They are the elements of true riches; for the amount of property which is needed for a good life is not unlimited, although Solon in one of his poems says that: No bound to riches has been fixed for man. But there is a boundary fixed, just as there is in the other arts; for the instruments of any art are never unlimited, either in number or size, and riches may be defined as a number of instruments to be used in a household or in a state. And so we see that there is a natural art of acquisition which is practiced by managers of households and by statesmen, and what is the reason of this.	POLITICS BOOK ONE
Of the art of acquisition then there is one kind which by nature is a part of the management of a household, in so far as the art of household management must either find ready to hand, or itself provide, such things necessary to life, and useful for the community of the family or state, as can be stored. They are the elements of true riches; for the amount of property which is needed for a good life is not unlimited, although Solon in one of his poems says that: No bound to riches has been fixed for man. But there is a boundary fixed, just as there is in the other arts; for the instruments of any art are never unlimited, either in number or size, and riches may be defined as a number of instruments to be used in a household or in a state. And so we see that there is a natural art of acquisition which is practiced by managers of households and by statesmen, and what is the reason of this.	POLITICS BOOK ONE
Of the art of acquisition then there is one kind which by nature is a part of the management of a household, in so far as the art of household management must either find ready to hand, or itself provide, such things necessary to life, and useful for the community of the family or state, as can be stored. They are the elements of true riches; for the amount of property which is needed for a good life is not unlimited, although Solon in one of his poems says that: No bound to riches has been fixed for man. But there is a boundary fixed, just as there is in the other arts; for the instruments of any art are never unlimited, either in number or size, and riches may be defined as a number of instruments to be used in a household or in a state. And so we see that there is a natural art of acquisition which is practiced by managers of households and by statesmen, and what is the reason of this.	POLITICS BOOK ONE
There is another variety of the art of acquisition which is commonly and rightly called an art of wealth-getting, and has in fact suggested the notion that riches and property have no limit. Being nearly connected with the preceding, it is often identified with it. But though they are not very different, neither are they the same. The kind already described is given by nature, the other is gained by experience and art.	POLITICS BOOK ONE
There is another variety of the art of acquisition which is commonly and rightly called an art of wealth-getting, and has in fact suggested the notion that riches and property have no limit. Being nearly connected with the preceding, it is often identified with it. But though they are not very different, neither are they the same. The kind already described is given by nature, the other is gained by experience and art.	POLITICS BOOK ONE
There is another variety of the art of acquisition which is commonly and rightly called an art of wealth-getting, and has in fact suggested the notion that riches and property have no limit. Being nearly connected with the preceding, it is often identified with it. But though they are not very different, neither are they the same. The kind already described is given by nature, the other is gained by experience and art.	POLITICS BOOK ONE
Let us begin our discussion of the question with the following considerations: Of everything which we possess there are two uses: both belong to the thing as such, but not in the same manner, for one is the proper, and the other the improper or secondary use of it. For example, a shoe is used for wear, and is used for exchange; both are uses of the shoe. He who gives a shoe in exchange for money or food to him who wants one, does indeed use the shoe as a shoe, but this is not its proper or primary purpose, for a shoe is not made to be an object of barter. The same may be said of all possessions, for the art of exchange extends to all of them, and it arises at first from what is natural, from the circumstance that some have too little, others too much. Hence we may infer that retail trade is not a natural part of the art of getting wealth; had it been so, men would have ceased to exchange when they had enough. In the first community, indeed, which is the family, this art is obviously of no use, but it begins to be useful when the society increases. For the members of the family originally had all things in common; later, when the family divided into parts, the parts shared in many things, and different parts in different things, which they had to give in exchange for what they wanted, a kind of barter which is still practiced among barbarous nations who exchange with one another the necessaries of life and nothing more; giving and receiving wine, for example, in exchange for coin, and the like. This sort of barter is not part of the wealth-getting art and is not contrary to nature, but is needed for the satisfaction of men's natural wants. The other or more complex form of exchange grew, as might have been inferred, out of the simpler. When the inhabitants of one country became more dependent on those of another, and they imported what they needed, and exported what they had too much of, money necessarily came into use. For the various necessaries of life are not easily carried about, and hence men agreed to employ in their dealings with each other something which was intrinsically useful and easily applicable to the purposes of life, for example, iron, silver, and the like. Of this the value was at first measured simply by size and weight, but in process of time they put a stamp upon it, to save the trouble of weighing and to mark the value.	POLITICS BOOK ONE
Let us begin our discussion of the question with the following considerations: Of everything which we possess there are two uses: both belong to the thing as such, but not in the same manner, for one is the proper, and the other the improper or secondary use of it. For example, a shoe is used for wear, and is used for exchange; both are uses of the shoe. He who gives a shoe in exchange for money or food to him who wants one, does indeed use the shoe as a shoe, but this is not its proper or primary purpose, for a shoe is not made to be an object of barter. The same may be said of all possessions, for the art of exchange extends to all of them, and it arises at first from what is natural, from the circumstance that some have too little, others too much. Hence we may infer that retail trade is not a natural part of the art of getting wealth; had it been so, men would have ceased to exchange when they had enough. In the first community, indeed, which is the family, this art is obviously of no use, but it begins to be useful when the society increases. For the members of the family originally had all things in common; later, when the family divided into parts, the parts shared in many things, and different parts in different things, which they had to give in exchange for what they wanted, a kind of barter which is still practiced among barbarous nations who exchange with one another the necessaries of life and nothing more; giving and receiving wine, for example, in exchange for coin, and the like. This sort of barter is not part of the wealth-getting art and is not contrary to nature, but is needed for the satisfaction of men's natural wants. The other or more complex form of exchange grew, as might have been inferred, out of the simpler. When the inhabitants of one country became more dependent on those of another, and they imported what they needed, and exported what they had too much of, money necessarily came into use. For the various necessaries of life are not easily carried about, and hence men agreed to employ in their dealings with each other something which was intrinsically useful and easily applicable to the purposes of life, for example, iron, silver, and the like. Of this the value was at first measured simply by size and weight, but in process of time they put a stamp upon it, to save the trouble of weighing and to mark the value.	POLITICS BOOK ONE
Let us begin our discussion of the question with the following considerations: Of everything which we possess there are two uses: both belong to the thing as such, but not in the same manner, for one is the proper, and the other the improper or secondary use of it. For example, a shoe is used for wear, and is used for exchange; both are uses of the shoe. He who gives a shoe in exchange for money or food to him who wants one, does indeed use the shoe as a shoe, but this is not its proper or primary purpose, for a shoe is not made to be an object of barter. The same may be said of all possessions, for the art of exchange extends to all of them, and it arises at first from what is natural, from the circumstance that some have too little, others too much. Hence we may infer that retail trade is not a natural part of the art of getting wealth; had it been so, men would have ceased to exchange when they had enough. In the first community, indeed, which is the family, this art is obviously of no use, but it begins to be useful when the society increases. For the members of the family originally had all things in common; later, when the family divided into parts, the parts shared in many things, and different parts in different things, which they had to give in exchange for what they wanted, a kind of barter which is still practiced among barbarous nations who exchange with one another the necessaries of life and nothing more; giving and receiving wine, for example, in exchange for coin, and the like. This sort of barter is not part of the wealth-getting art and is not contrary to nature, but is needed for the satisfaction of men's natural wants. The other or more complex form of exchange grew, as might have been inferred, out of the simpler. When the inhabitants of one country became more dependent on those of another, and they imported what they needed, and exported what they had too much of, money necessarily came into use. For the various necessaries of life are not easily carried about, and hence men agreed to employ in their dealings with each other something which was intrinsically useful and easily applicable to the purposes of life, for example, iron, silver, and the like. Of this the value was at first measured simply by size and weight, but in process of time they put a stamp upon it, to save the trouble of weighing and to mark the value.	POLITICS BOOK ONE
Let us begin our discussion of the question with the following considerations: Of everything which we possess there are two uses: both belong to the thing as such, but not in the same manner, for one is the proper, and the other the improper or secondary use of it. For example, a shoe is used for wear, and is used for exchange; both are uses of the shoe. He who gives a shoe in exchange for money or food to him who wants one, does indeed use the shoe as a shoe, but this is not its proper or primary purpose, for a shoe is not made to be an object of barter. The same may be said of all possessions, for the art of exchange extends to all of them, and it arises at first from what is natural, from the circumstance that some have too little, others too much. Hence we may infer that retail trade is not a natural part of the art of getting wealth; had it been so, men would have ceased to exchange when they had enough. In the first community, indeed, which is the family, this art is obviously of no use, but it begins to be useful when the society increases. For the members of the family originally had all things in common; later, when the family divided into parts, the parts shared in many things, and different parts in different things, which they had to give in exchange for what they wanted, a kind of barter which is still practiced among barbarous nations who exchange with one another the necessaries of life and nothing more; giving and receiving wine, for example, in exchange for coin, and the like. This sort of barter is not part of the wealth-getting art and is not contrary to nature, but is needed for the satisfaction of men's natural wants. The other or more complex form of exchange grew, as might have been inferred, out of the simpler. When the inhabitants of one country became more dependent on those of another, and they imported what they needed, and exported what they had too much of, money necessarily came into use. For the various necessaries of life are not easily carried about, and hence men agreed to employ in their dealings with each other something which was intrinsically useful and easily applicable to the purposes of life, for example, iron, silver, and the like. Of this the value was at first measured simply by size and weight, but in process of time they put a stamp upon it, to save the trouble of weighing and to mark the value.	POLITICS BOOK ONE
When the use of coin had once been discovered, out of the barter of necessary articles arose the other art of wealth getting, namely, retail trade; which was at first probably a simple matter, but became more complicated as soon as men learned by experience whence and by what exchanges the greatest profit might be made. Originating in the use of coin, the art of getting wealth is generally thought to be chiefly concerned with it, and to be the art which produces riches and wealth; having to consider how they may be accumulated. Indeed, riches is assumed by many to be only a quantity of coin, because the arts of getting wealth and retail trade are concerned with coin. Others maintain that coined money is a mere sham, a thing not natural, but conventional only, because, if the users substitute another commodity for it, it is worthless, and because it is not useful as a means to any of the necessities of life, and, indeed, he who is rich in coin may often be in want of necessary food. But how can that be wealth of which a man may have a great abundance and yet perish with hunger, like Midas in the fable, whose insatiable prayer turned everything that was set before him into gold?	POLITICS BOOK ONE
When the use of coin had once been discovered, out of the barter of necessary articles arose the other art of wealth getting, namely, retail trade; which was at first probably a simple matter, but became more complicated as soon as men learned by experience whence and by what exchanges the greatest profit might be made. Originating in the use of coin, the art of getting wealth is generally thought to be chiefly concerned with it, and to be the art which produces riches and wealth; having to consider how they may be accumulated. Indeed, riches is assumed by many to be only a quantity of coin, because the arts of getting wealth and retail trade are concerned with coin. Others maintain that coined money is a mere sham, a thing not natural, but conventional only, because, if the users substitute another commodity for it, it is worthless, and because it is not useful as a means to any of the necessities of life, and, indeed, he who is rich in coin may often be in want of necessary food. But how can that be wealth of which a man may have a great abundance and yet perish with hunger, like Midas in the fable, whose insatiable prayer turned everything that was set before him into gold?	POLITICS BOOK ONE
When the use of coin had once been discovered, out of the barter of necessary articles arose the other art of wealth getting, namely, retail trade; which was at first probably a simple matter, but became more complicated as soon as men learned by experience whence and by what exchanges the greatest profit might be made. Originating in the use of coin, the art of getting wealth is generally thought to be chiefly concerned with it, and to be the art which produces riches and wealth; having to consider how they may be accumulated. Indeed, riches is assumed by many to be only a quantity of coin, because the arts of getting wealth and retail trade are concerned with coin. Others maintain that coined money is a mere sham, a thing not natural, but conventional only, because, if the users substitute another commodity for it, it is worthless, and because it is not useful as a means to any of the necessities of life, and, indeed, he who is rich in coin may often be in want of necessary food. But how can that be wealth of which a man may have a great abundance and yet perish with hunger, like Midas in the fable, whose insatiable prayer turned everything that was set before him into gold?	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Hence men seek after a better notion of riches and of the art of getting wealth than the mere acquisition of coin, and they are right. For natural riches and the natural art of wealth-getting are a different thing; in their true form they are part of the management of a household; whereas retail trade is the art of producing wealth, not in every way, but by exchange. And it is thought to be concerned with coin; for coin is the unit of exchange and the measure or limit of it. And there is no bound to the riches which spring from this art of wealth getting. As in the art of medicine there is no limit to the pursuit of health, and as in the other arts there is no limit to the pursuit of their several ends, for they aim at accomplishing their ends to the uttermost (but of the means there is a limit, for the end is always the limit), so, too, in this art of wealth-getting there is no limit of the end, which is riches of the spurious kind, and the acquisition of wealth. But the art of wealth-getting which consists in household management, on the other hand, has a limit; the unlimited acquisition of wealth is not its business. And, therefore, in one point of view, all riches must have a limit; nevertheless, as a matter of fact, we find the opposite to be the case; for all getters of wealth increase their hoard of coin without limit. The source of the confusion is the near connection between the two kinds of wealth-getting; in either, the instrument is the same, although the use is different, and so they pass into one another; for each is a use of the same property, but with a difference: accumulation is the end in the one case, but there is a further end in the other. Hence some persons are led to believe that getting wealth is the object of household management, and the whole idea of their lives is that they ought either to increase their money without limit, or at any rate not to lose it. The origin of this disposition in men is that they are intent upon living only, and not upon living well; and, as their desires are unlimited they also desire that the means of gratifying them should be without limit. Those who do aim at a good life seek the means of obtaining bodily pleasures; and, since the enjoyment of these appears to depend on property, they are absorbed in getting wealth: and so there arises the second species of wealth-getting. For, as their enjoyment is in excess, they seek an art which produces the excess of enjoyment; and, if they are not able to supply their pleasures by the art of getting wealth, they try other arts, using in turn every faculty in a manner contrary to nature. The quality of courage, for example, is not intended to make wealth, but to inspire confidence; neither is this the aim of the general's or of the physician's art; but the one aims at victory and the other at health. Nevertheless, some men turn every quality or art into a means of getting wealth; this they conceive to be the end, and to the promotion of the end they think all things must contribute.	POLITICS BOOK ONE
Thus, then, we have considered the art of wealth-getting which is unnecessary, and why men want it; and also the necessary art of wealth-getting, which we have seen to be different from the other, and to be a natural part of the art of managing a household, concerned with the provision of food, not, however, like the former kind, unlimited, but having a limit.	POLITICS BOOK ONE
