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Aristotle · Physics §2.3#2

Classification of Modes of Causes and the Primary Cause

Passage 18 of 113 · Greek

Summary

This section systematizes the various modes and classifications of causes (particular vs. generic, essential vs. accidental, potential vs. actual, and their combinations), and argues that in any scientific inquiry, one must always seek the ultimate and most precise cause.

§2.3#2τὰ μὲν οὖν αἴτια ταῦτα καὶ τοσαῦτά ἐστι τῷ εἴδει· τρόποι δὲ τῶν αἰτίων ἀριθμῷ μὲν εἰσί πολλοί, κεφαλαιούμενοι δὲ καὶ οὗτοι ἐλάττους.
The causes, then, are these and this many in form; but the modes of causes are many in number, though when summarized, these too are fewer.
λέγεται γὰρ αἴτια πολλαχῶς, καὶ αὐτῶν τῶν ὁμοειδῶν προτέρως καὶ ὑστέρως ἄλλο ἄλλου, οἷον ὑγιείας ἰατρὸς καὶ τεχνίτης, καὶ τοῦ διὰ πασῶν τὸ διπλάσιον καὶ ἀριθμός, καὶ ἀεὶ τὰ περιέχοντα πρὸς τὰ καθʼ ἕκαστον.
For causes are spoken of in many ways, and even among those of the same form, one is prior and another posterior to another, as for health the doctor and the artisan, and of the octave the double and number, and always the encompassing compared to the particular.
ἔτι δʼ ὡς τὸ συμβεβηκὸς καὶ τὰ τούτων γένη, οἷον ἀνδριάντος ἄλλως Πολύκλειτος καὶ ἄλλως ἀνδριαντοποιός, ὅτι συμβέβηκε τῷ ἀνδριαντοποιῷ τὸ Πολυκλείτῳ εἶναι.
And further, as the accidental and its genera, as of a statue Polyclitus in one way and the sculptor in another, because to be Polyclitus is accidental to the sculptor.
καὶ τὰ περιέχοντα δὲ τὸ συμβεβηκός, οἷον εἰ ὁ ἄνθρωπος αἴτιος εἴη ἀνδριάντος ἢ ὅλως ζῷον. ἔστι δὲ καὶ τῶν συμβεβηκότων ἄλλα ἄλλων πορρώτερον καὶ ἐγγύτερον, οἷον εἰ ὁ λευκὸς καὶ ὁ μουσικὸς αἴτιος λέγοιτο τοῦ ἀνδριάντος.
And also those encompassing the accidental, as if "man" were said to be the cause of the statue, or in general "animal." And among accidentals, some are further and others nearer than others, as if "the white" and "the musical" should be called the cause of the statue.
πάντα δὲ καὶ τὰ οἰκείως λεγό μενα καὶ τὰ κατὰ συμβεβηκὸς τὰ μὲν ὡς δυνάμενα λέγεται τὰ δʼ ὡς ἐνεργοῦντα, οἷον τοῦ οἰκοδομεῖσθαι οἰκίαν οἰκοδόμος ἢ οἰκοδομῶν οἰκοδόμος.
And all of them, both those spoken of properly and those accidentally, are spoken of some as potential and others as active; as of a house being built, the builder, or the building builder.
ὁμοίως δὲ λεχθήσεται καὶ ἐφʼ ὥν αἴτια τὰ αἴτια τοῖς εἰρημένοις, οἷον τουδὶ τοῦ ἀνδριάντος ἢ ἀνδριάντος ἢ ὅλως εἰκόνος, καὶ χαλκοῦ τοῦδε ἢ· χαλκοῦ ἢ ὅλως ὕλης· καὶ ἐπὶ τῶν συμβεβηκότων ὡσαύτως.
And in like manner it will be spoken of also in respect to those of which the causes are causes, as of this statue here, or of a statue, or in general of an image, and of this bronze here, or of bronze, or in general of matter; and likewise in the case of accidentals.
ἔτι δὲ συμπλεκόμενα καὶ ταῦτα κἀκεῖνα λεχθήσεται, οἷον οὐ Πολύκλειτος οὐδὲ ἀνδριαντοποιός, ἀλλὰ Πολύκλειτος ἀνδριαντοποιός.
And further, these and those will be spoken of in combination, as not "Polyclitus" nor "sculptor", but "Polyclitus the sculptor".
ἀλλʼ ὅμως ἅπαντα ταῦτά ἐστι τὸ μὲν πλῆθος ἕξ, λεγόμενα δὲ διχῶς· ἢ γὰρ ὡς τὸ καθʼ ἕκαστον, ἢ ὡς τὸ γένος, ἢ ὡς τὸ συμβεβηκός, ἢ ὡς τὸ γένος τοῦ συμβεβηκότος, ἢ ὡς συμπλεκόμενα ταῦτα ἢ ὡς ἁπλῶς λεγόμενα· πάντα δὲ ἢ ἐνεργοῦντα ἢ κατὰ δύναμιν.
