The cicada catcher focuses as much on technique as he does on outcomes. In response to Confucius’ question, he articulates in detail the learning he has undertaken to develop techniques at each level of competence. This chapter explains the connection between the cicada catcher’s development of technique and his orientation toward outcomes. It uses details in this story to contribute to recent discussions in epistemology on the cultivation of technique.

The article proves that the term mouseion used by Plato in Phaedrus 278b cannot mean “sanctuary/shrine of the Muses” here, but it probably refers to the cicadas chirping under the plane tree of which Socrates speaks earlier in the dialogue (259b-c). Such an interpretation is consistent with our knowledge of the early stage of development of the concept of mouseion, and also with its use elsewhere in Plato’s dialogue (267b). It should therefore be concluded that the cult of the (...) Muses at the Ilissus, known from late testimonies, did not come from the classical era and appeared under the influence of reading Plato’s dialogue. Plato’s testimony should also not be raised as an important argument in disputes regarding the relationship of the nymphs and the Muses and the early identification of the Muses with water. (shrink)

This full-length study of Plato's dialogue Phaedrus, now in paperback, is written in the belief that such concerted scrutiny of a single dialogue is an important part of the project of understanding Plato so far as possible 'from the inside' - of gaining a feel for the man's philosophy. The focus of this account is on how the resources both of persuasive myth and of formal argument, for all that Plato sets them in strong contrast, nevertheless complement and reinforce each (...) other in his philosophy. Not only is the dialogue in its formal structure a dovetail of myth and argument, but the philosophic life that it praises is also shaped by an acknowledgement of the limitations of argument and the importance of mythical understanding. By means of this correlation of form and content Plato invites his readers, through the very act of reading, to take a first step along the path of the philosophical life. (shrink)

This paper argues that Hesiod's Myth of the Golden Race (Op. 109-126) influenced Plato's Myth of the Cicadas from the Phaedrus (258e-259d). Among other parallels, Hesiod's Golden Race and Plato's Cicadas have a similar diet and a similar rapport with the gods, they die in a similar way and enjoy similar benefits after death. The paper further argues that Plato used the inherent ambiguity of the Golden Age myths to draw attention to the ambiguity of the Cicadas (...) themselves, who bring both benefits and rewards to humans, depending on their behavior. (shrink)