Thus, then, we have considered the art of wealth-getting which is unnecessary, and why men want it; and also the necessary art of wealth-getting, which we have seen to be different from the other, and to be a natural part of the art of managing a household, concerned with the provision of food, not, however, like the former kind, unlimited, but having a limit.	POLITICS BOOK ONE
Thus, then, we have considered the art of wealth-getting which is unnecessary, and why men want it; and also the necessary art of wealth-getting, which we have seen to be different from the other, and to be a natural part of the art of managing a household, concerned with the provision of food, not, however, like the former kind, unlimited, but having a limit.	POLITICS BOOK ONE
And we have found the answer to our original question, Whether the art of getting wealth is the business of the manager of a household and of the statesman or not their business? viz., that wealth is presupposed by them. For as political science does not make men, but takes them from nature and uses them, so too nature provides them with earth or sea or the like as a source of food. At this stage begins the duty of the manager of a household, who has to order the things which nature supplies; he may be compared to the weaver who has not to make but to use wool, and to know, too, what sort of wool is good and serviceable or bad and unserviceable. Were this otherwise, it would be difficult to see why the art of getting wealth is a part of the management of a household and the art of medicine not; for surely the members of a household must have health just as they must have life or any other necessary. The answer is that as from one point of view the master of the house and the ruler of the state have to consider about health, from another point of view not they but the physician; so in one way the art of household management, in another way the subordinate art, has to consider about wealth. But, strictly speaking, as I have already said, the means of life must be provided beforehand by nature; for the business of nature is to furnish food to that which is born, and the food of the offspring is always what remains over of that from which it is produced. Wherefore the art of getting wealth out of fruits and animals is always natural.	POLITICS BOOK ONE
And we have found the answer to our original question, Whether the art of getting wealth is the business of the manager of a household and of the statesman or not their business? viz., that wealth is presupposed by them. For as political science does not make men, but takes them from nature and uses them, so too nature provides them with earth or sea or the like as a source of food. At this stage begins the duty of the manager of a household, who has to order the things which nature supplies; he may be compared to the weaver who has not to make but to use wool, and to know, too, what sort of wool is good and serviceable or bad and unserviceable. Were this otherwise, it would be difficult to see why the art of getting wealth is a part of the management of a household and the art of medicine not; for surely the members of a household must have health just as they must have life or any other necessary. The answer is that as from one point of view the master of the house and the ruler of the state have to consider about health, from another point of view not they but the physician; so in one way the art of household management, in another way the subordinate art, has to consider about wealth. But, strictly speaking, as I have already said, the means of life must be provided beforehand by nature; for the business of nature is to furnish food to that which is born, and the food of the offspring is always what remains over of that from which it is produced. Wherefore the art of getting wealth out of fruits and animals is always natural.	POLITICS BOOK ONE
And we have found the answer to our original question, Whether the art of getting wealth is the business of the manager of a household and of the statesman or not their business? viz., that wealth is presupposed by them. For as political science does not make men, but takes them from nature and uses them, so too nature provides them with earth or sea or the like as a source of food. At this stage begins the duty of the manager of a household, who has to order the things which nature supplies; he may be compared to the weaver who has not to make but to use wool, and to know, too, what sort of wool is good and serviceable or bad and unserviceable. Were this otherwise, it would be difficult to see why the art of getting wealth is a part of the management of a household and the art of medicine not; for surely the members of a household must have health just as they must have life or any other necessary. The answer is that as from one point of view the master of the house and the ruler of the state have to consider about health, from another point of view not they but the physician; so in one way the art of household management, in another way the subordinate art, has to consider about wealth. But, strictly speaking, as I have already said, the means of life must be provided beforehand by nature; for the business of nature is to furnish food to that which is born, and the food of the offspring is always what remains over of that from which it is produced. Wherefore the art of getting wealth out of fruits and animals is always natural.	POLITICS BOOK ONE
And we have found the answer to our original question, Whether the art of getting wealth is the business of the manager of a household and of the statesman or not their business? viz., that wealth is presupposed by them. For as political science does not make men, but takes them from nature and uses them, so too nature provides them with earth or sea or the like as a source of food. At this stage begins the duty of the manager of a household, who has to order the things which nature supplies; he may be compared to the weaver who has not to make but to use wool, and to know, too, what sort of wool is good and serviceable or bad and unserviceable. Were this otherwise, it would be difficult to see why the art of getting wealth is a part of the management of a household and the art of medicine not; for surely the members of a household must have health just as they must have life or any other necessary. The answer is that as from one point of view the master of the house and the ruler of the state have to consider about health, from another point of view not they but the physician; so in one way the art of household management, in another way the subordinate art, has to consider about wealth. But, strictly speaking, as I have already said, the means of life must be provided beforehand by nature; for the business of nature is to furnish food to that which is born, and the food of the offspring is always what remains over of that from which it is produced. Wherefore the art of getting wealth out of fruits and animals is always natural.	POLITICS BOOK ONE
And we have found the answer to our original question, Whether the art of getting wealth is the business of the manager of a household and of the statesman or not their business? viz., that wealth is presupposed by them. For as political science does not make men, but takes them from nature and uses them, so too nature provides them with earth or sea or the like as a source of food. At this stage begins the duty of the manager of a household, who has to order the things which nature supplies; he may be compared to the weaver who has not to make but to use wool, and to know, too, what sort of wool is good and serviceable or bad and unserviceable. Were this otherwise, it would be difficult to see why the art of getting wealth is a part of the management of a household and the art of medicine not; for surely the members of a household must have health just as they must have life or any other necessary. The answer is that as from one point of view the master of the house and the ruler of the state have to consider about health, from another point of view not they but the physician; so in one way the art of household management, in another way the subordinate art, has to consider about wealth. But, strictly speaking, as I have already said, the means of life must be provided beforehand by nature; for the business of nature is to furnish food to that which is born, and the food of the offspring is always what remains over of that from which it is produced. Wherefore the art of getting wealth out of fruits and animals is always natural.	POLITICS BOOK ONE
And we have found the answer to our original question, Whether the art of getting wealth is the business of the manager of a household and of the statesman or not their business? viz., that wealth is presupposed by them. For as political science does not make men, but takes them from nature and uses them, so too nature provides them with earth or sea or the like as a source of food. At this stage begins the duty of the manager of a household, who has to order the things which nature supplies; he may be compared to the weaver who has not to make but to use wool, and to know, too, what sort of wool is good and serviceable or bad and unserviceable. Were this otherwise, it would be difficult to see why the art of getting wealth is a part of the management of a household and the art of medicine not; for surely the members of a household must have health just as they must have life or any other necessary. The answer is that as from one point of view the master of the house and the ruler of the state have to consider about health, from another point of view not they but the physician; so in one way the art of household management, in another way the subordinate art, has to consider about wealth. But, strictly speaking, as I have already said, the means of life must be provided beforehand by nature; for the business of nature is to furnish food to that which is born, and the food of the offspring is always what remains over of that from which it is produced. Wherefore the art of getting wealth out of fruits and animals is always natural.	POLITICS BOOK ONE
Enough has been said about the theory of wealth-getting; we will now proceed to the practical part. The discussion of such matters is not unworthy of philosophy, but to be engaged in them practically is illiberal and irksome. The useful parts of wealth-getting are, first, the knowledge of livestock — which are most profitable, and where, and how — as, for example, what sort of horses or sheep or oxen or any other animals are most likely to give a return. A man ought to know which of these pay better than others, and which pay best in particular places, for some do better in one place and some in another. Secondly, husbandry, which may be either tillage or planting, and the keeping of bees and of fish, or fowl, or of any animals which may be useful to man. These are the divisions of the true or proper art of wealth-getting and come first. Of the other, which consists in exchange, the first and most important division is commerce (of which there are three kinds — the provision of a ship, the conveyance of goods, exposure for sale — these again differing as they are safer or more profitable), the second is usury, the third, service for hire — of this, one kind is employed in the mechanical arts, the other in unskilled and bodily labor. There is still a third sort of wealth getting intermediate between this and the first or natural mode which is partly natural, but is also concerned with exchange, viz., the industries that make their profit from the earth, and from things growing from the earth which, although they bear no fruit, are nevertheless profitable; for example, the cutting of timber and all mining. The art of mining, by which minerals are obtained, itself has many branches, for there are various kinds of things dug out of the earth. Of the several divisions of wealth-getting I now speak generally; a minute consideration of them might be useful in practice, but it would be tiresome to dwell upon them at greater length now.	POLITICS BOOK ONE
Enough has been said about the theory of wealth-getting; we will now proceed to the practical part. The discussion of such matters is not unworthy of philosophy, but to be engaged in them practically is illiberal and irksome. The useful parts of wealth-getting are, first, the knowledge of livestock — which are most profitable, and where, and how — as, for example, what sort of horses or sheep or oxen or any other animals are most likely to give a return. A man ought to know which of these pay better than others, and which pay best in particular places, for some do better in one place and some in another. Secondly, husbandry, which may be either tillage or planting, and the keeping of bees and of fish, or fowl, or of any animals which may be useful to man. These are the divisions of the true or proper art of wealth-getting and come first. Of the other, which consists in exchange, the first and most important division is commerce (of which there are three kinds — the provision of a ship, the conveyance of goods, exposure for sale — these again differing as they are safer or more profitable), the second is usury, the third, service for hire — of this, one kind is employed in the mechanical arts, the other in unskilled and bodily labor. There is still a third sort of wealth getting intermediate between this and the first or natural mode which is partly natural, but is also concerned with exchange, viz., the industries that make their profit from the earth, and from things growing from the earth which, although they bear no fruit, are nevertheless profitable; for example, the cutting of timber and all mining. The art of mining, by which minerals are obtained, itself has many branches, for there are various kinds of things dug out of the earth. Of the several divisions of wealth-getting I now speak generally; a minute consideration of them might be useful in practice, but it would be tiresome to dwell upon them at greater length now.	POLITICS BOOK ONE
Works have been written upon these subjects by various persons; for example, by Chares the Parian, and Apollodorus the Lemnian, who have treated of Tillage and Planting, while others have treated of other branches; any one who cares for such matters may refer to their writings. It would be well also to collect the scattered stories of the ways in which individuals have succeeded in amassing a fortune; for all this is useful to persons who value the art of getting wealth. There is the anecdote of Thales the Milesian and his financial device, which involves a principle of universal application, but is attributed to him on account of his reputation for wisdom. He was reproached for his poverty, which was supposed to show that philosophy was of no use. According to the story, he knew by his skill in the stars while it was yet winter that there would be a great harvest of olives in the coming year; so, having a little money, he gave deposits for the use of all the olive-presses in Chios and Miletus, which he hired at a low price because no one bid against him. When the harvest-time came, and many were wanted all at once and of a sudden, he let them out at any rate which he pleased, and made a quantity of money. Thus he showed the world that philosophers can easily be rich if they like, but that their ambition is of another sort. He is supposed to have given a striking proof of his wisdom, but, as I was saying, his device for getting wealth is of universal application, and is nothing but the creation of a monopoly. It is an art often practiced by cities when they are want of money; they make a monopoly of provisions.	POLITICS BOOK ONE
Works have been written upon these subjects by various persons; for example, by Chares the Parian, and Apollodorus the Lemnian, who have treated of Tillage and Planting, while others have treated of other branches; any one who cares for such matters may refer to their writings. It would be well also to collect the scattered stories of the ways in which individuals have succeeded in amassing a fortune; for all this is useful to persons who value the art of getting wealth. There is the anecdote of Thales the Milesian and his financial device, which involves a principle of universal application, but is attributed to him on account of his reputation for wisdom. He was reproached for his poverty, which was supposed to show that philosophy was of no use. According to the story, he knew by his skill in the stars while it was yet winter that there would be a great harvest of olives in the coming year; so, having a little money, he gave deposits for the use of all the olive-presses in Chios and Miletus, which he hired at a low price because no one bid against him. When the harvest-time came, and many were wanted all at once and of a sudden, he let them out at any rate which he pleased, and made a quantity of money. Thus he showed the world that philosophers can easily be rich if they like, but that their ambition is of another sort. He is supposed to have given a striking proof of his wisdom, but, as I was saying, his device for getting wealth is of universal application, and is nothing but the creation of a monopoly. It is an art often practiced by cities when they are want of money; they make a monopoly of provisions.	POLITICS BOOK ONE
Thus it is clear that household management attends more to men than to the acquisition of inanimate things, and to human excellence more than to the excellence of property which we call wealth, and to the virtue of freemen more than to the virtue of slaves. A question may indeed be raised, whether there is any excellence at all in a slave beyond and higher than merely instrumental and ministerial qualities — whether he can have the virtues of temperance, courage, justice, and the like; or whether slaves possess only bodily and ministerial qualities. And, whichever way we answer the question, a difficulty arises; for, if they have virtue, in what will they differ from freemen? On the other hand, since they are men and share in rational principle, it seems absurd to say that they have no virtue. A similar question may be raised about women and children, whether they too have virtues: ought a woman to be temperate and brave and just, and is a child to be called temperate, and intemperate, or note So in general we may ask about the natural ruler, and the natural subject, whether they have the same or different virtues. For if a noble nature is equally required in both, why should one of them always rule, and the other always be ruled? Nor can we say that this is a question of degree, for the difference between ruler and subject is a difference of kind, which the difference of more and less never is. Yet how strange is the supposition that the one ought, and that the other ought not, to have virtue! For if the ruler is intemperate and unjust, how can he rule well? If the subject, how can he obey well? If he be licentious and cowardly, he will certainly not do his duty. It is evident, therefore, that both of them must have a share of virtue, but varying as natural subjects also vary among themselves. Here the very constitution of the soul has shown us the way; in it one part naturally rules, and the other is subject, and the virtue of the ruler we in maintain to be different from that of the subject; the one being the virtue of the rational, and the other of the irrational part. Now, it is obvious that the same principle applies generally, and therefore almost all things rule and are ruled according to nature. But the kind of rule differs; the freeman rules over the slave after another manner from that in which the male rules over the female, or the man over the child; although the parts of the soul are present in an of them, they are present in different degrees. For the slave has no deliberative faculty at all; the woman has, but it is without authority, and the child has, but it is immature. So it must necessarily be supposed to be with the moral virtues also; all should partake of them, but only in such manner and degree as is required by each for the fulfillment of his duty. Hence the ruler ought to have moral virtue in perfection, for his function, taken absolutely, demands a master artificer, and rational principle is such an artificer; the subjects, oil the other hand, require only that measure of virtue which is proper to each of them. Clearly, then, moral virtue belongs to all of them; but the temperance of a man and of a woman, or the courage and justice of a man and of a woman, are not, as Socrates maintained, the same; the courage of a man is shown in commanding, of a woman in obeying. And this holds of all other virtues, as will be more clearly seen if we look at them in detail, for those who say generally that virtue consists in a good disposition of the soul, or in doing rightly, or the like, only deceive themselves. Far better than such definitions is their mode of speaking, who, like Gorgias, enumerate the virtues. All classes must be deemed to have their special attributes; as the poet says of women, / Silence is a woman's glory, // but this is not equally the glory of man. The child is imperfect, and therefore obviously his virtue is not relative to himself alone, but to the perfect man and to his teacher, and in like manner the virtue of the slave is relative to a master. Now we determined that a slave is useful for the wants of life, and therefore he will obviously require only so much virtue as will prevent him from failing in his duty through cowardice or lack of self-control. Some one will ask whether, if what we are saying is true, virtue will not be required also in the artisans, for they often fail in their work through the lack of self control? But is there not a great difference in the two cases? For the slave shares in his master's life; the artisan is less closely connected with him, and only attains excellence in proportion as he becomes a slave. The meaner sort of mechanic has a special and separate slavery; and whereas the slave exists by nature, not so the shoemaker or other artisan. It is manifest, then, that the master ought to be the source of such excellence in the slave, and not a mere possessor of the art of mastership which trains the slave in his duties. Wherefore they are mistaken who forbid us to converse with slaves and say that we should employ command only, for slaves stand even more in need of admonition than children.	POLITICS BOOK ONE
