All thinkers then agree in making the contraries principles, both those who describe the All as one and unmoved (for even Parmenides treats hot and cold as principles under the names of fire and earth) and those too who use the rare and the dense. The same is true of Democritus also, with his plenum and void, both of which exist, be says, the one as being, the other as not-being. Again he speaks of differences in position, shape, and order, and these are genera of which the species are contraries, namely, of position, above and below, before and behind; of shape, angular and angle-less, straight and round.
It is plain then that they all in one way or another identify the contraries with the principles. And with good reason. For first principles must not be derived from one another nor from anything else, while everything has to be derived from them. But these conditions are fulfilled by the primary contraries, which are not derived from anything else because they are primary, nor from each other because they are contraries.
But we must see how this can be arrived at as a reasoned result, as well as in the way just indicated.
Our first presupposition must be that in nature nothing acts on, or is acted on by, any other thing at random, nor may anything come from anything else, unless we mean that it does so in virtue of a concomitant attribute. For how could ‘white’ come from ‘musical’, unless ‘musical’
happened to be an attribute of the not-white or of the black? No, ‘white’
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comes from ‘not-white’-and not from any ‘not-white’, but from black or some intermediate colour. Similarly, ‘musical’ comes to be from ‘not-musical’, but not from any thing other than musical, but from ‘unmusical’ or any intermediate state there may be.
Nor again do things pass into the first chance thing; ‘white’ does not pass into ‘musical’ (except, it may be, in virtue of a concomitant attribute), but into ‘not-white’-and not into any chance thing which is not white, but into black or an intermediate colour; ‘musical’ passes into
‘not-musical’-and not into any chance thing other than musical, but into
‘unmusical’ or any intermediate state there may be.
The same holds of other things also: even things which are not simple but complex follow the same principle, but the opposite state has not received a name, so we fail to notice the fact. What is in tune must come from what is not in tune, and vice versa; the tuned passes into untunedness-and not into any untunedness, but into the corresponding opposite. It does not matter whether we take attunement, order, or composition for our illustration; the principle is obviously the same in all, and in fact applies equally to the production of a house, a statue, or any other complex. A house comes from certain things in a certain state of separation instead of conjunction, a statue (or any other thing that has been shaped) from shapelessness-each of these objects being partly order and partly composition.
If then this is true, everything that comes to be or passes away from, or passes into, its contrary or an intermediate state. But the intermediates are derived from the contraries-colours, for instance, from black and white. Everything, therefore, that comes to be by a natural process is either a contrary or a product of contraries.
Up to this point we have practically had most of the other writers on the subject with us, as I have said already: for all of them identify their elements, and what they call their principles, with the contraries, giving no reason indeed for the theory, but contrained as it were by the truth itself. They differ, however, from one another in that some assume contraries which are more primary, others contraries which are less so: some those more knowable in the order of explanation, others those more familiar to sense. For some make hot and cold, or again moist and dry, the conditions of becoming; while others make odd and even, or again Love and Strife; and these differ from each other in the way mentioned.
Hence their principles are in one sense the same, in another different; different certainly, as indeed most people think, but the same inasmuch as they are analogous; for all are taken from the same table of columns, 429
some of the pairs being wider, others narrower in extent. In this way then their theories are both the same and different, some better, some worse; some, as I have said, take as their contraries what is more knowable in the order of explanation, others what is more familiar to sense.
(The universal is more knowable in the order of explanation, the particular in the order of sense: for explanation has to do with the universal, sense with the particular.) ‘The great and the small’, for example, belong to the former class, ‘the dense and the rare’ to the latter.
It is clear then that our principles must be contraries.
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div id="section6" class="section" title="6"> 6
The next question is whether the principles are two or three or more in number.
One they cannot be, for there cannot be one contrary. Nor can they be innumerable, because, if so, Being will not be knowable: and in any one genus there is only one contrariety, and substance is one genus: also a finite number is sufficient, and a finite number, such as the principles of Empedocles, is better than an infinite multitude; for Empedocles professes to obtain from his principles all that Anaxagoras obtains from his innumerable principles. Lastly, some contraries are more primary than others, and some arise from others-for example sweet and bitter, white and black-whereas the principles must always remain principles.