This article aims to rethink the meaning of “nature” and the human in Plato, more specifically through some examples contained in the _Phaedrus_, a rare dialogue further away from the city. Phaedrus and Socrates leave Athens on a path outside the walls, past the Ilisus stream and the breeze of the woods, and end up sitting in the shadows of trees full of singing cicadas. What is the meaning of this scenario in the construction o the text? Is it (...) possible to learn from oak trees or insects? The philosophizing of this dialogue passes through the coolness of the shadows of the trees in the hot summer noon. This sensuous topography through the text reveals the writer Plato wary of the enveloping meaning of the living drama between Phaedrus and Socrates. The audience and participation of natural elements, trees and cicadas in the dialogue reveals an involvement of the discourse with the surrounding atmosphere, a special concern of Socrates in his palinode and in his final prayer to Pan. In this dialogue, more than distinct and removed from nature, we think the human being (and reason) immersed in it - in an attempt to integrate a mythological and dialogical search between river, rock, plants, animals, humans, gods and demigods. The image of an overly rationalist and humanist Plato finds in this text a perspective of an inspired writer, a hybrid poet and philosopher, with a mission to restore language and the city to animal and cosmic life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 121 her hermeneutical enterprise. I agree that the Hippolytean interpretation is interesting (how could any interpretation of Heraclitus be without interest?) but I am not convinced that it is new. Here I must be brief: as early as Plato a case can be made for awareness of the moral implications of Heraclitus's cosmological views. The interconnection which Plato sees between Protagorean relativism (moral as well as epistemological (...) ) and Heraclitean (cosmic) flux in the first part of the Theaetetus is indicative of this 052d-e, 16od-e with 172a-b; and for some suggestive commentary see T. Irwin, Plato's Moral Theory [Oxford University Press, 1977], x48-53 ). And given this normative gloss on Heraclitus's cosmological views, based as it is on pre-Hippolytean evidence, I conclude that the new methodology which Osborne proposes is not likely to change our picture of the Presocratics. DANIEL H. FRANK University of Kentucky G. R. F. Ferrari. Listening to the Cicadas:A Study of Plato's "Phaedrus." Cambridge Classical Studies. Cambridge: Cambridge University Press, t987. Pp. xiii + 293. $39.5o. Plato's conception of the philosophical life acknowledges as centrally important a transcendent aspiration. It also incorporates an appreciation for the philosopher's worldly and contingent biography. In the Symposium Plato portrays the stages of philosophical development and how they transcend worldly beauty only to issue, in the end, in a demand for reshaping the world in terms of the soul's ultimate vision and understanding. In the Republic Plato sketches the psychological, moral, and cognitive itinerary of philosophical education and training. Moreover, Plato emphasizes the necessity that directs the philosopher to return to the world, to organize and maintain social-political life, and to cultivate friendship, justice, and psychological health. In the Phaedrus Plato turns to the domain of interpersonal relations, the sphere of love, and there he charts the way in which the philosophical life arises out of the encounter between lover and beloved and then gives shape to that relationship. This confrontation between the philosophical lover and the contingency of his embodiment is one of the central themes of Professor Ferrari's study of the Phaedrus. That theme concerns the domain of "goods which, although external to the philosophic life, nevertheless belong to it more than just accidentally [and] which result from the realisation~0f the philosophic impulse in our actual lives" (a 28). There are a host of scholarly cruxes in the Phaedrus that Ferrari discusses: the role of the dialogue's pastoral setting; the relation between the dialogue's two parts; the relations among philosophy, poetry, and prophecy; the precise character of Plato's psychology in the Phaedrus; the nature of philosophical madness; whether Plato's famous remark on writing is the theme of the dialogue or a mere epilogue to it; the Platonic use of myth; and so forth. But Ferrari does not approach the dialogue through these cruxes; nor does he enter the Phaedrus through Plato's moral philosophy, his epistemology, or his psychology. Rather he engages the dialogue as it presents itself, as a literary document written with care and discipline, and as an attempt 122 JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY 1990 on Plato's part to show something important about the philosophical life. The key word here is 'show', for it is Ferrari's conviction that in the Phaedrus Plato exploits the distinctions between what can be told and what can be shown and between background and foreground in order to exhibit two things: how philosophy and rhetoric are interrelated and hence what the philosophical art is, on the one hand, and how the philosophical life is stimulated by and enriches the experience of interpersonal love, on the other. In the Phaedrus Plato develops a rhetorical strategy for showing the philosophical life by juxtaposing it with alternative lives and by exhibiting it and these alternatives against a carefully articulated background. This is why the portraits of Socrates, Lysias, and Phaedrus are given so vividly and in part why Plato turns to myth, as a philosophical strategy for presenting philosophical love. Philosophy, then, must be rhetorical. But also, rhetoric, to be genuine, must be philosophical. Part of what... (shrink)

Listening represents a welcome contribution to the now substantial body of recent literature on Phaedrus. In the book's seven chapters, Ferrari discusses various parts of the dialogue and offers many helpful points along the way. For example, Ferrari's remarks are good on the controverted question as to whether the lover in the palinode "uses" the beloved, as are his observations about the struggle between the three parts of the soul. Ferrari persuasively points out that each part of the soul really (...) represents a way of life, a possible human type. Ferrari offers the novel and probably correct view that the question as to the authenticity of the speech attributed to Lysias is intended ironically by Plato to parallel the question as to whether the "demythologizers" are right to pursue the historical origins of myths. In his last chapter Ferrari surveys various approaches to the famous critique of writing, opting for a modified version of the view that the critique is meant to express a serious distrust of writing, that Plato thought he had discovered a way of writing that avoided the thrust of critique, and that the spoken word ultimately remains superior. Ferrari thus positions himself against Burger's and Derrida's interpretations. Ferrari rightly sees that the critique of writing engages the major issues of the dialogue and ought not be severed from them. (shrink)

