Categories
Medieval Platonism

Plato, Mathematician and Myth-Maker

Pisano, Giovanni, 1240?-1320?. c.1284. Siena Duomo: det.: Plato. Place: Museo dell’Opera del Duomo (Siena, Italy). https://library-artstor-org.proxy.library.nd.edu/asset/ARTSTOR_103_41822000532257.

The Republic, The Symposium, The Phaedrus, The Apology, and The Phaedo––these are just a few of the works of Plato that were not widely available throughout most of the Middle Ages. No extended depiction of the most just city in the Republic. No discussion of love in The Symposium and The Phaedrus. No self-defense for Socrates at his trial as found in The Apology, and no final dialogue before his suicide as found in The Phaedo. For lovers of great texts, especially Plato, such news can be shocking. What kind of Plato does a person know if they don’t have these key works? How much of Socrates’ life and Plato’s philosophy could even be known? These are the questions that many medieval scholars of the Latin Platonist tradition have dedicated their lives and careers to answering, and the answers can be quite surprising.

One aspect of this research that ought to be appreciated by the wider reading public (outside of the narrow confines of medievalists) is that Plato’s Timaeus wasthe most widely available Platonic work throughout most of the Middle Ages. In fact, examining the text of the Timaeus and why itwas such one of the few Platonic texts preserved reveals how peculiarly modern our current canon of Platonic literature is.

What we value in Plato was not necessarily what late antique or medieval readers valued, and yet, their ability to read well meant that they understood a lot more than might be supposed. An attention to the reception history of Plato’s Timaeus can give modern readers of Plato a better appreciation for the importance of both mathematics and poetry in Platonic philosophy.

The Timaeus is Plato’s work on the origins of the universe. It begins with a dialogue between Timaeus, Socrates, Hermocrates, and Critias, in which Socrates expresses a desire for a “moving image” of the city they had been talking about the day before. The summary of the previous day’s discussion appears to bear some resemblance to the conversation found in the Republic although scholars are divided over whether this summary perfectly matches the Republic that we now possess. Regardless of its accuracy, this summary would have been the closest a medieval reader would have had to a taste of the Republic. The opening dialogue covers all sorts of fascinating topics from Solon’s visit to Egypt, oral culture, the mythic origins of writing, and the myth of Atlantis, but the bulk of the work features a narration about the origins of the universe recounted by the Pythagorean, Timaeus.

The Timaeus was received in the Middle Ages through three main channels of Latin translations: the translation of Calcidius (which ends at 53b), the translation of Cicero (available but not widely used or even known, which ends at 42b), and the excerpts from the Ciceronian translation of the Timaeus that can be found in Augustine’s City of God. Although it does not contain the whole text of the Timaeus, Calcidius’ translation is much more complete than Cicero’s: rather than giving merely the speech of Timaeus like Cicero’s translation does, it includes the opening dialogue (even though the commentary itself ignores it).

Most modern Plato scholars would probably not choose The Timaeus as theone and only work they could save from destruction for all time. But, a better understanding of who Calcidius was and why he wrote the commentary on the Timaeus suggests that the preservation of the Timaeus in the Latin West was not an accident of fate. Rather, the results of Gretchen Reydams-Schills’ lifelong study of Calcidius give a plausible reason for why Calcidius’ commentary may have been the Platonic work of choice for many late antique philosophers.

Reydams-Schils argues that Calcidius wrote his commentary as an introduction to the Platonic corpus, essentially reversing the Middle Platonic curriculum, which traditionally ended with the Timaeus. One major piece of evidence for this theory is that Calcidius’ commentary often reserves discussion of harder philosophical concepts for the end of the commentary.Furthermore, unlike the Neoplatonists, Calcidius did not read the Timaeus synoptically and believed strongly in the importance of sequential reading of the Platonic corpus. In Calcidus’ Platonic curriculum, the Timaeus came first with its teachings on natural justice, then the Republic with its teaching of positive justice, and finally, the Parmenides came with its teaching of the forms and intelligible realities. Calcidius believed that a thorough understanding of mathematics was necessary for understanding of almost all of the Platonic works, which is why his commentary on the Timaeus turns out to be something like a crash course in Pythagorean mathematics.

