either (a) as when we say that man is a knower, meaning that man falls within the class of beings that know or have knowledge, or (b) as when we are speaking of a man who possesses a knowledge of grammar; each of these is so called as having in him a certain potentiality, but there is a difference between their respective potentialities, the one (a) being a potential knower, because his kind or matter is such and such, the other (b), because he can in the absence of any external counteracting cause realize his knowledge in actual knowing at will. This implies a third meaning of
‘a knower’ (c), one who is already realizing his knowledge-he is a knower in actuality and in the most proper sense is knowing, e.g. this A. Both the former are potential knowers, who realize their respective potentialities, the one (a) by change of quality, i.e. repeated transitions from one state to its opposite under instruction, the other (b) by the transition from the inactive possession of sense or grammar to their active exercise. The two kinds of transition are distinct.
Also the expression ‘to be acted upon’ has more than one meaning; it may mean either (a) the extinction of one of two contraries by the other, or (b) the maintenance of what is potential by the agency of what is actual and already like what is acted upon, with such likeness as is compatible with one’s being actual and the other potential. For what possesses knowledge becomes an actual knower by a transition which is either not an alteration of it at all (being in reality a development into its true self or 867
actuality) or at least an alteration in a quite different sense from the usual meaning.
Hence it is wrong to speak of a wise man as being ‘altered’ when he uses his wisdom, just as it would be absurd to speak of a builder as being altered when he is using his skill in building a house.
What in the case of knowing or understanding leads from potentiality to actuality ought not to be called teaching but something else. That which starting with the power to know learns or acquires knowledge through the agency of one who actually knows and has the power of teaching either (a) ought not to be said ‘to be acted upon’ at all or (b) we must recognize two senses of alteration, viz. (i) the substitution of one quality for another, the first being the contrary of the second, or (ii) the development of an existent quality from potentiality in the direction of fixity or nature.
In the case of what is to possess sense, the first transition is due to the action of the male parent and takes place before birth so that at birth the living thing is, in respect of sensation, at the stage which corresponds to the possession of knowledge. Actual sensation corresponds to the stage of the exercise of knowledge. But between the two cases compared there is a difference; the objects that excite the sensory powers to activity, the seen, the heard, &c., are outside. The ground of this difference is that what actual sensation apprehends is individuals, while what knowledge apprehends is universals, and these are in a sense within the soul. That is why a man can exercise his knowledge when he wishes, but his sensation does not depend upon himself a sensible object must be there. A similar statement must be made about our knowledge of what is sensible-on the same ground, viz. that the sensible objects are individual and external.
A later more appropriate occasion may be found thoroughly to clear up all this. At present it must be enough to recognize the distinctions already drawn; a thing may be said to be potential in either of two senses, (a) in the sense in which we might say of a boy that he may become a general or (b) in the sense in which we might say the same of an adult, and there are two corresponding senses of the term ‘a potential sentient’. There are no separate names for the two stages of potentiality; we have pointed out that they are different and how they are different.
We cannot help using the incorrect terms ‘being acted upon or altered’ of the two transitions involved. As we have said, has the power of sensation is potentially like what the perceived object is actually; that is, while at the beginning of the process of its being acted upon the two 868
interacting factors are dissimilar, at the end the one acted upon is assimilated to the other and is identical in quality with it.
6
In dealing with each of the senses we shall have first to speak of the objects which are perceptible by each. The term ‘object of sense’ covers three kinds of objects, two kinds of which are, in our language, directly perceptible, while the remaining one is only incidentally perceptible. Of the first two kinds one (a) consists of what is perceptible by a single sense, the other (b) of what is perceptible by any and all of the senses. I call by the name of special object of this or that sense that which cannot be perceived by any other sense than that one and in respect of which no error is possible; in this sense colour is the special object of sight, sound of hearing, flavour of taste. Touch, indeed, discriminates more than one set of different qualities. Each sense has one kind of object which it discerns, and never errs in reporting that what is before it is colour or sound (though it may err as to what it is that is coloured or where that is, or what it is that is sounding or where that is.) Such objects are what we propose to call the special objects of this or that sense.
‘Common sensibles’ are movement, rest, number, figure, magnitude; these are not peculiar to any one sense, but are common to all. There are at any rate certain kinds of movement which are perceptible both by touch and by sight.
We speak of an incidental object of sense where e.g. the white object which we see is the son of Diares; here because ‘being the son of Diares’
is incidental to the directly visible white patch we speak of the son of Diares as being (incidentally) perceived or seen by us. Because this is only incidentally an object of sense, it in no way as such affects the senses. Of the two former kinds, both of which are in their own nature perceptible by sense, the first kind-that of special objects of the several senses-constitute the objects of sense in the strictest sense of the term and it is to them that in the nature of things the structure of each several sense is adapted.
