Cases of akratic behavior are generally seen as paradigmatic depictions of the knowledge-action gap (Darnell et al 2019): we know what we should do, we judge that we should do it, yet we often fail to act according to our knowledge. In recent decades attention has been given to a particular instance of akratic behavior, which is that of “inverse akrasia”, where the agent possesses faulty moral knowledge but fails to act accordingly, thus ending up doing the right thing. In (...) particular, two literary examples are considered as exemplifying this kind of akratic situation: Huckleberry Finn (Arpaly & Schroeder 1999, Arpaly 2000, Hursthouse 1999, Kleist 2009, Holton manuscript) and Neoptolemus as understood by Aristotle (NE; Arpaly & Schroeder 1999). In this paper I will argue that those of Neoptolemus and Huck Finn are not cases of inverse akrasia (Holton manuscript) but are much better explained as instances of what Williams (1993) called “moral incapacity”. In particular, the reason why they fail to act according to their original judgments is due to a lack of motivation to act accordingly, which is grounded in their moral self-identities (Blasi 1984; Vigani 2016). The paper will unfold as follows: I will, first, argue that neither Neoptolemus nor Huck Finn show akratic behavior; thus, they cannot be legitimately labeled as “inverse akratics” (par 1.); then, I will argue that they act the way they do notwithstanding their faulty judgments because they are effectively motivated to do so. Such motivation originates in their moral self-identities and is experienced through the threat of self-betrayal (par 2); finally, I will argue that when an agent is motivated to act in a way that is integral with her moral self-identity, acting otherwise is experienced as something one cannot ultimately do; that is, as a moral incapacity (par 3). This “cannot” is neither a metaphor for an “I shouldn’t”, nor an instance of what has been recently labeled a “moral impossibility” (Caprioglio Panizza 2020, 2021), since it does not arise from the normative force of deontic judgments, and it is neither physically nor psychologically impossible for the agent to act otherwise. (shrink)

(2006). Neoptolemus's soul and the taxonomy of ethical characters in Aristotle's Nicomachean Ethics ∗. British Journal for the History of Philosophy: Vol. 14, No. 2, pp. 205-223.

De entre los héroes sofócleos, la figura de Neoptólemo sobresale por su particular dificultad para comprometerse de manera definitiva con un curso de acción. El joven acepta llevar a cabo un engaño pergeñado por Odiseo para obtener el arco infalible de Filoctetes, quien vive hace diez años abandonado en la isla desierta de Lemnos. Pero una vez avanzada la treta, cuando se aproxima realmente al objetivo, de pronto se ve asaltado por una duda que le impide seguir adelante, de manera (...) tal que se desdibuja su posición de agente capaz de concretar el plan. Neoptólemo termina por confesar al solitario isleño el motivo fraudulento de su presencia, y, excusándose, aduce estar gobernado por una “necesidad” (v.923: anánke). En este trabajo presentaré, en primer lugar, las condiciones de emergencia y las características del plan ideado por el ingenioso rey de Ítaca; en segundo lugar, una explicación de la indecisión de Neoptólemo a partir de la particular relación entre su discurso y la realidad que pretende referir; en tercer lugar, me centraré en las derivas ontológicas del conflicto central de la obra y, finalmente, avanzaré sobre los corolarios prácticos que se siguen de lo laborado en los puntos anteriores. (shrink)