Indispensability-based arguments for mathematical platonism are typically motivated by drawing an analogy between abstract mathematical objects and concrete scientific posits. In this paper, I argue that mathematics can sometimes help to reduce our concrete ontological, ideological, and structural commitments. My focus is on optimization explanations, and in particular the case study involving periodical cicadas. I argue that in this case, stronger mathematical apparatus yields explanations that have fewer concrete commitments. The nominalist cannot accept these more parsimonious explanations without embracing (...) the stronger mathematics, and this poses a challenge for the nominalist position. (shrink)

Alan Baker argues that mathematical objects play an indispensable explanatory role in science. There are several examples cited in the literature as solid candidates for such a role. We discuss two such examples and show that they are very different in their strength and (im)perfection, although both are recognized by the scientific community as examples of the best scientific explanations of particular phenomena. More specifically, it will be shown that the explanation of the cicada case has serious shortcomings compared with (...) the explanation of the case of Königsberg’s bridges. We will argue that the latter is a perfectly reliable scientific explanation that employs mathematical reasoning whereas the former is not. (shrink)

In this paper, I argue that the performance stories in the Zhuangzi, and the Butcher Ding story, emphasize an activity meditation practice that places the performer in a mindfulness flow zone, leading to graceful, efficacious, selfless, spontaneous, and free action. These stories are metaphors showing the reader how to attain a meditative state of focused awareness while acting freely in a flow experience. From my perspective, these metaphors are not about developing practical or technical skills per se. My argument challenges (...) a strict instrumental reading. Although instrumental reasoning can easily lead one to focus on the pragmatic outcomes depicted in these stories (See Eno, “Cook Ding’s Dao;” Callahan, “Cook Ding’s Life;” and Robins, “Beyond Skill”), the proposed pragmatic outcomes are merely a kind of collateral result of effortless, free actions, in the flow experience. The metaphors of Butcher Ding, the Lüliang rapids swimmer, the Wheelwright Bian, the Woodcarver Qing, the cicada catcher, the naked artist and so on are used to show the reader a way to engage in free and graceful action in the flow experience. Zhuangzi is not concerned about developing labour skills. He criticizes such skills; seen below when the Butcher claims to have “… left skill behind …” (進乎技矣) (Graham, Chuang-tzu, 63), and chapter five notes that “… skill is a peddler” (工為商) (Watson, Complete, 75). (shrink)

Pure mathematics can play an indispensable role explaining empirical phenomena if recent accounts of insect evolution are correct. In particular, the prime life cycles of cicadas and the geometric structure of honeycombs are taken to undergird an inference to the best explanation about mathematical entities. Neither example supports this inference or the mathematical realism it is intended to establish. Both incorrectly assume that facts about mathematical optimality drove selection for the respective traits and explain why they exist. We show (...) how this problem can be avoided, identify limitations of explanatory indispensability arguments, and attempt to clarify the nature of mathematical explanation. (shrink)

Within the context of the Quine–Putnam indispensability argument, one discussion about the status of mathematics is concerned with the ‘Enhanced Indispensability Argument’, which makes explicit in what way mathematics is supposed to be indispensable in science, namely explanatory. If there are genuine mathematical explanations of empirical phenomena, an argument for mathematical platonism could be extracted by using inference to the best explanation. The best explanation of the primeness of the life cycles of Periodical Cicadas is genuinely mathematical, according to (...) Baker :223–238, 2005; Br J Philos Sci 60:611–633, 2009). Furthermore, the result is then also used to strengthen the platonist position :779–793, 2017a). We pick up the circularity problem brought up by Leng Mathematical reasoning, heuristics and the development of mathematics, King’s College Publications, London, pp 167–189, 2005) and Bangu :13–20, 2008). We will argue that Baker’s attempt to solve this problem fails, if Hume’s Principle is analytic. We will also provide the opponent of the Enhanced Indispensability Argument with the so-called ‘interpretability strategy’, which can be used to come up with alternative explanations in case Hume’s Principle is non-analytic. (shrink)