Thus, although the Timaeus was one of the only Platonic works available throughout the early Middle Ages, Calcidius’ commentary gave readers some introduction to the entire Platonic corpus as well as a great deal of Pythagorean mathematics. Perhaps there might be good reason for a philosopher to save The Timaeus (especially a copy with Calcidius’ commentary)from a burning building!

Plato; Chalcidius (translation). Timaeus. Manuscript. Place: Bodleian Library, University of Oxford, <a href=’http://www.bodley.ox.ac.uk/’>http://www.bodley.ox.ac.uk/</a>. https://library-artstor-org.proxy.library.nd.edu/asset/BODLEIAN_10310768399.

Medievalists who study the textual reception of the various translations of The Timaeus have been able to identify a shift in kinds of interest in Plato over time. The primary Latin translation of the Timaeus used until the eleventh century was Cicero’s. Medieval scholars used to assume that the revival of Calcidius began with the twelfth century Platonists, but Anna Somfai has demonstrated that the proliferation of copies of Calcidius’ text and commentary began in the eleventh century when championed by Lanfranc of Bec (c.1050). The late twelfth-century actually experienced a decline of copying the Timaeus as interests shifted towards other texts.

What motivated the eleventh-century interest in Calcidius appears to have been the mathematical content of the Calcidian commentary because, by the Carolingian period, much of the actual content of the quadrivial arts had been lost, and scholars in the Middle Ages attempted to piece together what scraps of it remained from a variety of sources. Calcidius’ commentary on the Timaeus appears to have been particularly valued as a source text for the quadrivial (or mathematical) arts. As my two previous MI blogs have explored here and here, medieval thinkers in the traditional liberal arts tradition recognized that the quadrivial arts were the foundation for philosophical thought, even if they had few textual sources for actually studying them.

And although some of the interest in the kinds of mathematics found in the Timaeus and Calcidius’ commentary may have declined after the twelfth century, it was by no means lost completely. As David Albertson has demonstrated, the mathematical interest in Plato found in the work of the twelfth-century scholar, Thierry of Chartres, would eventually be picked up by the fifteenth-century scholar, Nicholas of Cusa, and many scholars have noted resonances of Cusa’s quadrivial agenda in the thinking of Leibniz, the founder of calculus:

It seems that God, when he bestowed these two sciences [arithmetic and algebra] on humankind, wanted to warn us that a much greater secret lay hidden in our intellect, of which these were but shadows. (Leibniz as quoted by Albertson, p.2)

Bernardus Silvester. Liber fortunae, also known as Experimentarius.. Manuscript. Place: Bodleian Library, University of Oxford, <a href=’http://www.bodley.ox.ac.uk/’>http://www.bodley.ox.ac.uk/</a>. https://library-artstor-org.proxy.library.nd.edu/asset/BODLEIAN_10310765350.

This blog post is excerpted from the University of Notre Dame’s Medieval Institute Research Blog.

Categories
Quadrivium

Poetry as a Quadrivial Art?

That ‘Poetry is the cradle of philosophy’ is axiomatic”(John of Salisbury, Metalogicon I.22).

Coëtivy Master (Henri de Vulcop?) (French, active about 1450 – 1485), Philosophy Presenting the Seven Liberal Arts to Boethius, Google Art Project.

It is a truth generally acknowledged that in the Middle Ages a liberal arts education consisted of the trivium (grammar, logic, and rhetoric) and the quadrivium (arithmetic, music, geometry, astronomy). Poetry –what we might call “literature”– was primarily taught by grammarians and rhetoricians in the Middle Ages. Literary scholars, like Rita Copeland and Marjorie Woods, have therefore been very motivated to study exactly what the language disciplines of Grammar and Rhetoric entailed and precisely how they were taught in order to have a better sense of what the study of literature must have looked like in this period. Their works are indispensable for the study of medieval literature and truly are the bulk of where instruction in poetics lay in the Middle Ages. And yet, once cannot stop there.