7
The object of sight is the visible, and what is visible is (a) colour and (b) a certain kind of object which can be described in words but which has no single name; what we mean by (b) will be abundantly clear as we proceed. Whatever is visible is colour and colour is what lies upon what is in its own nature visible; ‘in its own nature’ here means not that 869
visibility is involved in the definition of what thus underlies colour, but that that substratum contains in itself the cause of visibility. Every colour has in it the power to set in movement what is actually transparent; that power constitutes its very nature. That is why it is not visible except with the help of light; it is only in light that the colour of a thing is seen.
Hence our first task is to explain what light is.
Now there clearly is something which is transparent, and by
‘transparent’ I mean what is visible, and yet not visible in itself, but rather owing its visibility to the colour of something else; of this character are air, water, and many solid bodies. Neither air nor water is transparent because it is air or water; they are transparent because each of them has contained in it a certain substance which is the same in both and is also found in the eternal body which constitutes the uppermost shell of the physical Cosmos. Of this substance light is the activity-the activity of what is transparent so far forth as it has in it the determinate power of becoming transparent; where this power is present, there is also the potentiality of the contrary, viz. darkness. Light is as it were the proper colour of what is transparent, and exists whenever the potentially transparent is excited to actuality by the influence of fire or something resembling ‘the uppermost body’; for fire too contains something which is one and the same with the substance in question.
We have now explained what the transparent is and what light is; light is neither fire nor any kind whatsoever of body nor an efflux from any kind of body (if it were, it would again itself be a kind of body)-it is the presence of fire or something resembling fire in what is transparent. It is certainly not a body, for two bodies cannot be present in the same place.
The opposite of light is darkness; darkness is the absence from what is transparent of the corresponding positive state above characterized; clearly therefore, light is just the presence of that.
Empedocles (and with him all others who used the same forms of expression) was wrong in speaking of light as ‘travelling’ or being at a given moment between the earth and its envelope, its movement being unobservable by us; that view is contrary both to the clear evidence of argument and to the observed facts; if the distance traversed were short, the movement might have been unobservable, but where the distance is from extreme East to extreme West, the draught upon our powers of belief is too great.
What is capable of taking on colour is what in itself is colourless, as what can take on sound is what is soundless; what is colourless includes (a) what is transparent and (b) what is invisible or scarcely visible, i.e.
870
what is ‘dark’. The latter (b) is the same as what is transparent, when it is potentially, not of course when it is actually transparent; it is the same substance which is now darkness, now light.
Not everything that is visible depends upon light for its visibility. This is only true of the ‘proper’ colour of things. Some objects of sight which in light are invisible, in darkness stimulate the sense; that is, things that appear fiery or shining. This class of objects has no simple common name, but instances of it are fungi, flesh, heads, scales, and eyes of fish.
In none of these is what is seen their own proper’ colour. Why we see these at all is another question. At present what is obvious is that what is seen in light is always colour. That is why without the help of light colour remains invisible. Its being colour at all means precisely its having in it the power to set in movement what is already actually transparent, and, as we have seen, the actuality of what is transparent is just light.
The following experiment makes the necessity of a medium clear. If what has colour is placed in immediate contact with the eye, it cannot be seen. Colour sets in movement not the sense organ but what is transparent, e.g. the air, and that, extending continuously from the object to the organ, sets the latter in movement. Democritus misrepresents the facts when he expresses the opinion that if the interspace were empty one could distinctly see an ant on the vault of the sky; that is an impossibility. Seeing is due to an affection or change of what has the perceptive faculty, and it cannot be affected by the seen colour itself; it remains that it must be affected by what comes between. Hence it is indispensable that there be something in between-if there were nothing, so far from seeing with greater distinctness, we should see nothing at all.
We have now explained the cause why colour cannot be seen otherwise than in light. Fire on the other hand is seen both in darkness and in light; this double possibility follows necessarily from our theory, for it is just fire that makes what is potentially transparent actually transparent.
The same account holds also of sound and smell; if the object of either of these senses is in immediate contact with the organ no sensation is produced. In both cases the object sets in movement only what lies between, and this in turn sets the organ in movement: if what sounds or smells is brought into immediate contact with the organ, no sensation will be produced. The same, in spite of all appearances, applies also to touch and taste; why there is this apparent difference will be clear later.