Hippodamus, the son of Euryphon, a native of Miletus, the same who invented the art of planning cities, and who also laid out the Piraeus — a strange man, whose fondness for distinction led him into a general eccentricity of life, which made some think him affected (for he would wear flowing hair and expensive ornaments; but these were worn on a cheap but warm garment both in winter and summer); he, besides aspiring to be an adept in the knowledge of nature, was the first person not a statesman who made inquiries about the best form of government.	POLITICS BOOK II
To honor those who discover anything which is useful to the state is a proposal which has a specious sound, but cannot safely be enacted by law, for it may encourage informers, and perhaps even lead to political commotions. This question involves another. It has been doubted whether it is or is not expedient to make any changes in the laws of a country, even if another law be better. Now, if an changes are inexpedient, we can hardly assent to the proposal of Hippodamus; for, under pretense of doing a public service, a man may introduce measures which are really destructive to the laws or to the constitution. But, since we have touched upon this subject, perhaps we had better go a little into detail, for, as I was saying, there is a difference of opinion, and it may sometimes seem desirable to make changes. Such changes in the other arts and sciences have certainly been beneficial; medicine, for example, and gymnastic, and every other art and craft have departed from traditional usage. And, if politics be an art, change must be necessary in this as in any other art. That improvement has occurred is shown by the fact that old customs are exceedingly simple and barbarous. For the ancient Hellenes went about armed and bought their brides of each other. The remains of ancient laws which have come down to us are quite absurd; for example, at Cumae there is a law about murder, to the effect that if the accuser produce a certain number of witnesses from among his own kinsmen, the accused shall be held guilty. Again, men in general desire the good, and not merely what their fathers had. But the primeval inhabitants, whether they were born of the earth or were the survivors of some destruction, may be supposed to have been no better than ordinary or even foolish people among ourselves (such is certainly the tradition concerning the earth-born men); and it would be ridiculous to rest contented with their notions. Even when laws have been written down, they ought not always to remain unaltered. As in other sciences, so in politics, it is impossible that all things should be precisely set down in writing; for enactments must be universal, but actions are concerned with particulars. Hence we infer that sometimes and in certain cases laws may be changed; but when we look at the matter from another point of view, great caution would seem to be required. For the habit of lightly changing the laws is an evil, and, when the advantage is small, some errors both of lawgivers and rulers had better be left; the citizen will not gain so much by making the change as he will lose by the habit of disobedience. The analogy of the arts is false; a change in a law is a very different thing from a change in an art. For the law has no power to command obedience except that of habit, which can only be given by time, so that a readiness to change from old to new laws enfeebles the power of the law. Even if we admit that the laws are to be changed, are they all to be changed, and in every state? And are they to be changed by anybody who likes, or only by certain persons? These are very important questions; and therefore we had better reserve the discussion of them to a more suitable occasion.	POLITICS BOOK II
To honor those who discover anything which is useful to the state is a proposal which has a specious sound, but cannot safely be enacted by law, for it may encourage informers, and perhaps even lead to political commotions. This question involves another. It has been doubted whether it is or is not expedient to make any changes in the laws of a country, even if another law be better. Now, if an changes are inexpedient, we can hardly assent to the proposal of Hippodamus; for, under pretense of doing a public service, a man may introduce measures which are really destructive to the laws or to the constitution. But, since we have touched upon this subject, perhaps we had better go a little into detail, for, as I was saying, there is a difference of opinion, and it may sometimes seem desirable to make changes. Such changes in the other arts and sciences have certainly been beneficial; medicine, for example, and gymnastic, and every other art and craft have departed from traditional usage. And, if politics be an art, change must be necessary in this as in any other art. That improvement has occurred is shown by the fact that old customs are exceedingly simple and barbarous. For the ancient Hellenes went about armed and bought their brides of each other. The remains of ancient laws which have come down to us are quite absurd; for example, at Cumae there is a law about murder, to the effect that if the accuser produce a certain number of witnesses from among his own kinsmen, the accused shall be held guilty. Again, men in general desire the good, and not merely what their fathers had. But the primeval inhabitants, whether they were born of the earth or were the survivors of some destruction, may be supposed to have been no better than ordinary or even foolish people among ourselves (such is certainly the tradition concerning the earth-born men); and it would be ridiculous to rest contented with their notions. Even when laws have been written down, they ought not always to remain unaltered. As in other sciences, so in politics, it is impossible that all things should be precisely set down in writing; for enactments must be universal, but actions are concerned with particulars. Hence we infer that sometimes and in certain cases laws may be changed; but when we look at the matter from another point of view, great caution would seem to be required. For the habit of lightly changing the laws is an evil, and, when the advantage is small, some errors both of lawgivers and rulers had better be left; the citizen will not gain so much by making the change as he will lose by the habit of disobedience. The analogy of the arts is false; a change in a law is a very different thing from a change in an art. For the law has no power to command obedience except that of habit, which can only be given by time, so that a readiness to change from old to new laws enfeebles the power of the law. Even if we admit that the laws are to be changed, are they all to be changed, and in every state? And are they to be changed by anybody who likes, or only by certain persons? These are very important questions; and therefore we had better reserve the discussion of them to a more suitable occasion.	POLITICS BOOK II
To honor those who discover anything which is useful to the state is a proposal which has a specious sound, but cannot safely be enacted by law, for it may encourage informers, and perhaps even lead to political commotions. This question involves another. It has been doubted whether it is or is not expedient to make any changes in the laws of a country, even if another law be better. Now, if an changes are inexpedient, we can hardly assent to the proposal of Hippodamus; for, under pretense of doing a public service, a man may introduce measures which are really destructive to the laws or to the constitution. But, since we have touched upon this subject, perhaps we had better go a little into detail, for, as I was saying, there is a difference of opinion, and it may sometimes seem desirable to make changes. Such changes in the other arts and sciences have certainly been beneficial; medicine, for example, and gymnastic, and every other art and craft have departed from traditional usage. And, if politics be an art, change must be necessary in this as in any other art. That improvement has occurred is shown by the fact that old customs are exceedingly simple and barbarous. For the ancient Hellenes went about armed and bought their brides of each other. The remains of ancient laws which have come down to us are quite absurd; for example, at Cumae there is a law about murder, to the effect that if the accuser produce a certain number of witnesses from among his own kinsmen, the accused shall be held guilty. Again, men in general desire the good, and not merely what their fathers had. But the primeval inhabitants, whether they were born of the earth or were the survivors of some destruction, may be supposed to have been no better than ordinary or even foolish people among ourselves (such is certainly the tradition concerning the earth-born men); and it would be ridiculous to rest contented with their notions. Even when laws have been written down, they ought not always to remain unaltered. As in other sciences, so in politics, it is impossible that all things should be precisely set down in writing; for enactments must be universal, but actions are concerned with particulars. Hence we infer that sometimes and in certain cases laws may be changed; but when we look at the matter from another point of view, great caution would seem to be required. For the habit of lightly changing the laws is an evil, and, when the advantage is small, some errors both of lawgivers and rulers had better be left; the citizen will not gain so much by making the change as he will lose by the habit of disobedience. The analogy of the arts is false; a change in a law is a very different thing from a change in an art. For the law has no power to command obedience except that of habit, which can only be given by time, so that a readiness to change from old to new laws enfeebles the power of the law. Even if we admit that the laws are to be changed, are they all to be changed, and in every state? And are they to be changed by anybody who likes, or only by certain persons? These are very important questions; and therefore we had better reserve the discussion of them to a more suitable occasion.	POLITICS BOOK II
To honor those who discover anything which is useful to the state is a proposal which has a specious sound, but cannot safely be enacted by law, for it may encourage informers, and perhaps even lead to political commotions. This question involves another. It has been doubted whether it is or is not expedient to make any changes in the laws of a country, even if another law be better. Now, if an changes are inexpedient, we can hardly assent to the proposal of Hippodamus; for, under pretense of doing a public service, a man may introduce measures which are really destructive to the laws or to the constitution. But, since we have touched upon this subject, perhaps we had better go a little into detail, for, as I was saying, there is a difference of opinion, and it may sometimes seem desirable to make changes. Such changes in the other arts and sciences have certainly been beneficial; medicine, for example, and gymnastic, and every other art and craft have departed from traditional usage. And, if politics be an art, change must be necessary in this as in any other art. That improvement has occurred is shown by the fact that old customs are exceedingly simple and barbarous. For the ancient Hellenes went about armed and bought their brides of each other. The remains of ancient laws which have come down to us are quite absurd; for example, at Cumae there is a law about murder, to the effect that if the accuser produce a certain number of witnesses from among his own kinsmen, the accused shall be held guilty. Again, men in general desire the good, and not merely what their fathers had. But the primeval inhabitants, whether they were born of the earth or were the survivors of some destruction, may be supposed to have been no better than ordinary or even foolish people among ourselves (such is certainly the tradition concerning the earth-born men); and it would be ridiculous to rest contented with their notions. Even when laws have been written down, they ought not always to remain unaltered. As in other sciences, so in politics, it is impossible that all things should be precisely set down in writing; for enactments must be universal, but actions are concerned with particulars. Hence we infer that sometimes and in certain cases laws may be changed; but when we look at the matter from another point of view, great caution would seem to be required. For the habit of lightly changing the laws is an evil, and, when the advantage is small, some errors both of lawgivers and rulers had better be left; the citizen will not gain so much by making the change as he will lose by the habit of disobedience. The analogy of the arts is false; a change in a law is a very different thing from a change in an art. For the law has no power to command obedience except that of habit, which can only be given by time, so that a readiness to change from old to new laws enfeebles the power of the law. Even if we admit that the laws are to be changed, are they all to be changed, and in every state? And are they to be changed by anybody who likes, or only by certain persons? These are very important questions; and therefore we had better reserve the discussion of them to a more suitable occasion.	POLITICS BOOK II
Mere legislators were Zaleucus, who gave laws to the Epizephyrian Locrians, and Charondas, who legislated for his own city of Catana, and for the other Chalcidian cities in Italy and Sicily. Some people attempt to make out that Onomacritus was the first person who had any special skill in legislation, and that he, although a Locrian by birth, was trained in Crete, where he lived in the exercise of his prophetic art; that Thales was his companion, and that Lycurgus and Zaleucus were disciples of Thales, as Charondas was of Zaleucus. But their account is quite inconsistent with chronology.	POLITICS BOOK II
Most of these questions may be reserved for another occasion. The principle that the multitude ought to be supreme rather than the few best is one that is maintained, and, though not free from difficulty, yet seems to contain an element of truth. For the many, of whom each individual is but an ordinary person, when they meet together may very likely be better than the few good, if regarded not individually but collectively, just as a feast to which many contribute is better than a dinner provided out of a single purse. For each individual among the many has a share of virtue and prudence, and when they meet together, they become in a manner one man, who has many feet, and hands, and senses; that is a figure of their mind and disposition. Hence the many are better judges than a single man of music and poetry; for some understand one part, and some another, and among them they understand the whole. There is a similar combination of qualities in good men, who differ from any individual of the many, as the beautiful are said to differ from those who are not beautiful, and works of art from realities, because in them the scattered elements are combined, although, if taken separately, the eye of one person or some other feature in another person would be fairer than in the picture. Whether this principle can apply to every democracy, and to all bodies of men, is not clear. Or rather, by heaven, in some cases it is impossible of application; for the argument would equally hold about brutes; and wherein, it will be asked, do some men differ from brutes? But there may be bodies of men about whom our statement is nevertheless true. And if so, the difficulty which has been already raised, and also another which is akin to it — viz., what power should be assigned to the mass of freemen and citizens, who are not rich and have no personal merit — are both solved. There is still a danger in aflowing them to share the great offices of state, for their folly will lead them into error, and their dishonesty into crime. But there is a danger also in not letting them share, for a state in which many poor men are excluded from office will necessarily be full of enemies. The only way of escape is to assign to them some deliberative and judicial functions. For this reason Solon and certain other legislators give them the power of electing to offices, and of calling the magistrates to account, but they do not allow them to hold office singly. When they meet together their perceptions are quite good enough, and combined with the better class they are useful to the state (just as impure food when mixed with what is pure sometimes makes the entire mass more wholesome than a small quantity of the pure would be), but each individual, left to himself, forms an imperfect judgment. On the other hand, the popular form of government involves certain difficulties. In the first place, it might be objected that he who can judge of the healing of a sick man would be one who could himself heal his disease, and make him whole — that is, in other words, the physician; and so in all professions and arts. As, then, the physician ought to be called to account by physicians, so ought men in general to be called to account by their peers. But physicians are of three kinds: there is the ordinary practitioner, and there is the physician of the higher class, and thirdly the intelligent man who has studied the art: in all arts there is such a class; and we attribute the power of judging to them quite as much as to professors of the art. Secondly, does not the same principle apply to elections? For a right election can only be made by those who have knowledge; those who know geometry, for example, will choose a geometrician rightly, and those who know how to steer, a pilot; and, even if there be some occupations and arts in which private persons share in the ability to choose, they certainly cannot choose better than those who know. So that, according to this argument, neither the election of magistrates, nor the calling of them to account, should be entrusted to the many. Yet possibly these objections are to a great extent met by our old answer, that if the people are not utterly degraded, although individually they may be worse judges than those who have special knowledge — as a body they are as good or better. Moreover, there are some arts whose products are not judged of solely, or best, by the artists themselves, namely those arts whose products are recognized even by those who do not possess the art; for example, the knowledge of the house is not limited to the builder only; the user, or, in other words, the master, of the house will be even a better judge than the builder, just as the pilot will judge better of a rudder than the carpenter, and the guest will judge better of a feast than the cook.	POLITICS BOOK II