In his tragedy Philoctetes, Sophocles has firmly tied the fundamental conflicts to the characters, more precisely to the triangular relationship Ulysses - Neoptolemus - Philoctetes. In the prologue, he sets up the relationship of the older, designing Ulysses to the young, executive Neoptolemos as a problematic one through ambivalent formulations. These traces laid out by the poet are crucial for the interpretation of the entire tragedy. The connotation of the term ξυνεργάτης (v. 93), with which Neoptolemos describes the role (...) Odysseus has intended for him, has been rather neglected so far by scholars but appears to be of particular significance: Parallels in Euripides show that its divergent meanings ‘helper’ and ‘accomplice’ reflect the general conflict of the young hero in nuce. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aristotle on Thought and Feeling by Paula GottliebCorinne GartnerPaula Gottlieb. Aristotle on Thought and Feeling. Cambridge: Cambridge University Press, 2021. Pp. 173. Hardback, $99.99.Paula Gottlieb's recent book is an illuminating, synoptic study of Aristotle's theory of human motivation, according to which his innovative notion of prohairesis (choice)—specifically, the virtuous agent's prohairesis—is the cornerstone. She argues against both Kantian-flavored readings, which prioritize reason's role in motivating ethical action, and (...) Humean-flavored readings, which emphasize the virtuous agent's well-habituated feelings. Gottlieb's account explains how the virtuous agent's prohairesis incorporates his or her feelings, desires, and thoughts, building in the motivational contributions of both the rational and nonrational parts of the psyche. The resulting treatment does justice to Aristotle's prima facie incongruous characterizations of prohairesis: on the one hand, it is the conclusion of deliberation, an explicitly rational process; on the other, it is an expression of character virtue.Although prohairesis is the unifying focus of the book, Gottlieb's project touches on a number of related controversies concerning Aristotle's ethics, including the process of moral habituation, the thorny phenomenon of akrasia, the relationship between contemplation and practically virtuous activity, and how to conceive of the connection between the aesthetic and ethical sides of to kalon (the fine). And it does so in a way that is attuned to ongoing scholarly debates without getting bogged down in them. Similarly, while she primarily concerns herself with the Nicomachean Ethics, Gottlieb helpfully draws upon material from other parts of the corpus—for example, she invokes, with appropriate caveats, Aristotle's discussion of feelings in the Rhetoric as well as De Anima. Lastly, some interesting subsidiary motifs animate the book, perhaps the most novel and provocative of which is the through line that connects her insightful understanding of eleos—which she translates, with helpful qualifications, as "sympathy" rather than "pity" (31)—with learning to be virtuous, as her fresh reading of Aristotle's Neoptolemus case exemplifies (98–102, 134–35). According to Gottlieb's hybridized picture of the good person's motivation, in the rational part of the soul the agent's wish is channeled via deliberation, which itself involves situation-specific information from the feelings, into the agent's prohairesis. In the nonrational part of the soul, the agent experiences a feeling that, strictly speaking, includes (a) a physiological component; (b) an impression of the circumstances, itself partly shaped by the agent's thought; and (c) a specific desire (chapter 2). The virtuous agent's nonrational desire will always correspond to—indeed, it, too, is channeled into—his or her prohairesis (79), the unified desiderative thought or thoughtful desire (NE VI.2, 1139b4–5), from which he or she then acts (chapter 4). The virtuous agent never experiences even mild psychic conflict, having a fully integrated soul whose two parts are in perfect harmony.At some points of Gottlieb's discussion, it seems as if all of these psychic components involved in the production of an action actually constitute the agent's prohairesis, while in other places it seems as though prohairesis is the discrete desiderative product. If one adopts the former conception, it is difficult to make sense of Aristotle's claim that the choice of the akratic agent, who acts on his or her errant nonrational desire, is correct. It turns out that the akratic agent's choice is correct because he or she has rightly judged what he or she should do, but it is distinct in composition from the good person's choice, since it does not [End Page 703] include his or her nonrational desire. One consequence of Gottlieb's view is thus that, as she indicates, the good person's prohairesis is sui generis. Another consequence is that, within the nonrational part of the soul, there may be physiological responses plus accompanying impressions (phantasiai) that, it seems, contain "motivational oomph" (40) but do not get channeled into desires. While her view avoids conflating the virtuous agent and the enkratic agent (who, despite acting correctly, experiences an occurrent nonrational desire to the contrary), there may be cases in which the virtuous... (shrink)