What comes between in the case of sounds is air; the corresponding medium in the case of smell has no name. But, corresponding to what is transparent in the case of colour, there is a quality found both in air and 871
water, which serves as a medium for what has smell-I say ‘in water’ because animals that live in water as well as those that live on land seem to possess the sense of smell, and ‘in air’ because man and all other land animals that breathe, perceive smells only when they breathe air in. The explanation of this too will be given later.
8
Now let us, to begin with, make certain distinctions about sound and hearing.
Sound may mean either of two things (a) actual, and (b) potential, sound. There are certain things which, as we say, ‘have no sound’, e.g.
sponges or wool, others which have, e.g. bronze and in general all things which are smooth and solid-the latter are said to have a sound because they can make a sound, i.e. can generate actual sound between themselves and the organ of hearing.
Actual sound requires for its occurrence (i, ii) two such bodies and (iii) a space between them; for it is generated by an impact. Hence it is impossible for one body only to generate a sound-there must be a body impinging and a body impinged upon; what sounds does so by striking against something else, and this is impossible without a movement from place to place.
As we have said, not all bodies can by impact on one another produce sound; impact on wool makes no sound, while the impact on bronze or any body which is smooth and hollow does. Bronze gives out a sound when struck because it is smooth; bodies which are hollow owing to reflection repeat the original impact over and over again, the body originally set in movement being unable to escape from the concavity.
Further, we must remark that sound is heard both in air and in water, though less distinctly in the latter. Yet neither air nor water is the principal cause of sound. What is required for the production of sound is an impact of two solids against one another and against the air. The latter condition is satisfied when the air impinged upon does not retreat before the blow, i.e. is not dissipated by it.
That is why it must be struck with a sudden sharp blow, if it is to sound-the movement of the whip must outrun the dispersion of the air, just as one might get in a stroke at a heap or whirl of sand as it was traveling rapidly past.
An echo occurs, when, a mass of air having been unified, bounded, and prevented from dissipation by the containing walls of a vessel, the air originally struck by the impinging body and set in movement by it 872
rebounds from this mass of air like a ball from a wall. It is probable that in all generation of sound echo takes place, though it is frequently only indistinctly heard. What happens here must be analogous to what happens in the case of light; light is always reflected-otherwise it would not be diffused and outside what was directly illuminated by the sun there would be blank darkness; but this reflected light is not always strong enough, as it is when it is reflected from water, bronze, and other smooth bodies, to cast a shadow, which is the distinguishing mark by which we recognize light.
It is rightly said that an empty space plays the chief part in the production of hearing, for what people mean by ‘the vacuum’ is the air, which is what causes hearing, when that air is set in movement as one continuous mass; but owing to its friability it emits no sound, being dissipated by impinging upon any surface which is not smooth. When the surface on which it impinges is quite smooth, what is produced by the original impact is a united mass, a result due to the smoothness of the surface with which the air is in contact at the other end.
What has the power of producing sound is what has the power of setting in movement a single mass of air which is continuous from the impinging body up to the organ of hearing. The organ of hearing is physically united with air, and because it is in air, the air inside is moved concurrently with the air outside. Hence animals do not hear with all parts of their bodies, nor do all parts admit of the entrance of air; for even the part which can be moved and can sound has not air everywhere in it. Air in itself is, owing to its friability, quite soundless; only when its dissipation is prevented is its movement sound. The air in the ear is built into a chamber just to prevent this dissipating movement, in order that the animal may accurately apprehend all varieties of the movements of the air outside. That is why we hear also in water, viz. because the water cannot get into the air chamber or even, owing to the spirals, into the outer ear. If this does happen, hearing ceases, as it also does if the tym-panic membrane is damaged, just as sight ceases if the membrane covering the pupil is damaged. It is also a test of deafness whether the ear does or does not reverberate like a horn; the air inside the ear has always a movement of its own, but the sound we hear is always the sounding of something else, not of the organ itself. That is why we say that we hear with what is empty and echoes, viz. because what we hear with is a chamber which contains a bounded mass of air.
Which is it that ‘sounds’, the striking body or the struck? Is not the answer ‘it is both, but each in a different way’? Sound is a movement of 873
what can rebound from a smooth surface when struck against it. As we have explained’ not everything sounds when it strikes or is struck, e.g. if one needle is struck against another, neither emits any sound. In order, therefore, that sound may be generated, what is struck must be smooth, to enable the air to rebound and be shaken off from it in one piece.