Most of these questions may be reserved for another occasion. The principle that the multitude ought to be supreme rather than the few best is one that is maintained, and, though not free from difficulty, yet seems to contain an element of truth. For the many, of whom each individual is but an ordinary person, when they meet together may very likely be better than the few good, if regarded not individually but collectively, just as a feast to which many contribute is better than a dinner provided out of a single purse. For each individual among the many has a share of virtue and prudence, and when they meet together, they become in a manner one man, who has many feet, and hands, and senses; that is a figure of their mind and disposition. Hence the many are better judges than a single man of music and poetry; for some understand one part, and some another, and among them they understand the whole. There is a similar combination of qualities in good men, who differ from any individual of the many, as the beautiful are said to differ from those who are not beautiful, and works of art from realities, because in them the scattered elements are combined, although, if taken separately, the eye of one person or some other feature in another person would be fairer than in the picture. Whether this principle can apply to every democracy, and to all bodies of men, is not clear. Or rather, by heaven, in some cases it is impossible of application; for the argument would equally hold about brutes; and wherein, it will be asked, do some men differ from brutes? But there may be bodies of men about whom our statement is nevertheless true. And if so, the difficulty which has been already raised, and also another which is akin to it — viz., what power should be assigned to the mass of freemen and citizens, who are not rich and have no personal merit — are both solved. There is still a danger in aflowing them to share the great offices of state, for their folly will lead them into error, and their dishonesty into crime. But there is a danger also in not letting them share, for a state in which many poor men are excluded from office will necessarily be full of enemies. The only way of escape is to assign to them some deliberative and judicial functions. For this reason Solon and certain other legislators give them the power of electing to offices, and of calling the magistrates to account, but they do not allow them to hold office singly. When they meet together their perceptions are quite good enough, and combined with the better class they are useful to the state (just as impure food when mixed with what is pure sometimes makes the entire mass more wholesome than a small quantity of the pure would be), but each individual, left to himself, forms an imperfect judgment. On the other hand, the popular form of government involves certain difficulties. In the first place, it might be objected that he who can judge of the healing of a sick man would be one who could himself heal his disease, and make him whole — that is, in other words, the physician; and so in all professions and arts. As, then, the physician ought to be called to account by physicians, so ought men in general to be called to account by their peers. But physicians are of three kinds: there is the ordinary practitioner, and there is the physician of the higher class, and thirdly the intelligent man who has studied the art: in all arts there is such a class; and we attribute the power of judging to them quite as much as to professors of the art. Secondly, does not the same principle apply to elections? For a right election can only be made by those who have knowledge; those who know geometry, for example, will choose a geometrician rightly, and those who know how to steer, a pilot; and, even if there be some occupations and arts in which private persons share in the ability to choose, they certainly cannot choose better than those who know. So that, according to this argument, neither the election of magistrates, nor the calling of them to account, should be entrusted to the many. Yet possibly these objections are to a great extent met by our old answer, that if the people are not utterly degraded, although individually they may be worse judges than those who have special knowledge — as a body they are as good or better. Moreover, there are some arts whose products are not judged of solely, or best, by the artists themselves, namely those arts whose products are recognized even by those who do not possess the art; for example, the knowledge of the house is not limited to the builder only; the user, or, in other words, the master, of the house will be even a better judge than the builder, just as the pilot will judge better of a rudder than the carpenter, and the guest will judge better of a feast than the cook.	POLITICS BOOK II
Most of these questions may be reserved for another occasion. The principle that the multitude ought to be supreme rather than the few best is one that is maintained, and, though not free from difficulty, yet seems to contain an element of truth. For the many, of whom each individual is but an ordinary person, when they meet together may very likely be better than the few good, if regarded not individually but collectively, just as a feast to which many contribute is better than a dinner provided out of a single purse. For each individual among the many has a share of virtue and prudence, and when they meet together, they become in a manner one man, who has many feet, and hands, and senses; that is a figure of their mind and disposition. Hence the many are better judges than a single man of music and poetry; for some understand one part, and some another, and among them they understand the whole. There is a similar combination of qualities in good men, who differ from any individual of the many, as the beautiful are said to differ from those who are not beautiful, and works of art from realities, because in them the scattered elements are combined, although, if taken separately, the eye of one person or some other feature in another person would be fairer than in the picture. Whether this principle can apply to every democracy, and to all bodies of men, is not clear. Or rather, by heaven, in some cases it is impossible of application; for the argument would equally hold about brutes; and wherein, it will be asked, do some men differ from brutes? But there may be bodies of men about whom our statement is nevertheless true. And if so, the difficulty which has been already raised, and also another which is akin to it — viz., what power should be assigned to the mass of freemen and citizens, who are not rich and have no personal merit — are both solved. There is still a danger in aflowing them to share the great offices of state, for their folly will lead them into error, and their dishonesty into crime. But there is a danger also in not letting them share, for a state in which many poor men are excluded from office will necessarily be full of enemies. The only way of escape is to assign to them some deliberative and judicial functions. For this reason Solon and certain other legislators give them the power of electing to offices, and of calling the magistrates to account, but they do not allow them to hold office singly. When they meet together their perceptions are quite good enough, and combined with the better class they are useful to the state (just as impure food when mixed with what is pure sometimes makes the entire mass more wholesome than a small quantity of the pure would be), but each individual, left to himself, forms an imperfect judgment. On the other hand, the popular form of government involves certain difficulties. In the first place, it might be objected that he who can judge of the healing of a sick man would be one who could himself heal his disease, and make him whole — that is, in other words, the physician; and so in all professions and arts. As, then, the physician ought to be called to account by physicians, so ought men in general to be called to account by their peers. But physicians are of three kinds: there is the ordinary practitioner, and there is the physician of the higher class, and thirdly the intelligent man who has studied the art: in all arts there is such a class; and we attribute the power of judging to them quite as much as to professors of the art. Secondly, does not the same principle apply to elections? For a right election can only be made by those who have knowledge; those who know geometry, for example, will choose a geometrician rightly, and those who know how to steer, a pilot; and, even if there be some occupations and arts in which private persons share in the ability to choose, they certainly cannot choose better than those who know. So that, according to this argument, neither the election of magistrates, nor the calling of them to account, should be entrusted to the many. Yet possibly these objections are to a great extent met by our old answer, that if the people are not utterly degraded, although individually they may be worse judges than those who have special knowledge — as a body they are as good or better. Moreover, there are some arts whose products are not judged of solely, or best, by the artists themselves, namely those arts whose products are recognized even by those who do not possess the art; for example, the knowledge of the house is not limited to the builder only; the user, or, in other words, the master, of the house will be even a better judge than the builder, just as the pilot will judge better of a rudder than the carpenter, and the guest will judge better of a feast than the cook.	POLITICS BOOK II
Most of these questions may be reserved for another occasion. The principle that the multitude ought to be supreme rather than the few best is one that is maintained, and, though not free from difficulty, yet seems to contain an element of truth. For the many, of whom each individual is but an ordinary person, when they meet together may very likely be better than the few good, if regarded not individually but collectively, just as a feast to which many contribute is better than a dinner provided out of a single purse. For each individual among the many has a share of virtue and prudence, and when they meet together, they become in a manner one man, who has many feet, and hands, and senses; that is a figure of their mind and disposition. Hence the many are better judges than a single man of music and poetry; for some understand one part, and some another, and among them they understand the whole. There is a similar combination of qualities in good men, who differ from any individual of the many, as the beautiful are said to differ from those who are not beautiful, and works of art from realities, because in them the scattered elements are combined, although, if taken separately, the eye of one person or some other feature in another person would be fairer than in the picture. Whether this principle can apply to every democracy, and to all bodies of men, is not clear. Or rather, by heaven, in some cases it is impossible of application; for the argument would equally hold about brutes; and wherein, it will be asked, do some men differ from brutes? But there may be bodies of men about whom our statement is nevertheless true. And if so, the difficulty which has been already raised, and also another which is akin to it — viz., what power should be assigned to the mass of freemen and citizens, who are not rich and have no personal merit — are both solved. There is still a danger in aflowing them to share the great offices of state, for their folly will lead them into error, and their dishonesty into crime. But there is a danger also in not letting them share, for a state in which many poor men are excluded from office will necessarily be full of enemies. The only way of escape is to assign to them some deliberative and judicial functions. For this reason Solon and certain other legislators give them the power of electing to offices, and of calling the magistrates to account, but they do not allow them to hold office singly. When they meet together their perceptions are quite good enough, and combined with the better class they are useful to the state (just as impure food when mixed with what is pure sometimes makes the entire mass more wholesome than a small quantity of the pure would be), but each individual, left to himself, forms an imperfect judgment. On the other hand, the popular form of government involves certain difficulties. In the first place, it might be objected that he who can judge of the healing of a sick man would be one who could himself heal his disease, and make him whole — that is, in other words, the physician; and so in all professions and arts. As, then, the physician ought to be called to account by physicians, so ought men in general to be called to account by their peers. But physicians are of three kinds: there is the ordinary practitioner, and there is the physician of the higher class, and thirdly the intelligent man who has studied the art: in all arts there is such a class; and we attribute the power of judging to them quite as much as to professors of the art. Secondly, does not the same principle apply to elections? For a right election can only be made by those who have knowledge; those who know geometry, for example, will choose a geometrician rightly, and those who know how to steer, a pilot; and, even if there be some occupations and arts in which private persons share in the ability to choose, they certainly cannot choose better than those who know. So that, according to this argument, neither the election of magistrates, nor the calling of them to account, should be entrusted to the many. Yet possibly these objections are to a great extent met by our old answer, that if the people are not utterly degraded, although individually they may be worse judges than those who have special knowledge — as a body they are as good or better. Moreover, there are some arts whose products are not judged of solely, or best, by the artists themselves, namely those arts whose products are recognized even by those who do not possess the art; for example, the knowledge of the house is not limited to the builder only; the user, or, in other words, the master, of the house will be even a better judge than the builder, just as the pilot will judge better of a rudder than the carpenter, and the guest will judge better of a feast than the cook.	POLITICS BOOK II
In all sciences and arts the end is a good, and the greatest good and in the highest degree a good in the most authoritative of all — this is the political science of which the good is justice, in other words, the common interest. All men think justice to be a sort of equality; and to a certain extent they agree in the philosophical distinctions which have been laid down by us about Ethics. For they admit that justice is a thing and has a relation to persons, and that equals ought to have equality. But there still remains a question: equality or inequality of what? Here is a difficulty which calls for political speculation. For very likely some persons will say that offices of state ought to be unequally distributed according to superior excellence, in whatever respect, of the citizen, although there is no other difference between him and the rest of the community; for that those who differ in any one respect have different rights and claims. But, surely, if this is true, the complexion or height of a man, or any other advantage, will be a reason for his obtaining a greater share of political rights. The error here lies upon the surface, and may be illustrated from the other arts and sciences. When a number of flute players are equal in their art, there is no reason why those of them who are better born should have better flutes given to them; for they will not play any better on the flute, and the superior instrument should be reserved for him who is the superior artist. If what I am saying is still obscure, it will be made clearer as we proceed. For if there were a superior flute-player who was far inferior in birth and beauty, although either of these may be a greater good than the art of flute-playing, and may excel flute-playing in a greater ratio than he excels the others in his art, still he ought to have the best flutes given to him, unless the advantages of wealth and birth contribute to excellence in flute-playing, which they do not. Moreover, upon this principle any good may be compared with any other. For if a given height may be measured wealth and against freedom, height in general may be so measured. Thus if A excels in height more than B in virtue, even if virtue in general excels height still more, all goods will be commensurable; for if a certain amount is better than some other, it is clear that some other will be equal. But since no such comparison can be made, it is evident that there is good reason why in politics men do not ground their claim to office on every sort of inequality any more than in the arts. For if some be slow, and others swift, that is no reason why the one should have little and the others much; it is in gymnastics contests that such excellence is rewarded. Whereas the rival claims of candidates for office can only be based on the possession of elements which enter into the composition of a state. And therefore the noble, or free-born, or rich, may with good reason claim office; for holders of offices must be freemen and taxpayers: a state can be no more composed entirely of poor men than entirely of slaves. But if wealth and freedom are necessary elements, justice and valor are equally so; for without the former qualities a state cannot exist at all, without the latter not well.	POLITICS BOOK II
In all sciences and arts the end is a good, and the greatest good and in the highest degree a good in the most authoritative of all — this is the political science of which the good is justice, in other words, the common interest. All men think justice to be a sort of equality; and to a certain extent they agree in the philosophical distinctions which have been laid down by us about Ethics. For they admit that justice is a thing and has a relation to persons, and that equals ought to have equality. But there still remains a question: equality or inequality of what? Here is a difficulty which calls for political speculation. For very likely some persons will say that offices of state ought to be unequally distributed according to superior excellence, in whatever respect, of the citizen, although there is no other difference between him and the rest of the community; for that those who differ in any one respect have different rights and claims. But, surely, if this is true, the complexion or height of a man, or any other advantage, will be a reason for his obtaining a greater share of political rights. The error here lies upon the surface, and may be illustrated from the other arts and sciences. When a number of flute players are equal in their art, there is no reason why those of them who are better born should have better flutes given to them; for they will not play any better on the flute, and the superior instrument should be reserved for him who is the superior artist. If what I am saying is still obscure, it will be made clearer as we proceed. For if there were a superior flute-player who was far inferior in birth and beauty, although either of these may be a greater good than the art of flute-playing, and may excel flute-playing in a greater ratio than he excels the others in his art, still he ought to have the best flutes given to him, unless the advantages of wealth and birth contribute to excellence in flute-playing, which they do not. Moreover, upon this principle any good may be compared with any other. For if a given height may be measured wealth and against freedom, height in general may be so measured. Thus if A excels in height more than B in virtue, even if virtue in general excels height still more, all goods will be commensurable; for if a certain amount is better than some other, it is clear that some other will be equal. But since no such comparison can be made, it is evident that there is good reason why in politics men do not ground their claim to office on every sort of inequality any more than in the arts. For if some be slow, and others swift, that is no reason why the one should have little and the others much; it is in gymnastics contests that such excellence is rewarded. Whereas the rival claims of candidates for office can only be based on the possession of elements which enter into the composition of a state. And therefore the noble, or free-born, or rich, may with good reason claim office; for holders of offices must be freemen and taxpayers: a state can be no more composed entirely of poor men than entirely of slaves. But if wealth and freedom are necessary elements, justice and valor are equally so; for without the former qualities a state cannot exist at all, without the latter not well.	POLITICS BOOK II