Many explanations in science make use of mathematics. But are there cases where the mathematical component of a scientific explanation is explanatory in its own right? This issue of mathematical explanations in science has been for the most part neglected. I argue that there are genuine mathematical explanations in science, and present in some detail an example of such an explanation, taken from evolutionary biology, involving periodical cicadas. I also indicate how the answer to my title question impacts on (...) broader issues in the philosophy of mathematics; in particular it may help platonists respond to a recent challenge by Joseph Melia concerning the force of the Indispensability Argument. (shrink)

Does mathematics ever play an explanatory role in science? If so then this opens the way for scientific realists to argue for the existence of mathematical entities using inference to the best explanation. Elsewhere I have argued, using a case study involving the prime-numbered life cycles of periodical cicadas, that there are examples of indispensable mathematical explanations of purely physical phenomena. In this paper I respond to objections to this claim that have been made by various philosophers, and I (...) discuss potential future directions of research for each side in the debate over the existence of abstract mathematical objects. (shrink)

According to one popular nominalist picture, even when mathematics features indispensably in scientific explanations, this mathematics plays only a purely representational role: physical facts are represented, and these exclusively carry the explanatory load. I think that this view is mistaken, and that there are cases where mathematics itself plays an explanatory role. I distinguish two kinds of explanatory generality: scope generality and topic generality. Using the well-known periodical-cicada example, and also a new case study involving bicycle gears, I argue that (...) what is picked out by the mathematics are structural facts that go beyond any specific physical facts. (shrink)

I propose a deductive-nomological model for mathematical scientific explanation. In this regard, I modify Hempel’s deductive-nomological model and test it against some of the following recent paradigmatic examples of the mathematical explanation of empirical facts: the seven bridges of Königsberg, the North American synchronized cicadas, and Hénon-Heiles Hamiltonian systems. I argue that mathematical scientific explanations that invoke laws of nature are qualitative explanations, and ordinary scientific explanations that employ mathematics are quantitative explanations. I analyse the repercussions of this deductivenomological (...) model on causal explanations. (shrink)

This article compares repetition in Zhuangzi and Jacques Lacan from three perspectives: repetition as a mechanism, a revelation, and a solution. First, repetition enables us to detect underlying structures. Zhuangzi loses himself in observing the intricate animal relationships (the mantis, cicada, magpie) without any knowledge of being watched over by a garden-keeper. Lacan rewrites these positions into three stages of human development. Repetition also serves as a revelation. The four repetitions of the magus’ diagnoses reveal the shift from the transparent (...) subject to the opaque subject. Lacan absorbs this mysterious Daoist concept and rewrites repetition as “an encounter with the real.” Finally, to restore the symbiotic coexistence with things, Zhuangzi resorts to repetition. Like Zhuangzi, Lacan acknowledges the capacity for repetition to enable our encounter with the Real; unlike Zhuangzi, Lacan holds that the primary function of repetition is to “haul” the subject from collapsing into the Real. (shrink)

Skill and Mastery: Philosophical Stories from the Zhuangzi presents an illuminating analysis of skill stories from the Zhuangzi, a 4th century BCE Daoist text. In this intriguing text that subverts conventional norms and pursuits, ordinary activities such as swimming, cicada-catching and wheelmaking are executed with such remarkable efficacy and spontaneity that they seem like magical feats. An international team of scholars explores these stories in their philosophical, historical and political contexts. Their analyses’ highlight the stories’underlying conceptions of agency, character and (...) cultivation; and relevance to contemporary debates on human action and experience. The result is a valuable collection, opening up new lines of inquiry in comparative East-West philosophical debates on skill, cultivation and mastery, as well as cross-disciplinary debates in psychology, cognitive science and philosophy. (shrink)

