Abstract

Philosophical interest in beautiful moral agency can be traced back at least to Plato. It is an insistent theme of his writings that a virtuous soul is one in which the functions of its various parts are properly discharged, just as in the healthy body all the organs must perform their proper tasks. As health in the body is beautiful (kalon), so is the health of the soul. We here discern the first inkling of a thought which has engrossed the moral and aesthetic imagination ever since: that moral nobility and artistic beauty consist in 'organic unity'. The idea reappears in both the Ethics and Poetics of Aristotle; a good man is a perfectly functioning hierarchy of goals in which his projects co-operate harmoniously under the direction of more general, overarching goods. Just as the most excellent knowledge is of theories which subsume the most diverse instances, so the most excellent goal is one which subsumes many subsidiary projects.' Analogously, the plot of a good tragedy depicts a single action, and all of its parts are contoured to the shape of this one great event. The plot of a well-written tragedy is thus a formal emblem of the wellplanned life. Work and life are noble to the extent that they manifest the handiwork of a virtuous practical intelligence. The most highly realized life is the most beautiful one, and the most excellent artwork is a formal microcosm of the most highly realized life.