In all sciences and arts the end is a good, and the greatest good and in the highest degree a good in the most authoritative of all — this is the political science of which the good is justice, in other words, the common interest. All men think justice to be a sort of equality; and to a certain extent they agree in the philosophical distinctions which have been laid down by us about Ethics. For they admit that justice is a thing and has a relation to persons, and that equals ought to have equality. But there still remains a question: equality or inequality of what? Here is a difficulty which calls for political speculation. For very likely some persons will say that offices of state ought to be unequally distributed according to superior excellence, in whatever respect, of the citizen, although there is no other difference between him and the rest of the community; for that those who differ in any one respect have different rights and claims. But, surely, if this is true, the complexion or height of a man, or any other advantage, will be a reason for his obtaining a greater share of political rights. The error here lies upon the surface, and may be illustrated from the other arts and sciences. When a number of flute players are equal in their art, there is no reason why those of them who are better born should have better flutes given to them; for they will not play any better on the flute, and the superior instrument should be reserved for him who is the superior artist. If what I am saying is still obscure, it will be made clearer as we proceed. For if there were a superior flute-player who was far inferior in birth and beauty, although either of these may be a greater good than the art of flute-playing, and may excel flute-playing in a greater ratio than he excels the others in his art, still he ought to have the best flutes given to him, unless the advantages of wealth and birth contribute to excellence in flute-playing, which they do not. Moreover, upon this principle any good may be compared with any other. For if a given height may be measured wealth and against freedom, height in general may be so measured. Thus if A excels in height more than B in virtue, even if virtue in general excels height still more, all goods will be commensurable; for if a certain amount is better than some other, it is clear that some other will be equal. But since no such comparison can be made, it is evident that there is good reason why in politics men do not ground their claim to office on every sort of inequality any more than in the arts. For if some be slow, and others swift, that is no reason why the one should have little and the others much; it is in gymnastics contests that such excellence is rewarded. Whereas the rival claims of candidates for office can only be based on the possession of elements which enter into the composition of a state. And therefore the noble, or free-born, or rich, may with good reason claim office; for holders of offices must be freemen and taxpayers: a state can be no more composed entirely of poor men than entirely of slaves. But if wealth and freedom are necessary elements, justice and valor are equally so; for without the former qualities a state cannot exist at all, without the latter not well.	POLITICS BOOK II
N all arts and sciences which embrace the whole of any subject, and do not come into being in a fragmentary way, it is the province of a single art or science to consider all that appertains to a single subject. For example, the art of gymnastic considers not only the suitableness of different modes of training to different bodies (2), but what sort is absolutely the best (1); (for the absolutely best must suit that which is by nature best and best furnished with the means of life), and also what common form of training is adapted to the great majority of men (4). And if a man does not desire the best habit of body, or the greatest skill in gymnastics, which might be attained by him, still the trainer or the teacher of gymnastic should be able to impart any lower degree of either (3). The same principle equally holds in medicine and shipbuilding, and the making of clothes, and in the arts generally.	POLITICS BOOK II
N all arts and sciences which embrace the whole of any subject, and do not come into being in a fragmentary way, it is the province of a single art or science to consider all that appertains to a single subject. For example, the art of gymnastic considers not only the suitableness of different modes of training to different bodies (2), but what sort is absolutely the best (1); (for the absolutely best must suit that which is by nature best and best furnished with the means of life), and also what common form of training is adapted to the great majority of men (4). And if a man does not desire the best habit of body, or the greatest skill in gymnastics, which might be attained by him, still the trainer or the teacher of gymnastic should be able to impart any lower degree of either (3). The same principle equally holds in medicine and shipbuilding, and the making of clothes, and in the arts generally.	POLITICS BOOK II
Of old, the demagogue was also a general, and then democracies changed into tyrannies. Most of the ancient tyrants were originally demagogues. They are not so now, but they were then; and the reason is that they were generals and not orators, for oratory had not yet come into fashion. Whereas in our day, when the art of rhetoric has made such progress, the orators lead the people, but their ignorance of military matters prevents them from usurping power; at any rate instances to the contrary are few and slight. Tyrannies were more common formerly than now, for this reason also, that great power was placed in the hands of individuals; thus a tyranny arose at Miletus out of the office of the Prytanis, who had supreme authority in many important matters. Moreover, in those days, when cities were not large, the people dwelt in the fields, busy at their work; and their chiefs, if they possessed any military talent, seized the opportunity, and winning the confidence of the masses by professing their hatred of the wealthy, they succeeded in obtaining the tyranny. Thus at Athens Peisistratus led a faction against the men of the plain, and Theagenes at Megara slaughtered the cattle of the wealthy, which he found by the river side, where they had put them to graze in land not their own. Dionysius, again, was thought worthy of the tyranny because he denounced Daphnaeus and the rich; his enmity to the notables won for him the confidence of the people. Changes also take place from the ancient to the latest form of democracy; for where there is a popular election of the magistrates and no property qualification, the aspirants for office get hold of the people, and contrive at last even to set them above the laws. A more or less complete cure for this state of things is for the separate tribes, and not the whole people, to elect the magistrates.	POLITICS BOOK II
That tyranny has all the vices both of democracy and oligarchy is evident. As of oligarchy so of tyranny, the end is wealth; (for by wealth only can the tyrant maintain either his guard or his luxury). Both mistrust the people, and therefore deprive them of their arms. Both agree too in injuring the people and driving them out of the city and dispersing them. From democracy tyrants have borrowed the art of making war upon the notables and destroying them secretly or openly, or of exiling them because they are rivals and stand in the way of their power; and also because plots against them are contrived by men of this dass, who either want to rule or to escape subjection. Hence Periander advised Thrasybulus by cutting off the tops of the tallest ears of corn, meaning that he must always put out of the way the citizens who overtop the rest. And so, as I have already intimated, the beginnings of change are the same in monarchies as in forms of constitutional government; subjects attack their sovereigns out of fear or contempt, or because they have been unjustly treated by them. And of injustice, the most common form is insult, another is confiscation of property.	POLITICS BOOK II
As to (2) tyrannies, they are preserved in two most opposite ways. One of them is the old traditional method in which most tyrants administer their government. Of such arts Periander of Corinth is said to have been the great master, and many similar devices may be gathered from the Persians in the administration of their government. There are firstly the prescriptions mentioned some distance back, for the preservation of a tyranny, in so far as this is possible; viz., that the tyrant should lop off those who are too high; he must put to death men of spirit; he must not allow common meals, clubs, education, and the like; he must be upon his guard against anything which is likely to inspire either courage or confidence among his subjects; he must prohibit literary assemblies or other meetings for discussion, and he must take every means to prevent people from knowing one another (for acquaintance begets mutual confidence). Further, he must compel all persons staying in the city to appear in public and live at his gates; then he will know what they are doing: if they are always kept under, they will learn to be humble. In short, he should practice these and the like Persian and barbaric arts, which all have the same object. A tyrant should also endeavor to know what each of his subjects says or does, and should employ spies, like the 'female detectives' at Syracuse, and the eavesdroppers whom Hiero was in the habit of sending to any place of resort or meeting; for the fear of informers prevents people from speaking their minds, and if they do, they are more easily found out. Another art of the tyrant is to sow quarrels among the citizens; friends should be embroiled with friends, the people with the notables, and the rich with one another. Also he should impoverish his subjects; he thus provides against the maintenance of a guard by the citizen and the people, having to keep hard at work, are prevented from conspiring. The Pyramids of Egypt afford an example of this policy; also the offerings of the family of Cypselus, and the building of the temple of Olympian Zeus by the Peisistratidae, and the great Polycratean monuments at Samos; all these works were alike intended to occupy the people and keep them poor. Another practice of tyrants is to multiply taxes, after the manner of Dionysius at Syracuse, who contrived that within five years his subjects should bring into the treasury their whole property. The tyrant is also fond of making war in order that his subjects may have something to do and be always in want of a leader. And whereas the power of a king is preserved by his friends, the characteristic of a tyrant is to distrust his friends, because he knows that all men want to overthrow him, and they above all have the power.	POLITICS BOOK II
In some nations there are even laws tending to stimulate the warlike virtues, as at Carthage, where we are told that men obtain the honor of wearing as many armlets as they have served campaigns. There was once a law in Macedonia that he who had not killed an enemy should wear a halter, and among the Scythians no one who had not slain his man was allowed to drink out of the cup which was handed round at a certain feast. Among the Iberians, a warlike nation, the number of enemies whom a man has slain is indicated by the number of obelisks which are fixed in the earth round his tomb; and there are numerous practices among other nations of a like kind, some of them established by law and others by custom. Yet to a reflecting mind it must appear very strange that the statesman should be always considering how he can dominate and tyrannize over others, whether they will or not. How can that which is not even lawful be the business of the statesman or the legislator? Unlawful it certainly is to rule without regard to justice, for there may be might where there is no right. The other arts and sciences offer no parallel a physician is not expected to persuade or coerce his patients, nor a pilot the passengers in his ship. Yet most men appear to think that the art of despotic government is statesmanship, and what men affirm to be unjust and inexpedient in their own case they are not ashamed of practicing towards others; they demand just rule for themselves, but where other men are concerned they care nothing about it. Such behavior is irrational; unless the one party is, and the other is not, born to serve, in which case men have a right to command, not indeed all their fellows, but only those who are intended to be subjects; just as we ought not to hunt mankind, whether for food or sacrifice, but only the animals which may be hunted for food or sacrifice, this is to say, such wild animals as are eatable. And surely there may be a city happy in isolation, which we will assume to be well-governed (for it is quite possible that a city thus isolated might be well-administered and have good laws); but such a city would not be constituted with any view to war or the conquest of enemies — all that sort of thing must be excluded. Hence we see very plainly that warlike pursuits, although generally to be deemed honorable, are not the supreme end of all things, but only means. And the good lawgiver should inquire how states and races of men and communities may participate in a good life, and in the happiness which is attainable by them. His enactments will not be always the same; and where there are neighbors he will have to see what sort of studies should be practiced in relation to their several characters, or how the measures appropriate in relation to each are to be adopted. The end at which the best form of government should aim may be properly made a matter of future consideration.	POLITICS BOOK II
Thus far by way of introduction. In what has preceded I have discussed other forms of government; in what remains the first point to be considered is what should be the conditions of the ideal or perfect state; for the perfect state cannot exist without a due supply of the means of life. And therefore we must presuppose many purely imaginary conditions, but nothing impossible. There will be a certain number of citizens, a country in which to place them, and the like. As the weaver or shipbuilder or any other artisan must have the material proper for his work (and in proportion as this is better prepared, so will the result of his art be nobler), so the statesman or legislator must also have the materials suited to him.	POLITICS BOOK II
Having spoken of the number of the citizens, we will proceed to speak of what should be their character. This is a subject which can be easily understood by any one who casts his eye on the more celebrated states of Hellas, and generally on the distribution of races in the habitable world. Those who live in a cold climate and in Europe are full of spirit, but wanting in intelligence and skill; and therefore they retain comparative freedom, but have no political organization, and are incapable of ruling over others. Whereas the natives of Asia are intelligent and inventive, but they are wanting in spirit, and therefore they are always in a state of subjection and slavery. But the Hellenic race, which is situated between them, is likewise intermediate in character, being high-spirited and also intelligent. Hence it continues free, and is the best-governed of any nation, and, if it could be formed into one state, would be able to rule the world. There are also similar differences in the different tribes of Hellas; for some of them are of a one-sided nature, and are intelligent or courageous only, while in others there is a happy combination of both qualities. And clearly those whom the legislator will most easily lead to virtue may be expected to be both intelligent and courageous. Some say that the guardians should be friendly towards those whom they know, fierce towards those whom they do not know. Now, passion is the quality of the soul which begets friendship and enables us to love; notably the spirit within us is more stirred against our friends and acquaintances than against those who are unknown to us, when we think that we are despised by them; for which reason Archilochus, complaining of his friends, very naturally addresses his soul in these words: For surely thou art plagued on account of friends.	POLITICS BOOK II
As in other natural compounds the conditions of a composite whole are not necessarily organic parts of it, so in a state or in any other combination forming a unity not everything is a part, which is a necessary condition. The members of an association have necessarily some one thing the same and common to all, in which they share equally or unequally for example, food or land or any other thing. But where there are two things of which one is a means and the other an end, they have nothing in common except that the one receives what the other produces. Such, for example, is the relation which workmen and tools stand to their work; the house and the builder have nothing in common, but the art of the builder is for the sake of the house. And so states require property, but property, even though living beings are included in it, is no part of a state; for a state is not a community of living beings only, but a community of equals, aiming at the best life possible. Now, whereas happiness is the highest good, being a realization and perfect practice of virtue, which some can attain, while others have little or none of it, the various qualities of men are clearly the reason why there are various kinds of states and many forms of government; for different men seek after happiness in different ways and by different means, and so make for themselves different modes of life and forms of government. We must see also how many things are indispensable to the existence of a state, for what we call the parts of a state will be found among the indispensables. Let us then enumerate the functions of a state, and we shall easily elicit what we want: First, there must be food; secondly, arts, for life requires many instruments; thirdly, there must be arms, for the members of a community have need of them, and in their own hands, too, in order to maintain authority both against disobedient subjects and against external assailants; fourthly, there must be a certain amount of revenue, both for internal needs, and for the purposes of war; fifthly, or rather first, there must be a care of religion which is commonly called worship; sixthly, and most necessary of all there must be a power of deciding what is for the public interest, and what is just in men's dealings with one another.	POLITICS BOOK II
