Aristotle ON THE SOUL Complete

Translated by J. Smith.

Aristotle Bilingual Anthology  Studies  Aristotle in Print

78 pages - You are on Page 57

If it is true that the movement, both the acting and the being acted upon, is to be found in that which is acted upon, both the sound and the hearing so far as it is actual must be found in that which has the faculty of hearing; for it is in the passive factor that the actuality of the active or motive factor is realized; that is why that which causes movement may be at rest. Now the actuality of that which can sound is just sound or sounding, and the actuality of that which can hear is hearing or hearkening; 'sound' and 'hearing' are both ambiguous. The same account applies to the other senses and their objects. For as the-acting-and-being-acted-upon is to be found in the passive, not in the active factor, so also the actuality of the sensible object and that of the sensitive subject are both realized in the latter. But while in some cases each aspect of the total actuality has a distinct name, e.g. sounding and hearkening, in some one or other is nameless, e.g. the actuality of sight is called seeing, but the actuality of colour has no name: the actuality of the faculty of taste is called tasting, but the actuality of flavour has no name. Since the actualities of the sensible object and of the sensitive faculty are one actuality in spite of the difference between their modes of being, actual hearing and actual sounding appear and disappear from existence at one and the same moment, and so actual savour and actual tasting, &c., while as potentialities one of them may exist without the other. The earlier students of nature were mistaken in their view that without sight there was no white or black, without taste no savour. This statement of theirs is partly true, partly false: 'sense' and 'the sensible object' are ambiguous terms, i.e. may denote either potentialities or actualities: the statement is true of the latter, false of the former. This ambiguity they wholly failed to notice.

If voice always implies a concord, and if the voice and the hearing of it are in one sense one and the same, and if concord always implies a ratio, hearing as well as what is heard must be a ratio. That is why the excess of either the sharp or the flat destroys the hearing. (So also in the case of savours excess destroys the sense of taste, and in the case of colours excessive brightness or darkness destroys the sight, and in the case of smell excess of strength whether in the direction of sweetness or bitterness is destructive.) This shows that the sense is a ratio.

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