The Zhuangzi is noted for its advocacy of many different perspectives—chickens, cicadas, fish and the like. There is much debate in the literature about the implications of Zhuangzi’s pluralist inclinations. I suggest that Zhuangzi highlights the limitations of individual, perspectivally-constrained, knowledge claims. He also spurns the ‘view from nowhere’ and is sceptical about the possibility of an ideal observer. For him, wisdom consists in understanding the epistemological inadequacies of each perspective. I propose that Zhuangzi’s philosophy offers significant insights to (...) an increasingly globalized world characterized by a plurality of ethical and value commitments. It does not assume there will necessarily be universal agreement or a standardized answer. Most importantly, it is a position that seeks to augment self-understanding and enrich the self in dialogue with and response to others. (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

Transformation of the sparrow and the butterfly -- Meeting the gods of poverty in a dream -- The greatest joys of the cicada and its cast-off shell -- The owl's understanding -- The centipede questions the snake -- The toad's way of the gods -- The mysterious technique of the cat -- Afterword by William Scott Wilson.

The aim of this paper is to open a new front in the debate between platonism and nominalism by arguing that the degree of explanatory entanglement of mathematics in science is much more extensive than has been hitherto acknowledged. Even standard examples, such as the prime life cycles of periodical cicadas, involve a penumbra of mathematical features whose presence can only be explained using relatively sophisticated mathematics. I introduce the term ‘mathematical spandrel’ to describe these penumbral properties, and focus (...) on the property that cicada period lengths are expressible as the sum of two perfect squares. I argue that mathematical spandrels pose a particular problem for nominalism because of the way in which they are entangled with scientific explanations. (shrink)

The Enhanced Indispensability Argument appeals to the existence of Mathematical Explanations of Physical Phenomena to justify mathematical Platonism, following the principle of Inference to the Best Explanation. In this paper, I examine one example of a MEPP—the explanation of the 13-year and 17-year life cycle of magicicadas—and argue that this case cannot be used defend the EIA. I then generalize my analysis of the cicada case to other MEPPs, and show that these explanations rely on what I will call ‘optimal (...) representations’, which are representations that capture all that is relevant to explain a physical phenomenon at a specified level of description. In the end, because the role of mathematics in MEPPs is ultimately representational, they cannot be used to support mathematical Platonism. I finish the paper by addressing the claim, advanced by many EIA defendants, that quantification over mathematical objects results in explanations that have more theoretical virtues, especially that they are more general and modally stronger than alternative explanations. I will show that the EIA cannot be successfully defended by appealing to these notions. (shrink)

As a category, poiesis can be extended beyond the standard anthropocentric use and applied across three radically different scales: auto-poiesis in everyday self-organization of every living creature, phylo-poiesis in the shaping of a species by sexual selection across various generations and onto-poiesis as an individual's development of formal skills and creative modification of its environment. In this paper, I apply these distinctions and argue, following Darwin and Sebeok, for the possibility of considering poietic and aesthetic manifestations among various animal species (...) in their ability of both appreciating and expressing rhythm, visual decorative patterns, and chromatic qualities. In music we can find song and equivalents to instrumental playing (cicadas and crickets), theater in representing fictitious situations (killdeer's broken wing act and playing), acrobatic skills (various types of woodcocks and paradise birds) and dancing (cranes and eleonora cockatoo). I do not claim there is animal art, since the very concept of the “artistic” is a result of convention. What I do assert, however, is that human aesthetic appreciation did not emerge ex nihilo nor was granted by God to humans only (as Wallace believed) but has evolutionary relevance and is preceded by the zoo-aesthetics in many other species. (shrink)