The distinctions between different sounding bodies show themselves only in actual sound; as without the help of light colours remain invisible, so without the help of actual sound the distinctions between acute and grave sounds remain inaudible. Acute and grave are here metaphors, transferred from their proper sphere, viz. that of touch, where they mean respectively (a) what moves the sense much in a short time, (b) what moves the sense little in a long time. Not that what is sharp really moves fast, and what is grave, slowly, but that the difference in the qualities of the one and the other movement is due to their respective speeds. There seems to be a sort of parallelism between what is acute or grave to hearing and what is sharp or blunt to touch; what is sharp as it were stabs, while what is blunt pushes, the one producing its effect in a short, the other in a long time, so that the one is quick, the other slow.
Let the foregoing suffice as an analysis of sound. Voice is a kind of sound characteristic of what has soul in it; nothing that is without soul utters voice, it being only by a metaphor that we speak of the voice of the flute or the lyre or generally of what (being without soul) possesses the power of producing a succession of notes which differ in length and pitch and timbre. The metaphor is based on the fact that all these differences are found also in voice. Many animals are voiceless, e.g. all non-sanuineous animals and among sanguineous animals fish. This is just what we should expect, since voice is a certain movement of air. The fish, like those in the Achelous, which are said to have voice, really make the sounds with their gills or some similar organ. Voice is the sound made by an animal, and that with a special organ. As we saw, everything that makes a sound does so by the impact of something (a) against something else, (b) across a space, (c) filled with air; hence it is only to be expected that no animals utter voice except those which take in air. Once air is inbreathed, Nature uses it for two different purposes, as the tongue is used both for tasting and for articulating; in that case of the two functions tasting is necessary for the animal’s existence (hence it is found more widely distributed), while articulate speech is a luxury subserving its possessor’s well-being; similarly in the former case Nature employs the breath both as an indispensable means to the regulation of the inner temperature of the living body and also as the matter of articulate voice, in 874
the interests of its possessor’s well-being. Why its former use is indispensable must be discussed elsewhere.
The organ of respiration is the windpipe, and the organ to which this is related as means to end is the lungs. The latter is the part of the body by which the temperature of land animals is raised above that of all others. But what primarily requires the air drawn in by respiration is not only this but the region surrounding the heart. That is why when animals breathe the air must penetrate inwards.
Voice then is the impact of the inbreathed air against the ‘windpipe’, and the agent that produces the impact is the soul resident in these parts of the body. Not every sound, as we said, made by an animal is voice (even with the tongue we may merely make a sound which is not voice, or without the tongue as in coughing); what produces the impact must have soul in it and must be accompanied by an act of imagination, for voice is a sound with a meaning, and is not merely the result of any impact of the breath as in coughing; in voice the breath in the windpipe is used as an instrument to knock with against the walls of the windpipe.
This is confirmed by our inability to speak when we are breathing either out or in-we can only do so by holding our breath; we make the movements with the breath so checked. It is clear also why fish are voiceless; they have no windpipe. And they have no windpipe because they do not breathe or take in air. Why they do not is a question belonging to another inquiry.
9
Smell and its object are much less easy to determine than what we have hitherto discussed; the distinguishing characteristic of the object of smell is less obvious than those of sound or colour. The ground of this is that our power of smell is less discriminating and in general inferior to that of many species of animals; men have a poor sense of smell and our apprehension of its proper objects is inseparably bound up with and so confused by pleasure and pain, which shows that in us the organ is inaccurate. It is probable that there is a parallel failure in the perception of colour by animals that have hard eyes: probably they discriminate differences of colour only by the presence or absence of what excites fear, and that it is thus that human beings distinguish smells. It seems that there is an analogy between smell and taste, and that the species of tastes run parallel to those of smells-the only difference being that our sense of taste is more discriminating than our sense of smell, because the former is a modification of touch, which reaches in man the maximum of 875
discriminative accuracy. While in respect of all the other senses we fall below many species of animals, in respect of touch we far excel all other species in exactness of discrimination. That is why man is the most intelligent of all animals. This is confirmed by the fact that it is to differences in the organ of touch and to nothing else that the differences between man and man in respect of natural endowment are due; men whose flesh is hard are ill-endowed by nature, men whose flesh is soft, wellendowed.
As flavours may be divided into (a) sweet, (b) bitter, so with smells. In some things the flavour and the smell have the same quality, i.e. both are sweet or both bitter, in others they diverge. Similarly a smell, like a flavour, may be pungent, astringent, acid, or succulent. But, as we said, because smells are much less easy to discriminate than flavours, the names of these varieties are applied to smells only metaphorically; for example
‘sweet’ is extended from the taste to the smell of saffron or honey,
‘pungent’ to that of thyme, and so on.
In the same sense in which hearing has for its object both the audible and the inaudible, sight both the visible and the invisible, smell has for its object both the odorous and the inodorous. ‘Inodorous’ may be either (a) what has no smell at all, or (b) what has a small or feeble smell. The same ambiguity lurks in the word ‘tasteless’.