This will suffice to show that the principles are neither one nor innumerable.
Granted, then, that they are a limited number, it is plausible to suppose them more than two. For it is difficult to see how either density should be of such a nature as to act in any way on rarity or rarity on density. The same is true of any other pair of contraries; for Love does not gather Strife together and make things out of it, nor does Strife make anything out of Love, but both act on a third thing different from both.
Some indeed assume more than one such thing from which they construct the world of nature.
Other objections to the view that it is not necessary to assume a third principle as a substratum may be added. (1) We do not find that the contraries constitute the substance of any thing. But what is a first principle ought not to be the predicate of any subject. If it were, there would be a principle of the supposed principle: for the subject is a principle, and prior presumably to what is predicated of it. Again (2) we hold that a 430
substance is not contrary to another substance. How then can substance be derived from what are not substances? Or how can non-substances be prior to substance?
If then we accept both the former argument and this one, we must, to preserve both, assume a third somewhat as the substratum of the contraries, such as is spoken of by those who describe the All as one nature-water or fire or what is intermediate between them. What is intermediate seems preferable; for fire, earth, air, and water are already involved with pairs of contraries. There is, therefore, much to be said for those who make the underlying substance different from these four; of the rest, the next best choice is air, as presenting sensible differences in a less degree than the others; and after air, water. All, however, agree in this, that they differentiate their One by means of the contraries, such as density and rarity and more and less, which may of course be generalized, as has already been said into excess and defect. Indeed this doctrine too (that the One and excess and defect are the principles of things) would appear to be of old standing, though in different forms; for the early thinkers made the two the active and the one the passive principle, whereas some of the more recent maintain the reverse.
To suppose then that the elements are three in number would seem, from these and similar considerations, a plausible view, as I said before.
On the other hand, the view that they are more than three in number would seem to be untenable.
For the one substratum is sufficient to be acted on; but if we have four contraries, there will be two contrarieties, and we shall have to suppose an intermediate nature for each pair separately. If, on the other hand, the contrarieties, being two, can generate from each other, the second contrariety will be superfluous. Moreover, it is impossible that there should be more than one primary contrariety. For substance is a single genus of being, so that the principles can differ only as prior and posterior, not in genus; in a single genus there is always a single contrariety, all the other contrarieties in it being held to be reducible to one.
It is clear then that the number of elements is neither one nor more than two or three; but whether two or three is, as I said, a question of considerable difficulty.
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7
We will now give our own account, approaching the question first with reference to becoming in its widest sense: for we shall be following the natural order of inquiry if we speak first of common characteristics, and then investigate the characteristics of special cases.
We say that one thing comes to be from another thing, and one sort of thing from another sort of thing, both in the case of simple and of complex things. I mean the following. We can say (1) ‘man becomes musical’, (2) what is ‘not-musical becomes musical’, or (3), the ‘not-musical man becomes a musical man’. Now what becomes in (1) and (2)-’man’ and
‘not musical’-I call simple, and what each becomes-’musical’-simple also.
But when (3) we say the ‘not-musical man becomes a musical man’, both what becomes and what it becomes are complex.
As regards one of these simple ‘things that become’ we say not only
‘this becomes so-and-so’, but also ‘from being this, comes to be so-andso’, as ‘from being not-musical comes to be musical’; as regards the other we do not say this in all cases, as we do not say (1) ‘from being a man he came to be musical’ but only ‘the man became musical’.
When a ‘simple’ thing is said to become something, in one case (1) it survives through the process, in the other (2) it does not. For man remains a man and is such even when he becomes musical, whereas what is not musical or is unmusical does not continue to exist, either simply or combined with the subject.
These distinctions drawn, one can gather from surveying the various cases of becoming in the way we are describing that, as we say, there must always be an underlying something, namely that which becomes, and that this, though always one numerically, in form at least is not one.
(By that I mean that it can be described in different ways.) For ‘to be man’ is not the same as ‘to be unmusical’. One part survives, the other does not: what is not an opposite survives (for ‘man’ survives), but ‘not-musical’ or ‘unmusical’ does not survive, nor does the compound of the two, namely ‘unmusical man’.