From the scene of the singing cicadas in the _Phaedrus_, we will show the affinities between the mention of the dangerous sleep at noon (_Phdr_. 258e6-259d8) and a mythical episode in the life of Epimenides. Next, we will look at the possible affinities between the description of Dionysian madness (_Phdr_. 244d5-245a1) and the type of divination practiced by Epimenides of Crete (DK 3 B 1-25). From these approaches, we intend to describe and elucidate the common imaginary with which Plato (...) elaborates his reception and assimilation of the archaic poetic tradition in his philosophy. (shrink)

The Zhuangzi offers quite a few stories that centre on performance: a bellstand maker who selects wood to create wonderful bellstands; a ferryman who steers through rough waters; a cicada catcher who uses a stick, as if it were his hand, to catch cicadas; and a wheelmaker who, in using his chisel, feels it in his hand and responds with his heart. What is the role of the stick, for the cicada catcher, and the chisel, for the wheelmaker? What (...) do these masters know? I situate these questions within the intellectual context of the Zhuangzi, highlighting the text’s opposition to prevailing conceptions of a flourishing life. I draw on recent debates in extended mind and cognition to suggest that they offer interesting ways of understanding the knowledgeable practices of these masters. The frameworks and vocabulary of extended mind allow me to bring out how and why the Zhuangzi’s examples of mastery are apt and insightful reasons for rejecting the then current views on good government. The dialogue benefits both Chinese and Western traditions: the examples in the Zhuangzi help to diversify contemporary Western philosophy’s understanding of knowledge. (shrink)

Ovid's great poem has held its place in the European artistic and literary tradition primarily as a collection of superbly told individual stories, in which successive generations have found inspiration and pleasure. But the poet himself clearly thought of it as something more than a series of detached narratives. In fact he describes it as perpetuum carmen. The object of the present essay is to inquire into the nature of this perpetuitas and to suggest some of the implications that it (...) has both for the poem as a whole and for the appreciation of its individual parts. The phrase perpetuum carmen has interesting ideological connotations. The mutilated first fragment of Callimachus’ Aitia clearly formed a poetic manifesto. The author proclaims his antipathy to the fashion of writing ν єισµα διηνєκές in which the deeds of kings and heroes were extolled ν πολλαις , he declares, , so he rejects , οιδήν in favour of the delicate cicada's which is heard at its best in and other poetic genres that are . Three separate but related targets are singled out for attack: long continuous poems, epic subjects, and the grand style. (shrink)

Skill and Mastery: Philosophical Stories from the Zhuangzi presents an illuminating analysis of skill stories from the Zhuangzi, a 4th century BCE Daoist text. In this intriguing text that subverts conventional norms and pursuits, ordinary activities such as swimming, cicada-catching and wheelmaking are executed with such remarkable efficacy and spontaneity that they seem like magical feats. An international team of scholars explores these stories in their philosophical, historical and political contexts. Their analyses’ highlight the stories’underlying conceptions of agency, character and (...) cultivation; and relevance to contemporary debates on human action and experience. The result is a valuable collection, opening up new lines of inquiry in comparative East-West philosophical debates on skill, cultivation and mastery, as well as cross-disciplinary debates in psychology, cognitive science and philosophy. (shrink)

Indispensability arguments occupy a prominent role in discussions of mathematical realism. While different versions of these arguments are discussed in the literature, their general structure remains the same. These arguments contend that insofar as reference to mathematical objects is indispensable to science, we are committed to the existence of these ‘objects’. Unsurprisingly, much of the debate concerning indispensability arguments focuses on the crucial contention that mathematical objects are indispensable to science. For these arguments to provide support for mathematical realism, what (...) we require are some compelling examples of mathematics playing an indispensable role in science. Towards this end, Alan Baker has supplied an example in which mathematics appears to be indispensable to a scientific explanation, what has come to be called the “Cicada MES”. This example has been the subject of much criticism, most notably that it depends on an unsupported empirical supposition. Recently, Baker proposed a number of revisions to the Cicada MES that aim to address some of these criticisms. In this paper, I argue that while Baker’s revisions go some way towards mitigating prominent criticisms of the Cicada MES, the underlying problem with the explanation remains. I argue that his revisions actually go in the wrong direction mathematically and empirically. In contrast, I propose a new Cicada MES. This new version accomplishes Baker’s goals and responds to the central objection to the explanation. It invokes a mathematical principle that plays a unifying role in the explanation, which makes providing adequate nominalist surrogates more difficult. And, more importantly, it accommodates an empirically grounded explanation of the phenomenon to be explained. Consequently, this new Cicada MES provides what proponents of indispensability arguments require, a compelling example of mathematics playing an indispensable role in science. (shrink)