The lines come from the messenger's speech describing the attack of the Delphians on Neoptolemus, a passage which I have discussed elsewhere in connexion with the tradition of Neoptolemus as inventor of the armed Pyrrhic dance. LSJ seem to be in several minds about the meaning and connexion of some of the words describing the missiles used by the Delphians. S.v. ‘σφαγεύς’, they give ‘sacrificial knife, spit’ uniquely of a word elsewhere meaning ‘slayer, murderer’, etc.. S.v. ‘βουπόρος’, they (...) cite ἀμφωβόλοι σφαγῆς … βουπόροι ‘spitst fit to pierce an ox's throat’—i.e. taking σφαγῆς as gen. sing., rather oddly dependent on βουπόροι. S.v. ‘ἔκλυτος’, they quote this passage, again uniquely, in the sense ‘easy to let go, light, buoyant, of missiles’. This last seems even less likely than Wecklein's ohne Riemen or the Budé's doubles dards sans poignée, which presumably invoke a rather frigid contrast of the true javelins fitted with thongs and the spits, sharp at both ends, which were pressed into service of a similar sort, but of course had to be thrown without this attachment: but these implements could hardly be described as ἔκλυτοι of thongs which they never had at all in the first place!With Murray's punctuation, since a combination of a, b, c τε, d is scarcely credible, σφαγῆς βουπόροι is presumably not to be taken as the description of a separate type of weapon, but as an explanatory appositional phrase with ἀμφώβολοι. This interpretation is found in the schol, ὀβελίσκοι σφάττειν δυνάμενοι and followed by Hermann and Paley. (shrink)

The aim of this article is to explore the ways in which the engagement with Greek tragedy may contribute fruitfully to the unfolding of empathy in medical students and practitioners. To reappraise the general view that classical texts are remote from modern experience because of the long distance between the era they represent and today, I propose an approach to Greek tragedy viewed through the lens of historical empathy, and of the association between past situations and similar contemporary experiences, in (...) particular. After a brief examination of the concept of empathy, its links with literary reading, and the discussion of these interrelations within the training of narrative medicine, and narrative ethics in particular, the focus turns to selected parts of Sophocles’ Philoctetes, such as the disease scene—an ancient example of pathography. Here Neoptolemus’ empathy for Philoctetes’ situation and its consequences are explored with specific interest in the modern readers’ affective response in connection with their own experiences in medical practice. Neoptolemus’ ethical conflict, which is resolved by his decision to care for Philoctetes, and the problematic nature of this attitude are both indicative of the aim of Greek tragedy to problematize universal issues and thus to point towards the instability of human life and the fluidity of human nature. Realizing through historical empathy the precariousness of human existence may lead to a better understanding and hence better care for others and open new perspectives in the development of empathy within the context of contemporary medical education and practice. (shrink)

Odysseus' man, disguised as the captain of a merchant ship, is explaining to Neoptolemus how he chanced unexpectedly to meet Neoptolemus' sailors. Jebb's note, ‘the same land ; not, strictly, the same “spot” ’, and his rendering, ‘off the same coast’, somewhat contradict one another.

The interrelation of Hermione and Andromache as mapped out physically in theatrical space is the key aspect of the stagecraft of Euripides’ “Andromache”. Its study enhances the understanding of the critical importance of the females’ juxtapositional contrast in the dramatic design of the play. It also alerts us to the intricacies of Euripides’ game with social norm regulating the semantics of extra-theatrical domestic space and of his creative reworking of Andromache’s narrative space in Homer’s epic. Euripides innovates in combining the (...) two heroines’ post-war story and placing them as wife and concubine under the same roof, Neoptolemus’ house. Andromache sits outside the scene-building at the shrine of Thetis; she is excluded from the oikos, as a concubine would be in the reality of fifth-century experience. Hermione, Neoptolemus’ legal wife, dominates inside. By zooming in onto the particularities of movement, action and interaction (with animate and inanimate entities) of these females, this paper offers a detailed decoding of the dynamics of theatrical domestic space in the “Andromache”. (shrink)

Discussion of the closing lines of Pindar¿s seventh Nemean has concentrated almost exclusively on the lines¿ relevance to the larger question that hangs over the poem: does the ode serve as an apologia for the poet¿s uncomplimentary treatment of Neoptolemus in an earlier Paean, and is Pindar here most plainly gainsaying the vilification in which he supposedly previously engaged. The reading that I offer suggests that a very different concern frames the conclusion to the work. Rather than seeking to (...) exculpate himself, the poet announces instead that in the song that the audience has just heard, the composer has adhered to two prime virtues that the encomiastic genre should embrace: variatio and an ability to counter the language of blame. By reorienting the debate in this way, I aim to elucidate the striking metaphors and other rhetorical devices that fill the final lines, and most particularly to make sense of the canine imagery that seems so recurrent a motif. As my reading seeks to show, the dog is chosen as master trope both for his relation to the practice of invective and for his relevance to that stale act of repetition that the poet here rejects. By giving his audience a sample of the mode of speech that the calumnist practises, and that the praise poet may appropriate when combating the opposite genre, Pindar makes the merits of his own poetry shine the brighter, and invites the cognoscenti to appreciate his sophia. More broadly, the encomiastic singer¿s brief deployment of the weapons of the abuse poet allows us to understand something of the overlapping and symbiotic relations between the different genres in archaic Greek poetry. (shrink)