We speak of ‘becoming that from this’ instead of ‘this becoming that’
more in the case of what does not survive the change-’becoming musical from unmusical’, not ‘from man’-but there are exceptions, as we sometimes use the latter form of expression even of what survives; we speak of ‘a statue coming to be from bronze’, not of the ‘bronze becoming a statue’. The change, however, from an opposite which does not survive is described indifferently in both ways, ‘becoming that from this’ or ‘this becoming that’. We say both that ‘the unmusical becomes musical’, and 432
that ‘from unmusical he becomes musical’. And so both forms are used of the complex, ‘becoming a musical man from an unmusical man’, and unmusical man becoming a musical man’.
But there are different senses of ‘coming to be’. In some cases we do not use the expression ‘come to be’, but ‘come to be so-and-so’. Only substances are said to ‘come to be’ in the unqualified sense.
Now in all cases other than substance it is plain that there must be some subject, namely, that which becomes. For we know that when a thing comes to be of such a quantity or quality or in such a relation, time, or place, a subject is always presupposed, since substance alone is not predicated of another subject, but everything else of substance.
But that substances too, and anything else that can be said ‘to be’
without qualification, come to be from some substratum, will appear on examination. For we find in every case something that underlies from which proceeds that which comes to be; for instance, animals and plants from seed.
Generally things which come to be, come to be in different ways: (1) by change of shape, as a statue; (2) by addition, as things which grow; (3) by taking away, as the Hermes from the stone; (4) by putting together, as a house; (5) by alteration, as things which ‘turn’ in respect of their material substance.
It is plain that these are all cases of coming to be from a substratum.
Thus, clearly, from what has been said, whatever comes to be is always complex. There is, on the one hand, (a) something which comes in-to existence, and again (b) something which becomes that-the latter (b) in two senses, either the subject or the opposite. By the ‘opposite’ I mean the ‘unmusical’, by the ‘subject’ ‘man’, and similarly I call the absence of shape or form or order the ‘opposite’, and the bronze or stone or gold the
‘subject’.
Plainly then, if there are conditions and principles which constitute natural objects and from which they primarily are or have come to behave come to be, I mean, what each is said to be in its essential nature, not what each is in respect of a concomitant attribute-plainly, I say, everything comes to be from both subject and form. For ‘musical man’ is composed (in a way) of ‘man’ and ‘musical’: you can analyse it into the definitions of its elements. It is clear then that what comes to be will come to be from these elements.
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 433
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.
There is a sense, therefore, in which we must declare the principles to be two, and a sense in which they are three; a sense in which the contraries are the principles-say for example the musical and the unmusical, the hot and the cold, the tuned and the untuned-and a sense in which they are not, since it is impossible for the contraries to be acted on by each other. But this difficulty also is solved by the fact that the substratum is different from the contraries, for it is itself not a contrary. The principles therefore are, in a way, not more in number than the contraries, but as it were two, nor yet precisely two, since there is a difference of essential nature, but three. For ‘to be man’ is different from ‘to be unmusical’, and
‘to be unformed’ from ‘to be bronze’.
We have now stated the number of the principles of natural objects which are subject to generation, and how the number is reached: and it is clear that there must be a substratum for the contraries, and that the contraries must be two. (Yet in another way of putting it this is not necessary, as one of the contraries will serve to effect the change by its successive absence and presence.)
The underlying nature is an object of scientific knowledge, by an analogy. For as the bronze is to the statue, the wood to the bed, or the matter and the formless before receiving form to any thing which has form, so is the underlying nature to substance, i.e. the ‘this’ or existent.
This then is one principle (though not one or existent in the same sense as the ‘this’), and the definition was one as we agreed; then further there is its contrary, the privation. In what sense these are two, and in what sense more, has been stated above. Briefly, we explained first that only the contraries were principles, and later that a substratum was indispensable, and that the principles were three; our last statement has elucidated the difference between the contraries, the mutual relation of the principles, and the nature of the substratum. Whether the form or the substratum is the essential nature of a physical object is not yet clear. But that the principles are three, and in what sense, and the way in which each is a principle, is clear.
