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External Content.Pdf The Stoic Theory of Beauty The Stoic Theory of Beauty Aistė Čelkytė Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Aistė Čelkytė, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Adobe Sabon by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 6161 0 (hardback) ISBN 978 1 4744 6163 4 (webready PDF) ISBN 978 1 4744 6164 1 (epub) The right of Aistė Čelkytė to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi Note to the Reader vii 1 Beauty and Its Problems: Introduction 1 2 The Problem of Indifferents 26 3 The Beautiful and the Good 47 4 ‘The wise man is no true Scotsman’: The Stoics on Human Beauty 78 5 Beauty in Stoic Theological Arguments 101 6 The Stoic Definition of Beauty as Summetria 144 7 Aesthetics in Stoicism and Stoicism in Aesthetics 171 Bibliography 192 Index Locorum 208 General Index 214 Acknowledgements As this book is a heavily revised version of my doctoral thesis, Chrysippus on the Beautiful: Studies in a Stoic Conception of Aesthetic Properties, I would like to thank my supervisor, Professor Stephen Halliwell, whose advice to develop a rigorous work ethic above all else has seen me through the long process of completing this project. I am grateful to a number of people who discussed this work with me and offered their comments, especially Alex Long, Chris Gill, Sarah Broadie, Tomohiko Kondo and Kei Chiba. I would also like to thank the members of the ancient philosophy group in Utrecht, especially Teun Tieleman, for their support and enouragement. A version of Chapter 6 of this work has previously been pub- lished as a journal article in the Classical Quarterly. vi Note to the Reader All Greek and Latin text comes from standard modern editions (unless otherwise indicated): Oxford Classical Texts for Plato, Aristotle, Diogenes Laertius, Plotinus, Seneca; Teubner editions for Sextus Empiricus, Epictetus, Olympiodorus, Cicero; Loeb edition for Plutarch; Commentaria in Aristotelem Graeca edition for Alexander of Aphrodisias. All translations are indicated in notes. Secondary literature is quoted in the notes by author’s name and date. Names of ancient authors are given in full, while abbreviations of their titles mostly follow the conventions of the Oxford Classical Dictionary, fourth edition, edited by S. Hornblower, A. Spawforth and E. Eidinow (Oxford: Oxford University Press, 2012). Fragments collections and other notable abbreviations are as follows: DK H. Diels and W. Kranz (eds) (1951–2), Die Fragmente der Vorsokratiker, 3 vols, Berlin. K C. Kühn (ed.) (1821–33), Claudii Galeni Opera Omnia, 20 vols, Leipzig. LS A. Long and D. Sedley (eds) (1987), The Hellenistic Philosophers, 2 vols, Cambridge. MM Galenus, Methodus Medendi. SVF H. F. A. von Arnim (1903–24), Stoicorum Veterum Fragmenta, 3 vols, Leipzig. U H. Usener (ed.) (1887), Epicurea, Leipzig. vii viii The Stoic Theory of Beauty UP Galenus, De Usu Partium. W C. Wachsmuth (ed.) (1884), Ioannis Stobaei Anthologii libri duo priores qui inscribi solent Eclogae physicae et ethicae, 2 vols, Berlin. 1 Beauty and Its Problems: Introduction ‘A theory of beauty would be a good thing to have . ’ Denis Donoghue, Speaking of Beauty1 Stoics and their place in ancient aesthetics Beauty is often taken to be a part of the standard philosophical curriculum, yet there are not many comprehensive histories of Western thought on the subject. One of the more recent of such studies is Wladyslaw Tatarkiewicz’s The History of Aesthetics. In this work, Tatarkiewicz presents a taxonomy of the theories and con- ceptualisations of beauty. The ‘original Greek concept of beauty’ is the first type of theory. Tatarkiewicz explains this type of theory by contrasting it with the prevalent understanding of beauty in Europe from the eighteenth century, which constitutes the second type of theory in his classification. He claims that the former is broader than the latter, as it is applicable not only to shapes, sounds and sights, but also to thoughts and customs.2 The second type of concept of beauty, meanwhile, includes aesthetic experiences only.3 So far, Tatarkiewicz’s account is, by and large, fairly standard. The third category in his taxonomy, however, is a surprising one. While the first category summarises Greek literature and philosophy in an overarching manner, as if all Greek texts shared a single concept of beauty, the third category singles out one line of thought within the Greek tradition. It is the Stoic theory of beauty. According to 1 2 The Stoic Theory of Beauty Tatarkiewicz, the Stoics presented an aesthetic concept of beauty, but