It is often stated that the German twentieth-century philosopher Martin Heidegger never wrote an ethics while undertaking his critique and deconstruction of the Western tradition of metaphysics. It is, therefore, difficult to know what manner of normative ethics, if any, is consistent with his “hermeneutic of Dasein” such as articulated in his Being and Time. However, in his “Letter on Humanism,” Heidegger refers to the tragedies of Sophocles as “preserving the ēthos” more originally, thus better, than does Aristotle’s ethics. Hence, (...) one may examine Sophocles’s tragedies guided by the hermeneutic Heidegger provides, especially through the concepts of authenticity and authentic selfhood. Doing so, it is argued here that Sophocles’s Philoctetes presents one such opportunity for moral understanding in the interplay of authenticity and inauthenticity, in particular through a study of the moral dilemma that Neoptolemus must resolve as he moves from a situation of inauthenticity to a display of authentic resolve. (shrink)

A closer look at the character of Odysseus in the opening passages of the Philoctetes reveals a more nuanced psychology of guilt and justification than commentators have thus far appreciated in the cunning hero's role. This paper examines the relations of sympathy between Odysseus, Neoptolemus, and Philoctetes as a way of entering into the complicated political drama of the work. Conceiving politics in the Philoctetes as a hybrid construction of the demands of nature and the demands of the gods, (...) this study provides a reading of Sophocles' play as an observation of the necessity for political regimes to efface the very conditions of sympathy that made them possible in the first place. On this reading, Sophocles' tragedy is to be seen as an explorarion of the damage incurred by individuals when such effacement takes place. (shrink)

As Aeneas begins his story of Troy's fall he wonders if in relating it even her enemies, such as the Myrmidons or Dolopes or the soldiers of Ulysses, could refrain from tears . The reference to a weeping soldier of Ulysses is a subtle allusion to Vergil's Homeric model, but why are the Myrmidons and Dolopes mentioned? The usual explanation that these were the soldiers of Neoptolemus, who plays a central role in Aeneas' account of Troy's fall, is not (...) entirely satisfactory. In Homer the Myrmidons inhabit Phthia and are thus naturally linked with Achilles and Patroclus, but the Dolopes seem to play no role at all in the fighting. Their name occurs only once in the Iliad and not at all in the Odyssey. (shrink)

A closer look at the character of Odysseus in the opening passages of the Philoctetes reveals a more nuanced psychology of guilt and justification than commentators have thus far appreciated in the cunning hero’s role. This paper examines the relations of sympathy between Odysseus, Neoptolemus, and Philoctetes as a way of entering into the complicated political drama of the work. Conceiving politics in the Philoctetes as a hybrid construction of the demands of nature and the demands of the gods, (...) this study provides a reading of Sophocles’ play as an observation of the necessity for political regimes to efface the very conditions of sympathy that made them possible in the first place. On this reading, Sophocles’ tragedy is to be seen as an explorarion of the damage incurred by individuals when such effacement takes place. (shrink)

Among the insinuations that Tacitus bequeaths to posterity in the negative segment of his post mortem of Augustus is the emperor's putative role as machinator doli in the death of the consul Hirtius during the fighting at Mutina in the spring of 43. The historian is thinking of a focal moment in the Aeneid when Sinon releases his fellow Greeks from within the wooden horse. I quote Aen. 2.264–7. Among the heroes who descend from the animal's belly are Ulixes, (...) class='Hi'>Neoptolemus et Menelaus et ipse doli fabricator Epeos. invadunt urbem somno vinoque sepultam; caeduntur vigiles, portisque patentibus omnis accipiunt socios atque agmina conscia iungunt. (shrink)