So much then for the question of the number and the nature of the principles.
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8
We will now proceed to show that the difficulty of the early thinkers, as well as our own, is solved in this way alone.
The first of those who studied science were misled in their search for truth and the nature of things by their inexperience, which as it were thrust them into another path. So they say that none of the things that are either comes to be or passes out of existence, because what comes to be must do so either from what is or from what is not, both of which are impossible. For what is cannot come to be (because it is already), and from what is not nothing could have come to be (because something must be present as a substratum). So too they exaggerated the consequence of this, and went so far as to deny even the existence of a plurality of things, maintaining that only Being itself is. Such then was their opinion, and such the reason for its adoption.
Our explanation on the other hand is that the phrases ‘something comes to be from what is or from what is not’, ‘what is not or what is does something or has something done to it or becomes some particular thing’, are to be taken (in the first way of putting our explanation) in the same sense as ‘a doctor does something or has something done to him’,
‘is or becomes something from being a doctor.’ These expressions may be taken in two senses, and so too, clearly, may ‘from being’, and ‘being acts or is acted on’. A doctor builds a house, not qua doctor, but qua housebuilder, and turns gray, not qua doctor, but qua dark-haired. On the other hand he doctors or fails to doctor qua doctor. But we are using words most appropriately when we say that a doctor does something or undergoes something, or becomes something from being a doctor, if he does, undergoes, or becomes qua doctor. Clearly then also ‘to come to be so-and-so from not-being’ means ‘qua not-being’.
It was through failure to make this distinction that those thinkers gave the matter up, and through this error that they went so much farther astray as to suppose that nothing else comes to be or exists apart from Being itself, thus doing away with all becoming.
We ourselves are in agreement with them in holding that nothing can be said without qualification to come from what is not. But nevertheless we maintain that a thing may ‘come to be from what is not’-that is, in a qualified sense. For a thing comes to be from the privation, which in its own nature is not-being,-this not surviving as a constituent of the result.
Yet this causes surprise, and it is thought impossible that something should come to be in the way described from what is not.
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In the same way we maintain that nothing comes to be from being, and that being does not come to be except in a qualified sense. In that way, however, it does, just as animal might come to be from animal, and an animal of a certain kind from an animal of a certain kind. Thus, suppose a dog to come to be from a horse. The dog would then, it is true, come to be from animal (as well as from an animal of a certain kind) but not as animal, for that is already there. But if anything is to become an animal, not in a qualified sense, it will not be from animal: and if being, not from being-nor from not-being either, for it has been explained that by ‘from not being’ we mean from not-being qua not-being.
Note further that we do not subvert the principle that everything either is or is not.
This then is one way of solving the difficulty. Another consists in pointing out that the same things can be explained in terms of potentiality and actuality. But this has been done with greater precision elsewhere. So, as we said, the difficulties which constrain people to deny the existence of some of the things we mentioned are now solved. For it was this reason which also caused some of the earlier thinkers to turn so far aside from the road which leads to coming to be and passing away and change generally. If they had come in sight of this nature, all their ignorance would have been dispelled.
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div id="section9" class="section" title="9"> 9
Others, indeed, have apprehended the nature in question, but not adequately.
In the first place they allow that a thing may come to be without qualification from not being, accepting on this point the statement of Parmenides. Secondly, they think that if the substratum is one numerically, it must have also only a single potentiality-which is a very different thing.
Now we distinguish matter and privation, and hold that one of these, namely the matter, is not-being only in virtue of an attribute which it has, while the privation in its own nature is not-being; and that the matter is nearly, in a sense is, substance, while the privation in no sense is.
They, on the other hand, identify their Great and Small alike with not being, and that whether they are taken together as one or separately. Their triad is therefore of quite a different kind from ours. For they got so far as to see that there must be some underlying nature, but they make it one-for even if one philosopher makes a dyad of it, which he calls Great 436
and Small, the effect is the same, for he overlooked the other nature. For the one which persists is a joint cause, with the form, of what comes to be-a mother, as it were. But the negative part of the contrariety may often seem, if you concentrate your attention on it as an evil agent, not to exist at all.