Cecropids, grammatically masculine in one case and feminine in the other, occur in each of these pieces of poetry. I believe that the second passage can shed some light on the meaning of the term as it is used in the fragment from the Antiope of Eubulus. The question of the significance of the Cecropids in Eubulus has previously been discussed by E. K. Borthwick. A. B. Cook, noting the similarity of κερκώπη to the name of Cecrops and seeing their (...) associations with dew as a link between the insects and the names of Cecrops' daughters, had posited a connection between the autochthonous Athenian family of Cecrops and the earth-born cicadas, those symbols of Athenian autochthony. Borthwick applied Cook's theory to the passage from Eubulus and concluded that when the poet mentions the Cecropids that feed on the breezes he is alluding to the musical cicadas, who were believed to subsist on dew and/or air. It was this latter feature of their diet, Borthwick proposed, that inspired the last line of the fragment. (shrink)

In a recent article I drew attention to the fact that the well-known fable of the improvident cicada and the industrious ant has a close resemblance to the story of the twin brothers Amphion and Zethus and their classic debate on the respective merits of the artistic and practical life in Euripides' Antiope, which is reflected not only in the argument of Callicles and Socrates in the Gorgias and Horace, Ep. i. 18.

Both the meaning of and the identity of the are in some doubt here. Gow's view that ‘Lacon thinks of labourers and cicadas vying with one another in the heat’ and that means ‘provoke to further exertions, put him on his mettle’ agrees in general with the scholiast.

Both the meaning of and the identity of the are in some doubt here. Gow's view that ‘Lacon thinks of labourers and cicadas vying with one another in the heat’ and that means ‘provoke to further exertions, put him on his mettle’ agrees in general with the scholiast.

In my article ‘Two Textual Problems in Euripides’ Antiope, Fr. 188' , in which I compared the debate of Amphion the unpractical musician and his industrious brother Zethus to the fable of the cicada and the ant, I drew attention to a passage of Olympiodorus' commentary on the Gorgias which had been overlooked in the testimonia to Euripides' play, and which begins.

In my article ‘Two Textual Problems in Euripides’ Antiope, Fr. 188', in which I compared the debate of Amphion the unpractical musician and his industrious brother Zethus to the fable of the cicada and the ant, I drew attention to a passage of Olympiodorus' commentary on the Gorgias which had been overlooked in the testimonia to Euripides' play, and which begins.

