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Soul As Structure: Plato and Aristotle on the Harmonia Theory

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SOUL AS STRUCTURE: PLATO AND ARISTOTLE ON THE HARMONIA THEORY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Douglas Justin Young January 2007 © 2007 Douglas Justin Young ALL RIGHTS RESERVED SOUL AS STRUCTURE: PLATO AND ARISTOTLE ON THE HARMONIA THEORY Douglas Justin Young, Ph. D. Cornell University 2007 We are conscious beings who think, understand, feel and perceive. We are also material beings composed out of ordinary material stuff. Determining the pre- cise connections between the psychological and the material remains problemat- ic. The harmonia theory is one of the first attempts to frame this as a problem about composite objects. The theory itself is simple: the soul is the harmonia of the material parts of the body. But what a harmonia is and what the theory amounts to are matters of much dispute. I argue that a harmonia is best un- derstood as the structure of the body’s material parts. Plato introduces the theory in the Phaedo, and Aristotle mentions it in On the Soul. In both instances it is roundly criticized. Given that Plato thinks the soul is independent of the body, it is not surprising that he rejects the harmonia theory. However, he has been described as “extraordinarily obtuse” for arguing against the view, since doing so seems to undermine his arguments for a tripar- tite soul. Aristotle’s rejection has been thought equally perplexing, since his own positive view (that the soul is the form of a living body) looks very much like a version of the harmonia theory. Looking closely at the harmonia theory helps clarify persistent misunder- standings of the view and the reasons Plato and Aristotle reject it. This avenue offers insight into Plato’s and Aristotle’s positive theories about the soul and its relation to matter. In addition, their rejections of the theory shed light on how they understand the relation between parts and wholes. The problems lying behind the ancient debate about the harmonia theory are not just historically significant, but also resonate with contemporary discus- sions about material composition and the metaphysics of mind. Plato articu- lates a version of the harmonia theory which is perhaps the first expression of a supervenience thesis about the mental, but the precise sort of supervenience at issue hasn’t been well understood. But most importantly, whether wholes and souls are causally relevant and whether conscious beings are mereologically sim- ple are issues at the heart of the debate, both ancient and modern. BIOGRAPHICAL SKETCH Douglas Justin Young received his A.B. in Philosophy and Religious Studies from Brown University in 1997. He earned an M.T.S. in Theological Studies from Harvard Divinity School in 1999. He enrolled in the Sage School of Philos- ophy at Cornell University in 2000, received his M.A. in Philosophy in 2004 and his Ph.D. in Philosophy in 2007. He is currently a Visiting Assistant Professor of Philosophy at Bowdoin College. iii For Jessie, Isaac and Angus iv ACKNOWLEDGMENTS I thank all those among the faculty and students of the Sage School at Cornell University with whom I have had the distinct privilege of doing philosophy. Particular thanks are due to my teachers Charles Brittian, Terry Irwin and Scott MacDonald for their time, help and comments. I would also like to thank Victor Caston whose class on Aristotle’s Philosophy of Mind at Brown Universi- ty made me realize that the soul was a possible object of inquiry. But above all, I offer my greatest appreciation to my advisor, Gail Fine, for her patience, preci- sion, consideration and guidance. Without her encouragement and insight, this dissertation would not have been possible. My most important debt of gratitude is due my wife, Jessie, for her long- suffering, love and support. I cannot imagine what it would have been like with- out her. It is to her and to our two sons that I dedicate this work. v Table of Contents Introduction 1 I Plato on the Harmonia Theory 9 1 The Soul’s Affinity to the Forms 10 1.1 The Philosophical Life & A Childish Fear of Death 12 1.2 The Soul is Simple 26 1.3 The Soul is Unchanging 36 1.4 The Soul is Invisible 45 1.5 The Soul is Divine 56 1.6 Two Conclusions and Two Puzzle Cases 61 1.7 Conclusion 68 2 The Harmonia Theory 70 2.1 Simmias’ Presentation 71 2.2 Four Ways to Understand ‘Harmonia’ 79 2.3 Two Ways to Think About Structure 88 2.4 Two Ways to Think About Harmonia 92 2.5 Harmonia and Supervenience 99 2.6 Conclusion 115 3 Plato’s Objections to the Harmonia Theory 117 3.1 The Priority Argument 119 3.2 The Argument from Degrees 138 3.3 The Opposition Argument 160 vi 3.4 Implications of Rejecting the Harmonia Theory 169 3.5 Conclusion 172 II Aristotle on the Harmonia Theory 174 4 A Ratio or a Composite 175 4.1 The Harmonia Theory Introduced 177 4.2 Chemistry 101: A Ratio of the Things Mixed 183 4.3 Physics 101: A Composite 192 4.4 Biology 101: A Hierarchical Model of Composition 197 4.5 Restating the Alternatives 203 4.6 More Positive Considerations 206 4.7 Conclusions 214 5 Aristotle’s Objections to the Harmonia Theory 215 5.1 Eudemus or On the Soul 219 5.2 The Soul is a Substance 230 5.3 The Soul is Effects Change 238 5.4 Harmonia and Health 243 5.5 The Actions and Affections of the Soul 247 5.6 The Soul is Not a Composite or a Ratio 252 5.7 Conclusion 262 6 Aristotle’s Alternative 264 6.1 The Soul is a Substance 268 6.2 The Soul is an Unmoved Mover 294 6.3 The Soul is Not a State of the Body 302 6.4 How the Soul Acts and is Acted On 317 6.5 The Soul is Not a Composite, the Body Is 322 6.6 Conclusion 335 Bibliography 337 vii Introduction Many wise people say either that the soul is a harmonia or that the soul has a harmonia. -Aristotle Politics 8.5.1340b18 We are conscious beings who think, understand, feel and perceive. We are also material beings composed out of ordinary material stuff. Determining the pre- cise connections between the psychological and the material remains problemat- ic. The harmonia theory is one of the first attempts to frame this as a problem about composite objects. According to the view, the soul is the harmonia of the material parts of the body. The view is introduced in Plato’s Phaedo and appears in Aristotle’s treatise On the Soul and is resoundingly criticized by both. In the Phaedo, Plato de- votes about ten Stephanus pages to articulating and refuting the harmonia the- ory (85e3-95a3). In On the Soul 1.4, Aristotle piles up four or five arguments against the view in rapid succession (407b27-408a34). My main aims in this the- sis are the following: (1) to determine precisely what a harmonia is and as a result to determine what the harmonia theory amounts to; 1 2 (2) to outline and assess the criticisms Plato and Aristotle mount against the harmonia theory in order to see what light they shed on their own positive theories about the soul; and (3) to explore what Plato’s and Aristotle’s understandings of the harmonia theory tell us about how they understand the relations between a whole and its parts. A harmonia is usually explained in musical terms as a harmony or a tuning and in mathematical terms as a ratio or proportion. It’s understandable why it’s typically glossed in these ways. When a harmonia makes its first appear- ance in Plato’s Phaedo, the relation between the soul and body is explained with a musical metaphor: “the harmonia—something invisible, incorporeal, beautiful and divine—is in the tuned lyre, while the lyre itself and the strings are bodies— corporeal, composite, earthly and akin to what is mortal” (85e4-86a3). Likewise when Aristotle first introduces the view, he describes a harmonia as “a ratio of the things mixed” (407b32-33). Despite resonances the word ‘harmonia’ has with musical terms like ‘harmony’ or ‘tuning’ and mathematical terms like ‘ra- tio’ or ‘proportion’ these terms only capture one way to understand what a harmonia is. In fact, it is precisely these musical and mathematical resonances which have led to persistent misunderstandings of the theory itself and of the reasons Plato and Aristotle reject it. These misunderstandings stem, in part, from a failure to recognize that a harmonia is not always described in these terms. In the course of arguing against the harmonia theory of the soul, Plato explains that “a harmonia is a composite thing and that the soul is composed out of things held in tension in the body” (92a8-9). Aristotle also thinks a harmonia can be understood as a 3 composite (407b33). A harmonia isn’t just something musical or mathematical, it’s something material. In my view—a view for which this thesis in large part counts as a defense—a harmonia is best understood as the structure of the material parts of the body. But what is a structure? I argue that there are two ways we typically think about structure. On the one hand, a structure is something like the arrange- ment of the parts in a composite object.
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  • An Undergraduate Seminar on Irish Musical Culture in Ireland and The