But nevertheless, all these are six in number, but spoken of in two ways; for either as the particular, or as the genus, or as the accidental, or as the genus of the accidental, or as these in combination, or as spoken of simply; and all of them either as active or as potential.
διαφέρει δὲ τοσοῦτον, ὅτι τὰ μὲν ἐνεργοῦντα καὶ τὰ καθʼ ἕκα. στον ἅμα ἔστι καὶ οὐκ ἔστι καὶ ὧν αἴτια, οἶον ὅσ’ ὁ ἰατρεύων τῷδε τῷ ὑγιαζομένῳ καὶ ὅδε ὁ οἰκοδομῶν τῷδε τῷ οἰκοδομουμένῳ, τὰ δὲ κατὰ δύναμιν οὐκ ἀεί. φθείρεται γὰρ οὐχ ἅμα ἡ οἰκία καὶ ὁ οἰκοδόμος.
And they differ in this much: that the active and the particular exist and cease to exist at the same time as the things of which they are causes, as for instance this doctor here treating this patient here, and this builder here building this house here being built; but those in potentiality do not always do so; for the house and the builder do not perish at the same time.
δεῖ δʼ ἀεὶ τὸ αἴτιον ἑκάστου τὸ ἀκρότατον ζητεῖν, ὥσπερ καὶ ἐπὶ τῶν ἄλλων (οἷον ἅνθρωπος οἰκοδομεῖ ὅτι οἰκοδόμος, ὁ δʼ οἰκοδόμος κατὰ τὴν οἰκοδομικήν· τοῦτο τοίνυν πρότερον τὸ αἴτιον, καὶ οὕτως ἐπὶ πάντων)· ἔτι τὰ μὲν γένη τῶν γενῶν, τὰ δὲ καθʼ ἕκαστον τῶν καθʼ ἕκαστον (οἷον ἀνδριαντοποιὸς μὲν ἀνδριάντος, ὁδὶ δὲ τουδί)· καὶ τὰς μὲν δυνάμεις τῶν δυνατῶν, τὰ δʼ ἐνεργοῦντα πρὸς τὰ ἐνεργούμενα.
And one must always seek the ultimate cause of each thing, just as in other cases (as, a man builds because he is a builder, and the builder builds in respect of the art of building; this, then, is the prior cause, and so in all cases); furthermore, the genera of genera, and the particulars of particulars (as a sculptor of a statue, and this one here of this one here); and potentialities of potential things, and active things in relation to things being acted upon.
ὅσα μὲν οὖν τὰ αἴτια καὶ ὃν τρόπον αἴτια, ἔστω ἡμῖν διαωρισμένα ἱκανῶς.
How many the causes are, then, and in what manner they are causes, let it be sufficiently determined by us.

Notes

  1. 30προτέρως καὶ ὑστέρως — This adverbial contrast refers to the hierarchy of specificity and generality within the same class of causes, where one is more specific (prior) and the other more generic (posterior). For example, in relation to health, a "doctor" is a prior (more proximate) cause than an "artisan".
  2. 5ἐφʼ ὧν αἴτια τὰ αἴτια τοῖς εἰρημένοις — A highly compressed syntax where the relative pronoun ὧν refers back to the effects (the things caused, such as a "statue"), and the dative τοῖς εἰρημένοις depends on the copulative relationship of αἴτια. The entire phrase means: "the same will be said also in the case of those things of which the aforementioned causes are causes."
  3. 21τὸ ἀκρότατον — Substantive neuter of the superlative adjective meaning "highest" or "most extreme." Here it denotes the ultimate or most precise cause, reached by tracing back from a specific effect through intermediate steps (e.g., human -> builder) to the most direct determining principle (the art of building).

Cite this passage

Aristotle, Physics §2.3#2. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:greekLit:tlg0086.tlg031.humanitext-grc1:2.3%232

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