Empty space. The body started off again, heavy and hot, with tremors and flushes of anger assailing the throat and stomach. But no one inhabited that body now. The streets were emptied as though their contents had been poured down a sink: something that a while ago had filled them had been swallowed up. The usual objects were still there, intact, but they had all become disrupted, they descended from the sky like enormous stalactites, or towered upwards like fantastic dolmens. (...) All their usual little appeals, their shrill cicada-chirpings, had vanished into thin air, and were silent. A man's future had once challenged them, and they met it with a scatter of diverse temptations. That future was dead. (Jean-Paul Sartre, The Age of Reason.). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 1':'3 for an integrated life (197). But he does not mention that for Plato the desire for knowledge and understanding, drawn to its objects, the Forms, is part of what accounts for this compulsion and its intensity. Listening to the Cicadas is an outstanding example of a philosophically sensitive, literary reading of a Platonic dialogue. Ferrari writes demandingly but beautifully, and his dialectical reading often has (...) just the effect he desires, to draw the reader into the Phaedrus's world. In addition, he is familiar with contemporary moral philosophy, moral psychology, and philosophy of action, and employs notions from Williams, Frankfurt, and others in sensible and helpful ways. The book should be accessible to a wide audience; the Greek is transliterated and translated, with virtually all technical discussion confined to notes. But although the series in which the book appears is well known to specialists in classics and classical philosophy, it is probably not familiar to philosophers generally and literary theorists. This is unfortunate, for Ferrari's work is an important one for all of these audiences. Micn^~t. L. MORCAN Indiana University, Bloomington Walter G. Englert. Epicurus on the Swerve and Voluntary Action. American Philological Assocation. American Classical Studies. Atlanta: Scholars Press, 1987. Pp. x + 215. Cloth, $~ 1-95. Paper, $1 ~-95Though he has fallen from top billing (Aristotle and Epicurus on Voluntary. Action was the work's original title as a x981 Stanford dissertation), Aristotle has retained his prominence in Englert's only slightly revised text. Englert's thesis, in fact, is that the Epicurean "swerve was first developed in response to Aristotelian challenges to atomism in cosmology, physics, psychology, and physiology, and in particular, was meant to be the atomic equivalent of Aristotle's sumphuton pneuma in Epicurus's analysis of the voluntary actions of all living creatures" (145). My skepticism toward this assertion is based not so much on the doubtful availability of Aristotelian texts to Hellenistic philosophers (though Englert's depiction of Epicurus responding to specific passages of the De caelo, Physics, and De motu animalium certainly invites this objection) as on the following considerations: (a) Englert's Epicurus posits weight as an atomic property to counter Aristotle's objection that Democritean atoms have no natural motion with which forced motion might contrast. But why would Epicurus think Aristotle's objection any more forceful than we do? If Epicurus insists that atoms fall down, it is not from a metaphysical conviction that every body must have a natural locomotive tendency, but because of his empirical observation that things in fact fall. (b) Englert's Epicurus, casting about for a third cause of motion besides collisions and weight, stumbles upon Aristotle's description of "the accidental" (to sumbebekos) as an event without definite cause happening at an indeterminate time and place, and conceives of the swerve. But the similarity of the two doctrines is entirely superficial. The accident, for Aristotle, is the nonessential: man is not pale by nature, for instance, 124 JOURNAL OF THE HISTORY OF PHILOSOPHY 28"1 JANUARY 1990 but "by accident," e.g., if he happens to stay indoors. If there is an analogue for this in Epicurus, it's in his notion ofsuraptomata. But what has this to do with the swerve? (c) Finally, Englert's Epicurus posits the swerve as an atomistic adaptation of the workings of Aristotle's sumphuton pneuma. (Does this mean the pneuma's motion is accidental? The relation of this thesis to the last is unclear.) The analogy of the expanding pneuma and the swerving atom is supposed to be that both are physical bodies whose motion marks a more or less "fresh start," breaking the otherwise deterministic causal chain. More or less? Englert speaks of a "delicate balance" in Aristotle's account "between a purely passive causal sequence" (from the stimulus of phantasia to the agent's response) and a "sequence involving a completely new beginning of motion" (93)- But what is this balance if not Stoic compatibilism, an endless causal chain balanced against the ascription of responsibility for personal initiative? Is Aristotle then a proto-Stoic? That is, does Aristotle believe that stimulus plus character determines response? Englert wants to say... (shrink)

"A theoretical juice extractor: The role of mathematics in scientific explanation". There have recently been proposed cases where, supposedly, mathematics would play a genuinely explanatory role in science. These have been divided into those situations where the explanatory role would be played by mathematical operations, and those where it would be played by mathematical entities. In this article, I analyze some of these purported cases and argue that claims that mathematics can be genuinely explanatory are unfounded. Throughout my discussion, I (...) emphasize the representational role of mathematics, as opposed to its supposed explanatory role: the role of mathematics, even in the cases that I discuss, is to represent physical facts and help draw inferences about those facts. (shrink)