§1## ΠΕΡΙ ΤΕΧΝΗS.
1.
ON THE ART. 1.
Εἰσί τινες οἳ τέχνην πεποίηνται τὸ τὰς τέχνας αἰσχροεπεῖν, ὡς μὲν οἴονται οἱ τοῦτο διαπρησσόμενοι, οὐχ ὃ ἐγὼ λέγω, ἀλλ’ ἱστορίης οἰκείης ἐπίδειξιν ποιεύμενοι.
There are some who have made an art of defaming the arts, as those who practice this think, not for the purpose I say, but to make a display of their own learning.
Ἐμοὶ δὲ τὸ μέν τι τῶν μὴ εὑρημένων ἐξευρίσκειν, ὅ τι καὶ εὑρεθὲν κρέσσον ᾖ ἢ ἀνεξεύρετον, ξυνέσιος δοκέει ἐπιθύμημά τε καὶ ἔργον εἶναι, καὶ τὸ τὰ ἡμίεργα ἐς τέλος ἐξεργάζεσθαι ὡσαύτως·
For me, to discover something of what is yet undiscovered, which when discovered is better than if left undiscovered, seems to be both the desire and the work of intelligence, and likewise to bring to completion what is half-done.
τὸ δὲ λόγων οὐ καλῶν τέχνῃ τὰ τοῖς ἄλλοις εὑρημένα αἰσχύνειν προθυμέεσθαι, ἐπανορθοῦντα μὲν μηδὲν, διαβάλλοντα δὲ τὰ τῶν εἰδότων πρὸς τοὺς μὴ εἰδότας ἐξευρήματα, οὐκέτι δοκέει ξυνέσιος ἐπιθύμημά τε καὶ ἔργον εἶναι, ἀλλὰ κακαγγελίη μᾶλλον φύσιος ἢ ἀτεχνίη·
But to be eager to disgrace the discoveries of others by the art of unseemly words, correcting nothing, but slandering the discoveries of those who know to those who do not know, no longer seems to be the desire and work of intelligence, but rather a bad reporting of nature or a lack of art.
μούνοισι γὰρ τοῖσιν ἀτέχνοισιν ἡ ἐργασίη αὕτη ἁρμόζει, φιλοτιμεομένων μὲν, οὐδαμᾶ δὲ δυναμένων κακίῃ ὑπουργέειν εἰς τὸ τὰ τῶν πέλας ἔργα ἢ ὀρθὰ ἐόντα διαβάλλειν, ἢ οὐκ ὀρθὰ μωμέεσθαι.
For this work suits only the artless, who are ambitious indeed, but entirely powerless to do anything else but support mischief, by either slandering the correct works of their neighbors or blaming their incorrect works.
Τοὺς μὲν οὖν ἐς τὰς ἄλλας τέχνας τούτῳ τῷ τρόπῳ ἐμπίπτοντας, οἷσι μέλει τε, καὶ ὧν μέλει, οἱ δυνάμενοι κωλυόντων· ὁ δὲ παρεὼν λόγος τοῖσιν ἐς ἰητρικὴν οὕτως ἐμπορευομένοις ἐναντιώσεται, θρασυνόμενος μὲν διὰ τούτους οὓς ψέγει, εὐπορέων δὲ διὰ τὴν τέχνην ᾗ βοηθεῖ, δυνάμενος δὲ διὰ σοφίην ᾗ πεπαίδευται.
Therefore, let those who attack other arts in this way be prevented by those who care and are able to do so; but the present speech will oppose those who trade in this way against medicine, being bold because of those whom it censures, rich in resources because of the art it helps, and powerful because of the wisdom in which it has been educated.
§22.
2.
Δοκέει δή μοι τὸ μὲν σύμπαν τέχνη εἶναι εἶναι οὐδεμία οὐκ ἐοῦσα·
It seems to me, in short, that there is no art which does not exist; for it is unreasonable to think that any of the things that exist does not exist.