    An Undergraduate Seminar on Irish Musical Culture in Ireland and The

    AN UNDERGRADUATE SEMINAR ON IRISH MUSICAL CULTURE IN IRELAND AND THE IRISH DIASPORA IN AMERICA, INCLUDING THE INFLUENCE OF IRISH MUSIC ON APPALACHIAN FOLK MUSIC CULTURE A MASTER’S PROJECT SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY FRIEDA EAKINS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY December 11, 2012 Copyright 2012 by Frieda F.C. Eakins ACKNOWLEDGEMENTS Thank you to my husband Darrell and my children Morgan, Meagan, and Michaela for your encouragement and patience throughout my study. Thank you to my parents for the confidence you have had in me through the years, and the faith that you have had in God throughout my lifetime that He would guide me through the forest and the fields, the sun and the rain. Thank you to my friends, church family, and extended family that have looked beyond my quirkiness and faults to love me unconditionally. Thank you to my professors Dr. John Benham, Dr. Katherine Morehouse, Dr. George McDow, Dr. Stephen Benham, Dr. Jeff Meyer, and Rev. Steve Lonetti who have provided many life-changing and teaching moments as well as genuine support throughout my study at Liberty University. Thank you to Liberty University for the opportunity to attend a university with the goal of Training Champions for Christ ! Thank you, most of all to God for your unfailing and abiding love, your generous mercy, your bountiful grace, and your world full of beautiful music. I love you! Jeremiah 14:22 c ii ABSTRACT The following project establishes a concise, yet multi-faceted design for a seminar on Irish musical culture.