Returning to the constitution itself, let us seek to determine out of what and what sort of elements the state which is to be happy and well-governed should be composed. There are two things in which all which all well-being consists: one of them is the choice of a right end and aim of action, and the other the discovery of the actions which are means towards it; for the means and the end may agree or disagree. Sometimes the right end is set before men, but in practice they fail to attain it; in other cases they are successful in all the means, but they propose to themselves a bad end; and sometimes they fail in both. Take, for example, the art of medicine; physicians do not always understand the nature of health, and also the means which they use may not effect the desired end. In all arts and sciences both the end and the means should be equally within our control.	POLITICS BOOK II
Now the soul of man is divided into two parts, one of which has a rational principle in itself, and the other, not having a rational principle in itself, is able to obey such a principle. And we call a man in any way good because he has the virtues of these two parts. In which of them the end is more likely to be found is no matter of doubt to those who adopt our division; for in the world both of nature and of art the inferior always exists for the sake of the better or superior, and the better or superior is that which has a rational principle. This principle, too, in our ordinary way of speaking, is divided into two kinds, for there is a practical and a speculative principle. This part, then, must evidently be similarly divided. And there must be a corresponding division of actions; the actions of the naturally better part are to be preferred by those who have it in their power to attain to two out of the three or to all, for that is always to every one the most eligible which is the highest attainable by him. The whole of life is further divided into two parts, business and leisure, war and peace, and of actions some aim at what is necessary and useful, and some at what is honorable. And the preference given to one or the other class of actions must necessarily be like the preference given to one or other part of the soul and its actions over the other; there must be war for the sake of peace, business for the sake of leisure, things useful and necessary for the sake of things honorable. All these points the statesman should keep in view when he frames his laws; he should consider the parts of the soul and their functions, and above all the better and the end; he should also remember the diversities of human lives and actions. For men must be able to engage in business and go to war, but leisure and peace are better; they must do what is necessary and indeed what is useful, but what is honorable is better. On such principles children and persons of every age which requires education should be trained. Whereas even the Hellenes of the present day who are reputed to be best governed, and the legislators who gave them their constitutions, do not appear to have framed their governments with a regard to the best end, or to have given them laws and education with a view to all the virtues, but in a vulgar spirit have fallen back on those which promised to be more useful and profitable. Many modern writers have taken a similar view: they commend the Lacedaemonian constitution, and praise the legislator for making conquest and war his sole aim, a doctrine which may be refuted by argument and has long ago been refuted by facts. For most men desire empire in the hope of accumulating the goods of fortune; and on this ground Thibron and all those who have written about the Lacedaemonian constitution have praised their legislator, because the Lacedaemonians, by being trained to meet dangers, gained great power. But surely they are not a happy people now that their empire has passed away, nor was their legislator right. How ridiculous is the result, if, when they are continuing in the observance of his laws and no one interferes with them, they have lost the better part of life! These writers further err about the sort of government which the legislator should approve, for the government of freemen is nobler and implies more virtue than despotic government. Neither is a city to be deemed happy or a legislator to be praised because he trains his citizens to conquer and obtain dominion over their neighbors, for there is great evil in this. On a similar principle any citizen who could, should obviously try to obtain the power in his own state — the crime which the Lacedaemonians accuse king Pausanias of attempting, although he had so great honor already. No such principle and no law having this object is either statesmanlike or useful or right. For the same things are best both for individuals and for states, and these are the things which the legislator ought to implant in the minds of his citizens.	POLITICS BOOK II
We have made these remarks in a cursory manner — they are enough for the present occasion; but hereafter we will return to the subject and after a fuller discussion determine whether such liberty should or should not be granted, and in what way granted, if at all. Theodorus, the tragic actor, was quite right in saying that he would not allow any other actor, not even if he were quite second-rate, to enter before himself, because the spectators grew fond of the voices which they first heard. And the same principle applies universally to association with things as well as with persons, for we always like best whatever comes first. And therefore youth should be kept strangers to all that is bad, and especially to things which suggest vice or hate. When the five years have passed away, during the two following years they must look on at the pursuits which they are hereafter to learn. There are two periods of life with reference to which education has to be divided, from seven to the age of puberty, and onwards to the age of one and twenty. The poets who divide ages by sevens are in the main right: but we should observe the divisions actually made by nature; for the deficiencies of nature are what art and education seek to fill up.	POLITICS BOOK II
Again, for the exercise of any faculty or art a previous training and habituation are required; clearly therefore for the practice of virtue. And since the whole city has one end, it is manifest that education should be one and the same for all, and that it should be public, and not private — not as at present, when every one looks after his own children separately, and gives them separate instruction of the sort which he thinks best; the training in things which are of common interest should be the same for all. Neither must we suppose that any one of the citizens belongs to himself, for they all belong to the state, and are each of them a part of the state, and the care of each part is inseparable from the care of the whole. In this particular as in some others the Lacedaemonians are to be praised, for they take the greatest pains about their children, and make education the business of the state.	POLITICS BOOK II
That education should be regulated by law and should be an affair of state is not to be denied, but what should be the character of this public education, and how young persons should be educated, are questions which remain to be considered. As things are, there is disagreement about the subjects. For mankind are by no means agreed about the things to be taught, whether we look to virtue or the best life. Neither is it clear whether education is more concerned with intellectual or with moral virtue. The existing practice is perplexing; no one knows on what principle we should proceed — should the useful in life, or should virtue, or should the higher knowledge, be the aim of our training; all three opinions have been entertained. Again, about the means there is no agreement; for different persons, starting with different ideas about the nature of virtue, naturally disagree about the practice of it. There can be no doubt that children should be taught those useful things which are really necessary, but not all useful things; for occupations are divided into liberal and illiberal; and to young children should be imparted only such kinds of knowledge as will be useful to them without vulgarizing them. And any occupation, art, or science, which makes the body or soul or mind of the freeman less fit for the practice or exercise of virtue, is vulgar; wherefore we call those arts vulgar which tend to deform the body, and likewise all paid employments, for they absorb and degrade the mind. There are also some liberal arts quite proper for a freeman to acquire, but only in a certain degree, and if he attend to them too closely, in order to attain perfection in them, the same evil effects will follow. The object also which a man sets before him makes a great difference; if he does or learns anything for his own sake or for the sake of his friends, or with a view to excellence the action will not appear illiberal; but if done for the sake of others, the very same action will be thought menial and servile. The received subjects of instruction, as I have already remarked, are partly of a liberal and party of an illiberal character.	POLITICS BOOK II
Of those states which in our own day seem to take the greatest care of children, some aim at producing in them an athletic habit, but they only injure their forms and stunt their growth. Although the Lacedaemonians have not fallen into this mistake, yet they brutalize their children by laborious exercises which they think will make them courageous. But in truth, as we have often repeated, education should not be exclusively, or principally, directed to this end. And even if we suppose the Lacedaemonians to be right in their end, they do not attain it. For among barbarians and among animals courage is found associated, not with the greatest ferocity, but with a gentle and lion like temper. There are many races who are ready enough to kill and eat men, such as the Achaeans and Heniochi, who both live about the Black Sea; and there are other mainland tribes, as bad or worse, who all live by plunder, but have no courage. It is notorious that the Lacedaemonians themselves, while they alone were assiduous in their laborious drill, were superior to others, but now they are beaten both in war and gymnastic exercises. For their ancient superiority did not depend on their mode of training their youth, but only on the circumstance that they trained them when their only rivals did not. Hence we may infer that what is noble, not what is brutal, should have the first place; no wolf or other wild animal will face a really noble danger; such dangers are for the brave man. And parents who devote their children to gymnastics while they neglect their necessary education, in reality vulgarize them; for they make them useful to the art of statesmanship in one quality only, and even in this the argument proves them to be inferior to others. We should judge the Lacedaemonians not from what they have been, but from what they are; for now they have rivals who compete with their education; formerly they had none.	POLITICS BOOK II
And now we have to determine the question which has been already raised, whether children should be themselves taught to sing and play or not. Clearly there is a considerable difference made in the character by the actual practice of the art. It is difficult, if not impossible, for those who do not perform to be good judges of the performance of others. Besides, children should have something to do, and the rattle of Archytas, which people give to their children in order to amuse them and prevent them from breaking anything in the house, was a capital invention, for a young thing cannot be quiet. The rattle is a toy suited to the infant mind, and education is a rattle or toy for children of a larger growth. We conclude then that they should be taught music in such a way as to become not only critics but performers.	POLITICS BOOK II
The question what is or is not suitable for different ages may be easily answered; nor is there any difficulty in meeting the objection of those who say that the study of music is vulgar. We reply (1) in the first place, that they who are to be judges must also be performers, and that they should begin to practice early, although when they are older they may be spared the execution; they must have learned to appreciate what is good and to delight in it, thanks to the knowledge which they acquired in their youth. As to (2) the vulgarizing effect which music is supposed to exercise, this is a question which we shall have no difficulty in determining, when we have considered to what extent freemen who are being trained to political virtue should pursue the art, what melodies and what rhythms they should be allowed to use, and what instruments should be employed in teaching them to play; for even the instrument makes a difference. The answer to the objection turns upon these distinctions; for it is quite possible that certain methods of teaching and learning music do really have a degrading effect. It is evident then that the learning of music ought not to impede the business of riper years, or to degrade the body or render it unfit for civil or military training, whether for bodily exercises at the time or for later studies.	POLITICS BOOK II
From these principles we may also infer what instruments should be used. The flute, or any other instrument which requires great skill, as for example the harp, ought not to be admitted into education, but only such as will make intelligent students of music or of the other parts of education. Besides, the flute is not an instrument which is expressive of moral character; it is too exciting. The proper time for using it is when the performance aims not at instruction, but at the relief of the passions. And there is a further objection; the impediment which the flute presents to the use of the voice detracts from its educational value. The ancients therefore were right in forbidding the flute to youths and freemen, although they had once allowed it. For when their wealth gave them a greater inclination to leisure, and they had loftier notions of excellence, being also elated with their success, both before and after the Persian War, with more zeal than discernment they pursued every kind of knowledge, and so they introduced the flute into education. At Lacedaemon there was a choragus who led the chorus with a flute, and at Athens the instrument became so popular that most freemen could play upon it. The popularity is shown by the tablet which Thrasippus dedicated when he furnished the chorus to Ecphantides. Later experience enabled men to judge what was or was not really conducive to virtue, and they rejected both the flute and several other old-fashioned instruments, such as the Lydian harp, the many-stringed lyre, the 'heptagon,' 'triangle,' 'sambuca,' the like — which are intended only to give pleasure to the hearer, and require extraordinary skill of hand. There is a meaning also in the myth of the ancients, which tells how Athene invented the flute and then threw it away. It was not a bad idea of theirs, that the Goddess disliked the instrument because it made the face ugly; but with still more reason may we say that she rejected it because the acquirement of flute-playing contributes nothing to the mind, since to Athene we ascribe both knowledge and art.	POLITICS BOOK II
Thus then we reject the professional instruments and also the professional mode of education in music (and by professional we mean that which is adopted in contests), for in this the performer practices the art, not for the sake of his own improvement, but in order to give pleasure, and that of a vulgar sort, to his hearers. For this reason the execution of such music is not the part of a freeman but of a paid performer, and the result is that the performers are vulgarized, for the end at which they aim is bad. The vulgarity of the spectator tends to lower the character of the music and therefore of the performers; they look to him — he makes them what they are, and fashions even their bodies by the movements which he expects them to exhibit.	POLITICS BOOK II
Further consideration of modes of thinking and their distribution under the heads of discursive thought, intuition, science, art, practical wisdom, and metaphysical thinking, belongs rather partly to natural science, partly to moral philosophy.	POSTERIOR ANALYTICS Book I
It is mostly in cases where the issue is indeterminate (though only where the production does not originate in chance, and the end is consequently good), that a result is due to an end, and this is true alike in nature or in art. By chance, on the other hand, nothing comes to be for an end.	POSTERIOR ANALYTICS Book II
The method is the same in all cases, in philosophy, in any art or study. We must look for the attributes and the subjects of both our terms, and we must supply ourselves with as many of these as possible, and consider them by means of the three terms, refuting statements in one way, confirming them in another, in the pursuit of truth starting from premisses in which the arrangement of the terms is in accordance with truth, while if we look for dialectical syllogisms we must start from probable premisses. The principles of syllogisms have been stated in general terms, both how they are characterized and how we must hunt for them, so as not to look to everything that is said about the terms of the problem or to the same points whether we are confirming or refuting, or again whether we are confirming of all or of some, and whether we are refuting of all or some. we must look to fewer points and they must be definite. We have also stated how we must select with reference to everything that is, e.g. about good or knowledge. But in each science the principles which are peculiar are the most numerous. Consequently it is the business of experience to give the principles which belong to each subject. I mean for example that astronomical experience supplies the principles of astronomical science: for once the phenomena were adequately apprehended, the demonstrations of astronomy were discovered. Similarly with any other art or science. Consequently, if the attributes of the thing are apprehended, our business will then be to exhibit readily the demonstrations. For if none of the true attributes of things had been omitted in the historical survey, we should be able to discover the proof and demonstrate everything which admitted of proof, and to make that clear, whose nature does not admit of proof.	PRIOR ANALYTICS Book I
The method is the same in all cases, in philosophy, in any art or study. We must look for the attributes and the subjects of both our terms, and we must supply ourselves with as many of these as possible, and consider them by means of the three terms, refuting statements in one way, confirming them in another, in the pursuit of truth starting from premisses in which the arrangement of the terms is in accordance with truth, while if we look for dialectical syllogisms we must start from probable premisses. The principles of syllogisms have been stated in general terms, both how they are characterized and how we must hunt for them, so as not to look to everything that is said about the terms of the problem or to the same points whether we are confirming or refuting, or again whether we are confirming of all or of some, and whether we are refuting of all or some. we must look to fewer points and they must be definite. We have also stated how we must select with reference to everything that is, e.g. about good or knowledge. But in each science the principles which are peculiar are the most numerous. Consequently it is the business of experience to give the principles which belong to each subject. I mean for example that astronomical experience supplies the principles of astronomical science: for once the phenomena were adequately apprehended, the demonstrations of astronomy were discovered. Similarly with any other art or science. Consequently, if the attributes of the thing are apprehended, our business will then be to exhibit readily the demonstrations. For if none of the true attributes of things had been omitted in the historical survey, we should be able to discover the proof and demonstrate everything which admitted of proof, and to make that clear, whose nature does not admit of proof.	PRIOR ANALYTICS Book I