their theory recognised only visual beauty,4 and, for this reason, the Stoic theory constitutes a distinct category in his taxonomy. Tatarkiewicz’s taxonomy of the theories of beauty can be ques- tioned and criticised in multiple ways,5 but the peculiar addition of Stoicism to what would otherwise be a relatively standard classifica- tion of the theories of beauty is thought-provoking. One might wonder whether the Stoic6 account was indeed sufficiently differ- ent from the other concepts employed by Greek philosophers and writers to deserve its own category. Before investigating whether the Stoics deserve a category of their own, however, it is important to examine Tatarkiewicz’s motivation for singling out Stoicism. Tatarkiewicz is not very explicit about his motivation, but it is likely that he describes the Stoic conceptualisation of beauty as restricted to the visual realm due to the tension between the standard interpretation of Stoic philosophy and the presence of the aesthetic vocabulary in Stoic arguments. Tatarkiewicz points out in his History of Aesthetics that the Stoics’ ‘philosophical principles were not suited to make aestheticians of them’.7 This statement was very likely inspired by the Stoics’ reputation as strict moralists who argue that it is crucial to remain unaffected by life’s joys and sorrows alike. If Stoicism is viewed in this way, it would be natural to assume that the Stoics adopted an equally indifferent attitude towards beauty and, thus, their principles led them away from aesthetics. The understanding of Stoicism as a philosophy which requires its followers to be ascetics who shun ordinary human experiences, however, does not take into account all of the available evidence. One might be led into thinking this way by noting that the Stoics classified beauty as a preferred indifferent,8 which seems to suggest that a Stoic ought not to be concerned about beauty. At the same time, there is a surviving Stoic definition of beauty assummetria of parts with one another and with the whole accompanied, at least in some cases, by the examples of visual beauty. These two pieces of evidence might be the reason why Tatarkiewicz writes that the only concept of beauty subscribed to by the Stoics was an aesthetic concept of visual beauty. Such a stance on beauty would be unique, Beauty and Its Problems: Introduction 3 so it is unsurprising that Tatarkiewicz presents the Stoic idea as not being comparable to any other theory and deserving of its own category. There are, however, some additional Stoic arguments that are not mentioned by Tatarkiewicz. In these arguments, beauty terms are employed to describe phenomena that are not visual and, in some cases, are related to morality, thus indicating that the Stoic concept of beauty might have been more complex than Tatarkiewicz acknowledges it to be. There are at least two groups of problematic evidence.9 First, the texts that record the definition of beauty as summetria also state that just as the summetria of limbs accounts for the beauty of the body, so an analogous phenomenon accounts for the beauty of the soul. Second, the infamous Stoic paradox stating that only the wise man is beautiful suggests that the Stoics presented some reflections on the question of what human beauty amounts to which took into account much more than visual appearance. The claim that only the wise man is beautiful is not compatible with the concept of beauty as an aesthetic property restricted to visual appearance alone. Therefore, the Stoics either conceptualised beauty in a more complex way than Tatarkiewicz suggests, or they had more than one concept and some of those concepts accounted for more than visual beauty. Interestingly, this evidence also shows that beauty is not con- trasted with morality in Stoic arguments, as one might expect given the Stoic view that conventional goods are of indifferent value. In fact, there is little evidence that prominent early Stoics such as Chrysippus wrote about beauty as possessing or lacking intrinsic value.10 One of the extant arguments states that only the beautiful (τὸ καλόν) is the good, but, as will be argued in Chapter 3, the context of this argument shows that it concerns an infer- ence about the properties of the good rather than the equation of beauty with morality. Beauty, in this case, plays an instrumental role in making such inferences. There is also a group of surviving theological arguments which state that the beauty of the world, especially astronomical phenomena, is an indication of the manner in which the world was generated.
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