καὶ γὰρ ἄλογον τῶν ἐόντων τι ἡγεῖσθαι μὴ ἐόν· ἐπεὶ τῶν γε μὴ ἐόντων τίνα ἂν τίς οὐσίην θεησάμενος ἀπαγγείλειεν ὡς ἔστιν;
Indeed, what reality of things that do not exist could anyone see and report as existing?
εἰ γὰρ δὴ ἔστι γ’ ἰδεῖν τὰ μὴ ἐόντα, ὥσπερ τὰ ἐόντα, οὐκ οἶδ’ ὅπως ἄν τις αὐτὰ νομίσειε μὴ ἐόντα, ἅ γε εἴη καὶ ὀφθαλμοῖσιν ἰδεῖν καὶ γνώμῃ νοῆσαι ὥς ἐστιν·
For if it is indeed possible to see things that do not exist, just like things that exist, I do not know how anyone could consider them as non-existent, since they would be there both to see with the eyes and to understand with the mind that they exist.
ἀλλ’ ὅπως μὴ οὐκ ᾖ τοῦτο τοιοῦτον· ἀλλὰ τὰ μὲν ἐόντα αἰεὶ ὁρᾶταί τε καὶ γινώσκεται, τὰ δὲ μὴ ἐόντα οὔτε ὁρᾶται οὔτε γινώσκεται.
But let it not be that this is so; rather, things that exist are always seen and known, while things that do not exist are neither seen nor known.
Γινώσκεται τοίνυν δεδειγμένων ἤδη τῶν τεχνέων, καὶ οὐδεμία ἐστὶν ἥ γε ἔκ τινος εἴδεος οὐχ ὁρᾶται.
Since the arts have already been demonstrated, they are known, and there is none which is not seen from some form.
Οἶμαι δ’ ἔγωγε καὶ τὰ ὀνόματα αὐτὰς διὰ τὰ εἴδεα λαβεῖν· ἄλογον γὰρ ἀπὸ τῶν ὀνομάτων τὰ εἴδεα ἡγεῖσθαι βλαστάνειν, καὶ ἀδύνατον·
And I think that names themselves were received because of the forms; for it is unreasonable, and indeed impossible, to think that forms sprout from names.
τὰ μὲν γὰρ ὀνόματα φύσιος νομοθετήματά ἐστι, τὰ δὲ εἴδεα οὐ νομοθετήματα, ἀλλὰ βλαστήματα.
For names are the conventions of nature, but forms are not conventions, but sproutings.
§33.
3.
Περὶ μὲν οὖν τούτων εἴ γέ τις μὴ ἱκανῶς ἐκ τῶν εἰρημένων ξυνίησιν, ἐν ἄλλοισιν ἂν λόγοισι σαφέστερον διδαχθείη.
Concerning these matters, if anyone does not understand sufficiently from what has been said, he may be taught more clearly in other discourses.
Περὶ δὲ ἰητρικῆς, ἐς ταύτην γὰρ ὁ λόγος, ταύτης οὖν τὴν ἀπόδειξιν ποιήσομαι, καὶ πρῶτόν γε διοριεῦμαι ὃ νομίζω ἰητρικὴν εἶναι, τὸ δὴ πάμπαν ἀπαλλάσσειν τῶν νοσεόντων τοὺς καμάτους, καὶ τῶν νοσημάτων τὰς σφοδρότητας ἀμβλύνειν, καὶ τὸ μὴ ἐγχειρέειν τοῖσι κεκρατημένοισιν ὑπὸ τῶν νοσημάτων, εἰδότας ὅτι ταῦτα οὐ δύναται ἰητρική.
But concerning medicine—for to this the speech is directed—I will make its demonstration, and first I will define what I consider medicine to be: namely, to deliver the sick entirely from their sufferings, to blunt the violence of diseases, and not to attempt to treat those who are already mastered by diseases, knowing that in these cases medicine has no power.