(5) But if the premiss AB, which is assumed, is wholly true, and the premiss BC is wholly false, a true syllogism will be possible: for nothing prevents A belonging to all B and to all C, though B belongs to no C, e.g. these being species of the same genus which are not subordinate one to the other: for animal belongs both to horse and to man, but horse to no man. If then it is assumed that A belongs to all B and B to all C, the conclusion will be true, although the premiss BC is wholly false. Similarly if the premiss AB is negative. For it is possible that A should belong neither to any B nor to any C, and that B should not belong to any C, e.g. a genus to species of another genus: for animal belongs neither to music nor to the art of healing, nor does music belong to the art of healing. If then it is assumed that A belongs to no B, and B to all C, the conclusion will be true.	PRIOR ANALYTICS Book II
(5) But if the premiss AB, which is assumed, is wholly true, and the premiss BC is wholly false, a true syllogism will be possible: for nothing prevents A belonging to all B and to all C, though B belongs to no C, e.g. these being species of the same genus which are not subordinate one to the other: for animal belongs both to horse and to man, but horse to no man. If then it is assumed that A belongs to all B and B to all C, the conclusion will be true, although the premiss BC is wholly false. Similarly if the premiss AB is negative. For it is possible that A should belong neither to any B nor to any C, and that B should not belong to any C, e.g. a genus to species of another genus: for animal belongs neither to music nor to the art of healing, nor does music belong to the art of healing. If then it is assumed that A belongs to no B, and B to all C, the conclusion will be true.	PRIOR ANALYTICS Book II
RHETORIC the counterpart of Dialectic. Both alike are concerned with such things as come, more or less, within the general ken of all men and belong to no definite science. Accordingly all men make use, more or less, of both; for to a certain extent all men attempt to discuss statements and to maintain them, to defend themselves and to attack others. Ordinary people do this either at random or through practice and from acquired habit. Both ways being possible, the subject can plainly be handled systematically, for it is possible to inquire the reason why some speakers succeed through practice and others spontaneously; and every one will at once agree that such an inquiry is the function of an art.	RHETORIC Book I
Now, the framers of the current treatises on rhetoric have constructed but a small portion of that art. The modes of persuasion are the only true constituents of the art: everything else is merely accessory. These writers, however, say nothing about enthymemes, which are the substance of rhetorical persuasion, but deal mainly with non-essentials. The arousing of prejudice, pity, anger, and similar emotions has nothing to do with the essential facts, but is merely a personal appeal to the man who is judging the case. Consequently if the rules for trials which are now laid down some states-especially in well-governed states-were applied everywhere, such people would have nothing to say. All men, no doubt, think that the laws should prescribe such rules, but some, as in the court of Areopagus, give practical effect to their thoughts and forbid talk about non-essentials. This is sound law and custom. It is not right to pervert the judge by moving him to anger or envy or pity — one might as well warp a carpenter's rule before using it. Again, a litigant has clearly nothing to do but to show that the alleged fact is so or is not so, that it has or has not happened. As to whether a thing is important or unimportant, just or unjust, the judge must surely refuse to take his instructions from the litigants: he must decide for himself all such points as the law-giver has not already defined for him.	RHETORIC Book I
Now, the framers of the current treatises on rhetoric have constructed but a small portion of that art. The modes of persuasion are the only true constituents of the art: everything else is merely accessory. These writers, however, say nothing about enthymemes, which are the substance of rhetorical persuasion, but deal mainly with non-essentials. The arousing of prejudice, pity, anger, and similar emotions has nothing to do with the essential facts, but is merely a personal appeal to the man who is judging the case. Consequently if the rules for trials which are now laid down some states-especially in well-governed states-were applied everywhere, such people would have nothing to say. All men, no doubt, think that the laws should prescribe such rules, but some, as in the court of Areopagus, give practical effect to their thoughts and forbid talk about non-essentials. This is sound law and custom. It is not right to pervert the judge by moving him to anger or envy or pity — one might as well warp a carpenter's rule before using it. Again, a litigant has clearly nothing to do but to show that the alleged fact is so or is not so, that it has or has not happened. As to whether a thing is important or unimportant, just or unjust, the judge must surely refuse to take his instructions from the litigants: he must decide for himself all such points as the law-giver has not already defined for him.	RHETORIC Book I
Now, it is of great moment that well-drawn laws should themselves define all the points they possibly can and leave as few as may be to the decision of the judges; and this for several reasons. First, to find one man, or a few men, who are sensible persons and capable of legislating and administering justice is easier than to find a large number. Next, laws are made after long consideration, whereas decisions in the courts are given at short notice, which makes it hard for those who try the case to satisfy the claims of justice and expediency. The weightiest reason of all is that the decision of the lawgiver is not particular but prospective and general, whereas members of the assembly and the jury find it their duty to decide on definite cases brought before them. They will often have allowed themselves to be so much influenced by feelings of friendship or hatred or self-interest that they lose any clear vision of the truth and have their judgement obscured by considerations of personal pleasure or pain. In general, then, the judge should, we say, be allowed to decide as few things as possible. But questions as to whether something has happened or has not happened, will be or will not be, is or is not, must of necessity be left to the judge, since the lawgiver cannot foresee them. If this is so, it is evident that any one who lays down rules about other matters, such as what must be the contents of the 'introduction' or the 'narration' or any of the other divisions of a speech, is theorizing about non-essentials as if they belonged to the art. The only question with which these writers here deal is how to put the judge into a given frame of mind. About the orator's proper modes of persuasion they have nothing to tell us; nothing, that is, about how to gain skill in enthymemes.	RHETORIC Book I
It is clear, then, that rhetoric is not bound up with a single definite class of subjects, but is as universal as dialectic; it is clear, also, that it is useful. It is clear, further, that its function is not simply to succeed in persuading, but rather to discover the means of coming as near such success as the circumstances of each particular case allow. In this it resembles all other arts. For example, it is not the function of medicine simply to make a man quite healthy, but to put him as far as may be on the road to health; it is possible to give excellent treatment even to those who can never enjoy sound health. Furthermore, it is plain that it is the function of one and the same art to discern the real and the apparent means of persuasion, just as it is the function of dialectic to discern the real and the apparent syllogism. What makes a man a 'sophist' is not his faculty, but his moral purpose. In rhetoric, however, the term 'rhetorician' may describe either the speaker's knowledge of the art, or his moral purpose. In dialectic it is different: a man is a 'sophist' because he has a certain kind of moral purpose, a 'dialectician' in respect, not of his moral purpose, but of his faculty.	RHETORIC Book I
It is clear, then, that rhetoric is not bound up with a single definite class of subjects, but is as universal as dialectic; it is clear, also, that it is useful. It is clear, further, that its function is not simply to succeed in persuading, but rather to discover the means of coming as near such success as the circumstances of each particular case allow. In this it resembles all other arts. For example, it is not the function of medicine simply to make a man quite healthy, but to put him as far as may be on the road to health; it is possible to give excellent treatment even to those who can never enjoy sound health. Furthermore, it is plain that it is the function of one and the same art to discern the real and the apparent means of persuasion, just as it is the function of dialectic to discern the real and the apparent syllogism. What makes a man a 'sophist' is not his faculty, but his moral purpose. In rhetoric, however, the term 'rhetorician' may describe either the speaker's knowledge of the art, or his moral purpose. In dialectic it is different: a man is a 'sophist' because he has a certain kind of moral purpose, a 'dialectician' in respect, not of his moral purpose, but of his faculty.	RHETORIC Book I
Rhetoric may be defined as the faculty of observing in any given case the available means of persuasion. This is not a function of any other art. Every other art can instruct or persuade about its own particular subject-matter; for instance, medicine about what is healthy and unhealthy, geometry about the properties of magnitudes, arithmetic about numbers, and the same is true of the other arts and sciences. But rhetoric we look upon as the power of observing the means of persuasion on almost any subject presented to us; and that is why we say that, in its technical character, it is not concerned with any special or definite class of subjects.	RHETORIC Book I
Rhetoric may be defined as the faculty of observing in any given case the available means of persuasion. This is not a function of any other art. Every other art can instruct or persuade about its own particular subject-matter; for instance, medicine about what is healthy and unhealthy, geometry about the properties of magnitudes, arithmetic about numbers, and the same is true of the other arts and sciences. But rhetoric we look upon as the power of observing the means of persuasion on almost any subject presented to us; and that is why we say that, in its technical character, it is not concerned with any special or definite class of subjects.	RHETORIC Book I
Of the modes of persuasion some belong strictly to the art of rhetoric and some do not. By the latter I mean such things as are not supplied by the speaker but are there at the outset — witnesses, evidence given under torture, written contracts, and so on. By the former I mean such as we can ourselves construct by means of the principles of rhetoric. The one kind has merely to be used, the other has to be invented.	RHETORIC Book I
Now to enumerate and classify accurately the usual subjects of public business, and further to frame, as far as possible, true definitions of them is a task which we must not attempt on the present occasion. For it does not belong to the art of rhetoric, but to a more instructive art and a more real branch of knowledge; and as it is, rhetoric has been given a far wider subject-matter than strictly belongs to it. The truth is, as indeed we have said already, that rhetoric is a combination of the science of logic and of the ethical branch of politics; and it is partly like dialectic, partly like sophistical reasoning. But the more we try to make either dialectic rhetoric not, what they really are, practical faculties, but sciences, the more we shall inadvertently be destroying their true nature; for we shall be re-fashioning them and shall be passing into the region of sciences dealing with definite subjects rather than simply with words and forms of reasoning. Even here, however, we will mention those points which it is of practical importance to distinguish, their fuller treatment falling naturally to political science.	RHETORIC Book I
Now to enumerate and classify accurately the usual subjects of public business, and further to frame, as far as possible, true definitions of them is a task which we must not attempt on the present occasion. For it does not belong to the art of rhetoric, but to a more instructive art and a more real branch of knowledge; and as it is, rhetoric has been given a far wider subject-matter than strictly belongs to it. The truth is, as indeed we have said already, that rhetoric is a combination of the science of logic and of the ethical branch of politics; and it is partly like dialectic, partly like sophistical reasoning. But the more we try to make either dialectic rhetoric not, what they really are, practical faculties, but sciences, the more we shall inadvertently be destroying their true nature; for we shall be re-fashioning them and shall be passing into the region of sciences dealing with definite subjects rather than simply with words and forms of reasoning. Even here, however, we will mention those points which it is of practical importance to distinguish, their fuller treatment falling naturally to political science.	RHETORIC Book I
'Good luck' means the acquisition or possession of all or most, or the most important, of those good things which are due to luck. Some of the things that are due to luck may also be due to artificial contrivance; but many are independent of art, as for example those which are due to nature — though, to be sure, things due to luck may actually be contrary to nature. Thus health may be due to artificial contrivance, but beauty and stature are due to nature. All such good things as excite envy are, as a class, the outcome of good luck. Luck is also the cause of good things that happen contrary to reasonable expectation: as when, for instance, all your brothers are ugly, but you are handsome yourself; or when you find a treasure that everybody else has overlooked; or when a missile hits the next man and misses you; or when you are the only man not to go to a place you have gone to regularly, while the others go there for the first time and are killed. All such things are reckoned pieces of good luck.	RHETORIC Book I
Similarly, since amusement and every kind of relaxation and laughter too belong to the class of pleasant things, it follows that ludicrous things are pleasant, whether men, words, or deeds. We have discussed the ludicrous separately in the treatise on the Art of Poetry.	RHETORIC Book I
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
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
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
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
And, again, 'if Theseus did no wrong, neither did Paris'; or 'the sons of Tyndareus did no wrong, neither did Paris'; or 'if Hector did well to slay Patroclus, Paris did well to slay Achilles'. And 'if other followers of an art are not bad men, neither are philosophers'. And 'if generals are not bad men because it often happens that they are condemned to death, neither are sophists'. And the remark that 'if each individual among you ought to think of his own city's reputation, you ought all to think of the reputation of Greece as a whole'.	RHETORIC Book II
Since it happens that any given thing usually has both good and bad consequences, another line of argument consists in using those consequences as a reason for urging that a thing should or should not be done, for prosecuting or defending any one, for eulogy or censure. E.g. education leads both to unpopularity, which is bad, and to wisdom, which is good. Hence you either argue, 'It is therefore not well to be educated, since it is not well to be unpopular': or you answer, 'No, it is well to be educated, since it is well to be wise'. The Art of Rhetoric of Callippus is made up of this line of argument, with the addition of those of Possibility and the others of that kind already described.	RHETORIC Book II
Another line of argument is common to forensic and deliberative oratory, namely, to consider inducements and deterrents, and the motives people have for doing or avoiding the actions in question. These are the conditions which make us bound to act if they are for us, and to refrain from action if they are against us: that is, we are bound to act if the action is possible, easy, and useful to ourselves or our friends or hurtful to our enemies; this is true even if the action entails loss, provided the loss is outweighed by the solid advantage. A speaker will urge action by pointing to such conditions, and discourage it by pointing to the opposite. These same arguments also form the materials for accusation or defence — the deterrents being pointed out by the defence, and the inducements by the prosecution. As for the defence,...This topic forms the whole Art of Rhetoric both of Pamphilus and of Callippus.	RHETORIC Book II
Another line is to make previous mistakes the grounds of accusation or defence. Thus, in the Medea of Carcinus the accusers allege that Medea has slain her children; 'at all events', they say, 'they are not to be seen' — Medea having made the mistake of sending her children away. In defence she argues that it is not her children, but Jason, whom she would have slain; for it would have been a mistake on her part not to do this if she had done the other. This special line of argument for enthymeme forms the whole of the Art of Rhetoric in use before Theodorus.	RHETORIC Book II
O steel in heart as thou art steel in name.	RHETORIC Book II
For what is improbable does happen, and therefore it is probable that improbable things will happen. Granted this, one might argue that 'what is improbable is probable'. But this is not true absolutely. As, in eristic, the imposture comes from not adding any clause specifying relationship or reference or manner; so here it arises because the probability in question is not general but specific. It is of this line of argument that Corax's Art of Rhetoric is composed. If the accused is not open to the charge — for instance if a weakling be tried for violent assault — the defence is that he was not likely to do such a thing. But if he is open to the charge — i.e. if he is a strong man — the defence is still that he was not likely to do such a thing, since he could be sure that people would think he was likely to do it. And so with any other charge: the accused must be either open or not open to it: there is in either case an appearance of probable innocence, but whereas in the latter case the probability is genuine, in the former it can only be asserted in the special sense mentioned. This sort of argument illustrates what is meant by making the worse argument seem the better. Hence people were right in objecting to the training Protagoras undertook to give them. It was a fraud; the probability it handled was not genuine but spurious, and has a place in no art except Rhetoric and Eristic.	RHETORIC Book II
For what is improbable does happen, and therefore it is probable that improbable things will happen. Granted this, one might argue that 'what is improbable is probable'. But this is not true absolutely. As, in eristic, the imposture comes from not adding any clause specifying relationship or reference or manner; so here it arises because the probability in question is not general but specific. It is of this line of argument that Corax's Art of Rhetoric is composed. If the accused is not open to the charge — for instance if a weakling be tried for violent assault — the defence is that he was not likely to do such a thing. But if he is open to the charge — i.e. if he is a strong man — the defence is still that he was not likely to do such a thing, since he could be sure that people would think he was likely to do it. And so with any other charge: the accused must be either open or not open to it: there is in either case an appearance of probable innocence, but whereas in the latter case the probability is genuine, in the former it can only be asserted in the special sense mentioned. This sort of argument illustrates what is meant by making the worse argument seem the better. Hence people were right in objecting to the training Protagoras undertook to give them. It was a fraud; the probability it handled was not genuine but spurious, and has a place in no art except Rhetoric and Eristic.	RHETORIC Book II