For admitting with them that there is something divine, good, and desirable, we hold that there are two other principles, the one contrary to it, the other such as of its own nature to desire and yearn for it. But the consequence of their view is that the contrary desires its wtextinction. Yet the form cannot desire itself, for it is not defective; nor can the contrary desire it, for contraries are mutually destructive. The truth is that what desires the form is matter, as the female desires the male and the ugly the beautiful-only the ugly or the female not per se but per accidens.
The matter comes to be and ceases to be in one sense, while in another it does not. As that which contains the privation, it ceases to be in its own nature, for what ceases to be-the privation-is contained within it. But as potentiality it does not cease to be in its own nature, but is necessarily outside the sphere of becoming and ceasing to be. For if it came to be, something must have existed as a primary substratum from which it should come and which should persist in it; but this is its own special nature, so that it will be before coming to be. (For my definition of matter is just this-the primary substratum of each thing, from which it comes to be without qualification, and which persists in the result.) And if it ceases to be it will pass into that at the last, so it will have ceased to be before ceasing to be.
The accurate determination of the first principle in respect of form, whether it is one or many and what it is or what they are, is the province of the primary type of science; so these questions may stand over till then. But of the natural, i.e. perishable, forms we shall speak in the expositions which follow.
The above, then, may be taken as sufficient to establish that there are principles and what they are and how many there are. Now let us make a fresh start and proceed.
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Physics, Book II
Translated by R. P. Hardie and R. K. Gaye
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div id="section10" class="section" title="1"> 1
Of things that exist, some exist by nature, some from other causes.
‘By nature’ the animals and their parts exist, and the plants and the simple bodies (earth, fire, air, water)-for we say that these and the like exist ‘by nature’.
All the things mentioned present a feature in which they differ from things which are not constituted by nature. Each of them has within itself a principle of motion and of stationariness (in respect of place, or of growth and decrease, or by way of alteration). On the other hand, a bed and a coat and anything else of that sort, qua receiving these designations i.e. in so far as they are products of art-have no innate impulse to change. But in so far as they happen to be composed of stone or of earth or of a mixture of the two, they do have such an impulse, and just to that extent which seems to indicate that nature is a source or cause of being moved and of being at rest in that to which it belongs primarily, in virtue of itself and not in virtue of a concomitant attribute.
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).
‘Nature’ then is what has been stated. Things ‘have a nature’which have a principle of this kind. Each of them is a substance; for it is a subject, and nature always implies a subject in which it inheres.
The term ‘according to nature’ is applied to all these things and also to the attributes which belong to them in virtue of what they are, for 438
instance the property of fire to be carried upwards-which is not a
‘nature’ nor ‘has a nature’ but is ‘by nature’ or ‘according to nature’.
What nature is, then, and the meaning of the terms ‘by nature’ and
‘according to nature’, has been stated. That nature exists, it would be absurd to try to prove; for it is obvious that there are many things of this kind, and to prove what is obvious by what is not is the mark of a man who is unable to distinguish what is self-evident from what is not. (This state of mind is clearly possible. A man blind from birth might reason about colours. Presumably therefore such persons must be talking about words without any thought to correspond.)
Some identify the nature or substance of a natural object with that immediate constituent of it which taken by itself is without arrangement, e.g. the wood is the ‘nature’ of the bed, and the bronze the ‘nature’ of the statue.
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.
But if the material of each of these objects has itself the same relation to something else, say bronze (or gold) to water, bones (or wood) to earth and so on, that (they say) would be their nature and essence. Consequently some assert earth, others fire or air or water or some or all of these, to be the nature of the things that are. For whatever any one of them supposed to have this character-whether one thing or more than one thing-this or these he declared to be the whole of substance, all else being its affections, states, or dispositions. Every such thing they held to be eternal (for it could not pass into anything else), but other things to come into being and cease to be times without number.
This then is one account of ‘nature’, namely that it is the immediate material substratum of things which have in themselves a principle of motion or change.
Another account is that ‘nature’ is the shape or form which is specified in the definition of the thing.
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 abou