Ὡς οὖν ποιέει τε ταῦτα, καὶ οἵη τέ ἐστι διὰ παντὸς ποιέειν, περὶ τούτου μοι δὴ ὁ λοιπὸς ἔσται λόγος·
How it does these things, and how it is able to do them always, will be the subject of my remaining discourse.
ἐν δὲ τῇ τῆς τέχνης ἀποδείξει ἅμα καὶ τοὺς λόγους τῶν αἰσχύνειν αὐτὴν οἰομένων ἀναιρήσω, ᾗ ἂν ἕκαστος αὐτῶν πρήσσειν τι οἰόμενος τυγχάνῃ.
In the demonstration of the art, I will at the same time refute the arguments of those who think they disgrace it, in whatever point each of them thinks he is doing something.
§44.
4.
Ἐστὶ μὲν οὖν μοι ἀρχὴ τοῦ λόγου, ἣ καὶ ὁμολογηθήσεται παρὰ πᾶσιν· ὅτι μὲν ἔνιοι ἐξυγιαίνονται τῶν θεραπευομένων ὑπὸ ἰητρικῆς ὁμολογέεται· ὅτι δὲ οὐ πάντες, ἐν τούτῳ ἤδη ψέγεται ἡ τέχνη, καί φασιν οἱ τὰ χείρω λέγοντες, διὰ τοὺς ἁλισκομένους ὑπὸ τῶν νοσημάτων, τοὺς ἀποφεύγοντας αὐτὰ τύχῃ ἀποφεύγειν καὶ οὐ διὰ τὴν τέχνην.
Now, the beginning of my discourse is one that will be agreed upon by all: that some of those treated by medicine are restored to health is agreed; but because not all are, the art is already blamed, and those who speak the worse of it say that, because of those who are overcome by diseases, those who escape them do so by chance and not through the art.
Ἐγὼ δὲ οὐκ ἀποστερέω μὲν οὐδ’ αὐτὸς τὴν τύχην ἔργου οὐδενὸς, ἡγεῦμαι δὲ τοῖσι μὲν κακῶς θεραπευομένοισι νουσήμασι τὰ πολλὰ τὴν ἀτυχίην ἕπεσθαι, τοῖσι δὲ εὖ τὴν εὐτυχίην.
I myself do not deprive chance of any of its work, but I think that for those who are badly treated, ill-fortune for the most part follows, and for those who are well treated, good fortune.
Ἔπειτα δὲ καὶ πῶς οἷόν τέ ἐστι τοῖς ὑγιασθεῖσιν ἄλλο τι αἰτιήσασθαι ἢ τὴν τέχνην, εἴπερ χρώμενοι αὐτῇ καὶ ὑπουργέοντες ὑγιάσθησαν;
Furthermore, how is it possible for those who have been cured to attribute it to anything other than the art, if indeed they were cured by using and submitting to it?
τὸ μὲν γὰρ τῆς τύχης εἶδος ψιλὸν οὐκ ἠβουλήθησαν θεήσασθαι, ἐν ᾧ τῇ τέχνῃ ἐπέτρεψαν σφᾶς αὐτοὺς, ὥστε τῆς μὲν ἐς τὴν τύχην ἀναφορῆς ἀπηλλαγμένοι εἰσὶ, τῆς μέντοι ἐς τὴν τέχνην οὐκ ἀπηλλαγμένοι·
For they did not wish to look upon the bare form of chance when they entrusted themselves to the art, so that they are free from referring it to chance, but they are not free from referring it to the art.
ἐν ᾧ γὰρ ἐπέτρεψαν καὶ ἐπίστευσαν αὐτῇ σφᾶς αὐτοὺς, ἐν τούτῳ αὐτῆς καὶ τὸ εἶδος ἐσκέψαντο καὶ τὴν δύναμιν, περανθέντος τοῦ ἔργου, ἔγνωσαν.
For in that they entrusted and committed themselves to it, they examined its form, and when the work was accomplished, they recognized its power.