It was naturally the poets who first set the movement going; for words represent things, and they had also the human voice at their disposal, which of all our organs can best represent other things. Thus the arts of recitation and acting were formed, and others as well. Now it was because poets seemed to win fame through their fine language when their thoughts were simple enough, that the language of oratorical prose at first took a poetical colour, e.g. that of Gorgias. Even now most uneducated people think that poetical language makes the finest discourses. That is not true: the language of prose is distinct from that of poetry. This is shown by the state of things to-day, when even the language of tragedy has altered its character. Just as iambics were adopted, instead of tetrameters, because they are the most prose-like of all metres, so tragedy has given up all those words, not used in ordinary talk, which decorated the early drama and are still used by the writers of hexameter poems. It is therefore ridiculous to imitate a poetical manner which the poets themselves have dropped; and it is now plain that we have not to treat in detail the whole question of style, but may confine ourselves to that part of it which concerns our present subject, rhetoric. The other — the poetical — part of it has been discussed in the treatise on the Art of Poetry.	RHETORIC Book III
We may, then, start from the observations there made, including the definition of style. Style to be good must be clear, as is proved by the fact that speech which fails to convey a plain meaning will fail to do just what speech has to do. It must also be appropriate, avoiding both meanness and undue elevation; poetical language is certainly free from meanness, but it is not appropriate to prose. Clearness is secured by using the words (nouns and verbs alike) that are current and ordinary. Freedom from meanness, and positive adornment too, are secured by using the other words mentioned in the Art of Poetry. Such variation from what is usual makes the language appear more stately. People do not feel towards strangers as they do towards their own countrymen, and the same thing is true of their feeling for language. It is therefore well to give to everyday speech an unfamiliar air: people like what strikes them, and are struck by what is out of the way. In verse such effects are common, and there they are fitting: the persons and things there spoken of are comparatively remote from ordinary life. In prose passages they are far less often fitting because the subject-matter is less exalted. Even in poetry, it is not quite appropriate that fine language should be used by a slave or a very young man, or about very trivial subjects: even in poetry the style, to be appropriate, must sometimes be toned down, though at other times heightened. We can now see that a writer must disguise his art and give the impression of speaking naturally and not artificially. Naturalness is persuasive, artificiality is the contrary; for our hearers are prejudiced and think we have some design against them, as if we were mixing their wines for them. It is like the difference between the quality of Theodorus' voice and the voices of all other actors: his really seems to be that of the character who is speaking, theirs do not. We can hide our purpose successfully by taking the single words of our composition from the speech of ordinary life. This is done in poetry by Euripides, who was the first to show the way to his successors.	RHETORIC Book III
We may, then, start from the observations there made, including the definition of style. Style to be good must be clear, as is proved by the fact that speech which fails to convey a plain meaning will fail to do just what speech has to do. It must also be appropriate, avoiding both meanness and undue elevation; poetical language is certainly free from meanness, but it is not appropriate to prose. Clearness is secured by using the words (nouns and verbs alike) that are current and ordinary. Freedom from meanness, and positive adornment too, are secured by using the other words mentioned in the Art of Poetry. Such variation from what is usual makes the language appear more stately. People do not feel towards strangers as they do towards their own countrymen, and the same thing is true of their feeling for language. It is therefore well to give to everyday speech an unfamiliar air: people like what strikes them, and are struck by what is out of the way. In verse such effects are common, and there they are fitting: the persons and things there spoken of are comparatively remote from ordinary life. In prose passages they are far less often fitting because the subject-matter is less exalted. Even in poetry, it is not quite appropriate that fine language should be used by a slave or a very young man, or about very trivial subjects: even in poetry the style, to be appropriate, must sometimes be toned down, though at other times heightened. We can now see that a writer must disguise his art and give the impression of speaking naturally and not artificially. Naturalness is persuasive, artificiality is the contrary; for our hearers are prejudiced and think we have some design against them, as if we were mixing their wines for them. It is like the difference between the quality of Theodorus' voice and the voices of all other actors: his really seems to be that of the character who is speaking, theirs do not. We can hide our purpose successfully by taking the single words of our composition from the speech of ordinary life. This is done in poetry by Euripides, who was the first to show the way to his successors.	RHETORIC Book III
In the Art of Poetry, as we have already said, will be found definitions of these kinds of words; a classification of Metaphors; and mention of the fact that metaphor is of great value both in poetry and in prose. Prose-writers must, however, pay specially careful attention to metaphor, because their other resources are scantier than those of poets. Metaphor, moreover, gives style clearness, charm, and distinction as nothing else can: and it is not a thing whose use can be taught by one man to another. Metaphors, like epithets, must be fitting, which means that they must fairly correspond to the thing signified: failing this, their inappropriateness will be conspicuous: the want of harmony between two things is emphasized by their being placed side by side. It is like having to ask ourselves what dress will suit an old man; certainly not the crimson cloak that suits a young man. And if you wish to pay a compliment, you must take your metaphor from something better in the same line; if to disparage, from something worse. To illustrate my meaning: since opposites are in the same class, you do what I have suggested if you say that a man who begs 'prays', and a man who prays 'begs'; for praying and begging are both varieties of asking. So Iphicrates called Callias a 'mendicant priest' instead of a 'torch-bearer', and Callias replied that Iphicrates must be uninitiated or he would have called him not a 'mendicant priest' but a 'torch-bearer'. Both are religious titles, but one is honourable and the other is not. Again, somebody calls actors 'hangers — on of Dionysus', but they call themselves 'artists': each of these terms is a metaphor, the one intended to throw dirt at the actor, the other to dignify him. And pirates now call themselves 'purveyors'. We can thus call a crime a mistake, or a mistake a crime. We can say that a thief 'took' a thing, or that he 'plundered' his victim. An expression like that of Euripides' Telephus,	RHETORIC Book III
is inappropriate; the word 'king' goes beyond the dignity of the subject, and so the art is not concealed. A metaphor may be amiss because the very syllables of the words conveying it fail to indicate sweetness of vocal utterance. Thus Dionysius the Brazen in his elegies calls poetry 'Calliope's screech'. Poetry and screeching are both, to be sure, vocal utterances. But the metaphor is bad, because the sounds of 'screeching', unlike those of poetry, are discordant and unmeaning. Further, in using metaphors to give names to nameless things, we must draw them not from remote but from kindred and similar things, so that the kinship is clearly perceived as soon as the words are said. Thus in the celebrated riddle "I marked how a man glued bronze with fire to another man's body," the process is nameless; but both it and gluing are a kind of application, and that is why the application of the cupping-glass is here called a 'gluing'. Good riddles do, in general, provide us with satisfactory metaphors: for metaphors imply riddles, and therefore a good riddle can furnish a good metaphor. Further, the materials of metaphors must be beautiful; and the beauty, like the ugliness, of all words may, as Licymnius says, lie in their sound or in their meaning. Further, there is a third consideration — one that upsets the fallacious argument of the sophist Bryson, that there is no such thing as foul language, because in whatever words you put a given thing your meaning is the same. This is untrue. One term may describe a thing more truly than another, may be more like it, and set it more intimately before our eyes. Besides, two different words will represent a thing in two different lights; so on this ground also one term must be held fairer or fouler than another. For both of two terms will indicate what is fair, or what is foul, but not simply their fairness or their foulness, or if so, at any rate not in an equal degree. The materials of metaphor must be beautiful to the ear, to the understanding, to the eye or some other physical sense. It is better, for instance, to say 'rosy-fingered morn', than 'crimson-fingered' or, worse still, 'red-fingered morn'. The epithets that we apply, too, may have a bad and ugly aspect, as when Orestes is called a 'mother-slayer'; or a better one, as when he is called his 'father's avenger'. Simonides, when the victor in the mule-race offered him a small fee, refused to write him an ode, because, he said, it was so unpleasant to write odes to half-asses: but on receiving an adequate fee, he wrote "Hail to you, daughters of storm-footed steeds?"	RHETORIC Book III
All the variations of oratorical style are capable of being used in season or out of season. The best way to counteract any exaggeration is the well-worn device by which the speaker puts in some criticism of himself; for then people feel it must be all right for him to talk thus, since he certainly knows what he is doing. Further, it is better not to have everything always just corresponding to everything else — you r hearers will see through you less easily thus. I mean for instance, if your words are harsh, you should not extend this harshness to your voice and your countenance and have everything else in keeping. If you do, the artificial character of each detail becomes apparent; whereas if you adopt one device and not another, you are using art all the same and yet nobody notices it. (To be sure, if mild sentiments are expressed in harsh tones and harsh sentiments in mild tones, you become comparatively unconvincing.) Compound words, fairly plentiful epithets, and strange words best suit an emotional speech. We forgive an angry man for talking about a wrong as 'heaven-high' or 'colossal'; and we excuse such language when the speaker has his hearers already in his hands and has stirred them deeply either by praise or blame or anger or affection, as Isocrates, for instance, does at the end of his Panegyric, with his 'name and fame' and 'in that they brooked'. Men do speak in this strain when they are deeply stirred, and so, once the audience is in a like state of feeling, approval of course follows. This is why such language is fitting in poetry, which is an inspired thing. This language, then, should be used either under stress of emotion, or ironically, after the manner of Gorgias and of the passages in the Phaedrus.	RHETORIC Book III
A speech has two parts. You must state your case, and you must prove it. You cannot either state your case and omit to prove it, or prove it without having first stated it; since any proof must be a proof of something, and the only use of a preliminary statement is the proof that follows it. Of these two parts the first part is called the Statement of the case, the second part the Argument, just as we distinguish between Enunciation and Demonstration. The current division is absurd. For 'narration' surely is part of a forensic speech only: how in a political speech or a speech of display can there be 'narration' in the technical sense? or a reply to a forensic opponent? or an epilogue in closely-reasoned speeches? Again, introduction, comparison of conflicting arguments, and recapitulation are only found in political speeches when there is a struggle between two policies. They may occur then; so may even accusation and defence, often enough; but they form no essential part of a political speech. Even forensic speeches do not always need epilogues; not, for instance, a short speech, nor one in which the facts are easy to remember, the effect of an epilogue being always a reduction in the apparent length. It follows, then, that the only necessary parts of a speech are the Statement and the Argument. These are the essential features of a speech; and it cannot in any case have more than Introduction, Statement, Argument, and Epilogue. 'Refutation of the Opponent' is part of the arguments: so is 'Comparison' of the opponent's case with your own, for that process is a magnifying of your own case and therefore a part of the arguments, since one who does this proves something. The Introduction does nothing like this; nor does the Epilogue — it merely reminds us of what has been said already. If we make such distinctions we shall end, like Theodorus and his followers, by distinguishing 'narration' proper from 'post-narration' and 'pre-narration', and 'refutation' from 'final refutation'. But we ought only to bring in a new name if it indicates a real species with distinct specific qualities; otherwise the practice is pointless and silly, like the way Licymnius invented names in his Art of Rhetoric — 'Secundation', 'Divagation', 'Ramification'.	RHETORIC Book III
Narration in ceremonial oratory is not continuous but intermittent. There must, of course, be some survey of the actions that form the subject-matter of the speech. The speech is a composition containing two parts. One of these is not provided by the orator's art, viz. the actions themselves, of which the orator is in no sense author. The other part is provided by his namely, the proof (where proof is needed) that the actions were done, the description of their quality or of their extent, or even all these three things together. Now the reason why sometimes it is not desirable to make the whole narrative continuous is that the case thus expounded is hard to keep in mind. Show, therefore, from one set of facts that your hero is, e.g. brave, and from other sets of facts that he is able, just, &c. A speech thus arranged is comparatively simple, instead of being complicated and elaborate. You will have to recall well-known deeds among others; and because they are well-known, the hearer usually needs no narration of them; none, for instance, if your object is the praise of Achilles; we all know the facts of his life — what you have to do is to apply those facts. But if your object is the praise of Critias, you must narrate his deeds, which not many people know of...	RHETORIC Book III
Not every problem, nor every thesis, should be examined, but only one which might puzzle one of those who need argument, not punishment or perception. For people who are puzzled to know whether one ought to honour the gods and love one's parents or not need punishment, while those who are puzzled to know whether snow is white or not need perception. The subjects should not border too closely upon the sphere of demonstration, nor yet be too far removed from it: for the former cases admit of no doubt, while the latter involve difficulties too great for the art of the trainer.	TOPICS Book I
Moreover, there is the sophistic turn of argument, whereby we draw our opponent into the kind of statement against which we shall be well supplied with lines of argument. This process is sometimes a real necessity, sometimes an apparent necessity, sometimes neither an apparent nor a real necessity. It is really necessary whenever the answerer has denied any view that would be useful in attacking the thesis, and the questioner thereupon addresses his arguments to the support of this view, and when moreover the view in question happens to be one of a kind on which he has a good stock of lines of argument. Likewise, also, it is really necessary whenever he (the questioner) first, by an induction made by means of the view laid down, arrives at a certain statement and then tries to demolish that statement: for when once this has been demolished, the view originally laid down is demolished as well. It is an apparent necessity, when the point to which the discussion comes to be directed appears to be useful, and relevant to the thesis, without being really so; whether it be that the man who is standing up to the argument has refused to concede something, or whether he (the questioner) has first reached it by a plausible induction based upon the thesis and then tries to demolish it. The remaining case is when the point to which the discussion comes to be directed is neither really nor apparently necessary, and it is the answerer's luck to be confuted on a mere side issue You should beware of the last of the aforesaid methods; for it appears to be wholly disconnected from, and foreign to, the art of dialectic. For this reason, moreover, the answerer should not lose his temper, but assent to those statements that are of no use in attacking the thesis, adding an indication whenever he assents although he does not agree with the view. For, as a rule, it increases the confusion of questioners if, after all propositions of this kind have been granted them, they can then draw no conclusion.	TOPICS Book II
Moreover, if one thing exceeds while the other falls short of the same standard of good, the one which exceeds is the more desirable; or if the one exceeds an even higher standard. Nay more, if there be two things both preferable to something, the one which is more highly preferable to it is more desirable than the less highly preferable. Moreover, when the excess of a thing is more desirable than the excess of something else, that thing is itself also more desirable than the other, as (e.g.) friendship than money: for an excess of friendship is more desirable than an excess of money. So also that of which a man would rather that it were his by his own doing is more desirable than what he would rather get by another's doing, e.g. friends than money. Moreover, judge by means of an addition, and see if the addition of A to the same thing as B makes the whole more desirable than does the addition of B. You must, however, beware of adducing a case in which the common term uses, or in some other way helps the case of, one of the things added to it, but not the other, as (e.g.) if you took a saw and a sickle in combination with the art of carpentry: for in the combination the saw is a more desirable thing, but it is not a more desirable thing without qualification. Again, a thing is more desirable if, when added to a lesser good, it makes the whole greater good. Likewise, also, you should judge by means of subtraction: for the thing upon whose subtraction the remainder is a lesser good may be taken to be a greater good, whichever it be whose subtraction makes the remainder a lesser good.	TOPICS Book III