Smelling, like the operation of the senses previously examined, takes place through a medium, i.e. through air or water-I add water, because water-animals too (both sanguineous and non-sanguineous) seem to smell just as much as land-animals; at any rate some of them make directly for their food from a distance if it has any scent. That is why the following facts constitute a problem for us. All animals smell in the same way, but man smells only when he inhales; if he exhales or holds his breath, he ceases to smell, no difference being made whether the odorous object is distant or near, or even placed inside the nose and actually on the wall of the nostril; it is a disability common to all the senses not to perceive what is in immediate contact with the organ of sense, but our failure to apprehend what is odorous without the help of inhalation is peculiar (the fact is obvious on making the experiment). Now since bloodless animals do not breathe, they must, it might be argued, have some novel sense not reckoned among the usual five. Our reply must be that this is impossible, since it is scent that is perceived; a sense that apprehends what is odorous and what has a good or bad odour cannot be anything but smell. Further, they are observed to be deleteriously effected by the same strong odours as man is, e.g. bitumen, sulphur, and the like. These animals must be able to smell without being able to 876
breathe. The probable explanation is that in man the organ of smell has a certain superiority over that in all other animals just as his eyes have over those of hard-eyed animals. Man’s eyes have in the eyelids a kind of shelter or envelope, which must be shifted or drawn back in order that we may see, while hardeyed animals have nothing of the kind, but at once see whatever presents itself in the transparent medium. Similarly in certain species of animals the organ of smell is like the eye of hard-eyed animals, uncurtained, while in others which take in air it probably has a curtain over it, which is drawn back in inhalation, owing to the dilating of the veins or pores. That explains also why such animals cannot smell under water; to smell they must first inhale, and that they cannot do under water.
Smells come from what is dry as flavours from what is moist. Consequently the organ of smell is potentially dry.
10
What can be tasted is always something that can be touched, and just for that reason it cannot be perceived through an interposed foreign body, for touch means the absence of any intervening body. Further, the flavoured and tasteable body is suspended in a liquid matter, and this is tangible. Hence, if we lived in water, we should perceive a sweet object introduced into the water, but the water would not be the medium through which we perceived; our perception would be due to the solution of the sweet substance in what we imbibed, just as if it were mixed with some drink. There is no parallel here to the perception of colour, which is due neither to any blending of anything with anything, nor to any efflux of anything from anything. In the case of taste, there is nothing corresponding to the medium in the case of the senses previously discussed; but as the object of sight is colour, so the object of taste is flavour. But nothing excites a perception of flavour without the help of liquid; what acts upon the sense of taste must be either actually or potentially liquid like what is saline; it must be both (a) itself easily dissolved, and (b) capable of dissolving along with itself the tongue. Taste apprehends both (a) what has taste and (b) what has no taste, if we mean by (b) what has only a slight or feeble flavour or what tends to destroy the sense of taste. In this it is exactly parallel to sight, which apprehends both what is visible and what is invisible (for darkness is invisible and yet is discriminated by sight; so is, in a different way, what is over brilliant), and to hearing, which apprehends both sound and silence, of which the one is audible and the other inaudible, and also over-loud 877
sound. This corresponds in the case of hearing to over-bright light in the case of sight. As a faint sound is ‘inaudible’, so in a sense is a loud or violent sound. The word ‘invisible’ and similar privative terms cover not only (a) what is simply without some power, but also (b) what is adapted by nature to have it but has not it or has it only in a very low degree, as when we say that a species of swallow is ‘footless’ or that a variety of fruit is ‘stoneless’. So too taste has as its object both what can be tasted and the tasteless-the latter in the sense of what has little flavour or a bad flavour or one destructive of taste. The difference between what is tasteless and what is not seems to rest ultimately on that between what is drinkable and what is undrinkable both are tasteable, but the latter is bad and tends to destroy taste, while the former is the normal stimulus of taste. What is drinkable is the common object of both touch and taste.
Since what can be tasted is liquid, the organ for its perception cannot be either (a) actually liquid or (b) incapable of becoming liquid. Tasting means a being affected by what can be tasted as such; hence the organ of taste must be liquefied, and so to start with must be non-liquid but capable of liquefaction without loss of its distinctive nature. This is confirmed by the fact that the tongue cannot taste either when it is too dry or when it is too moist; in the latter case what occurs is due to a contact with the pre-existent moisture in the tongue itself, when after a foretaste of some strong flavour we try to taste another flavour; it is in this way that sick persons find everything the