Knowing exactly where to put poetry was something that clearly bothered many medieval philosophers. While today we might assume that poetry would clearly be associated with the Trivium, or the arts dedicated to words, specifically grammar and rhetoric, certain medieval thinkers located it within logic and also the Quadrivium, or the arts of number. Understanding why can help us to understand the multi-faceted way in which the medieval mind approached poetry in particular and the literary arts more generally.

Étienne Colaud, “John of Salisbury teaching philosophy,” frontispiece miniature of the Policraticus by John of Salisbury, BnF  Ms.1145, folio 3 recto, Public domain, via Wikimedia Commons.

In the twelfth century when there were major curricular changes afoot in schools and universities, John of Salisbury maintained that poetry belonged to the art of grammar although it was closely allied with rhetoric. “Art,” writes John of Salisbury, “is a system that reason has devised in order to expedite, by its own short cut, our ability to do things within our natural capacities. Reason neither provides nor professes to provide the accomplishment of the impossible;” Instead, reason pursues the possible by means of an efficient plan, what the Greeks would call a methodon (Metalogicon I.11, p.33). As J.J. Murphy writes in the Cambridge History of Literary Criticism, Vol. II: The Middle Ages:

In medieval terminology the Latin word ars (plural: artes) denoted a body of principles relating to a specific activity such as painting, music, preaching, or writing. By extension the term was also used for a written treatise on the subject of a particular art […] The term ‘art’ or ars when applied to such a treatise indicates a discussion of what the ancient Greeks would have called techné ––‘technique’ or ‘craft’ –– rather than an abstract or theoretical discussion of a subject (p.42).

The practitioner of an art is therefore called an artifex or craftsman, and the study of the art consisted of both the intrinsic principles for practice and the extrinsic practice of the art itself.[1] When art is understood in this way, craftsmen generally agree that the person able to produce art is more skilled that the person skilled at conveying the principles underlying art. While poetry was clearly a craft that required a practitioner to study a method of practice, it was by no means clear where it ought to fit in the medieval curriculum of the arts.

John of Salisbury reports that some people thought poetry should be its own subject (shockingly!) because so much of it is clearly a “product of nature’s workshop” (Metalogicon I.18). The close tie between poetry and nature formed the basis of their argument, but John of Salisbury warns pragmatically that if poetry is removed from grammar, “its mother and the nurse of its study,” the study of poetry could be “dropped from the roll of liberal studies.” In other words, everyone studies grammar, which in those days often included a careful study of works like Virgil’s Aeneid. If poetry became its own subject, people might not take it at all!

English: Arabic translation of Aristotle’s Poetics by Abu Bishr Matta
Français : Poétique (Aristote) en arabe – Abu Bishr Matta
العربية: فن الشعر لأرسطوطاليس نقل أبي بشر متى – من مخطوطة باريس ٢٣٤٦
http://gallica.bnf.fr/ark:/12148/btv1b8422956q/f273.image

Some philosophers thought that poetry actually belonged to the subject of logic. These people were especially concerned about how to classify Aristotle’s Poetics. In Ancient Greece, Aristotle had written a group of works (one might even say lecture notes) on logic when teaching at the Lyceum. His followers, the Peripatetics, classified these works as the Organon, meaning instrument or tool, because they saw them as instrumental in preparing for the study of philosophy. The Latin West had only select works from the Organon until their increased contact with Arabic philosophers like Avicenna, who wrote a commentary on the Poetics. Following the Greek commentators on Aristotle, most of the Arabic (and subsequently Latin scholastic) commentators saw Aristotle’s Rhetoric and Poetics as the seventh and eighth works of Aristotle’s Organon. In their zeal, therefore, to comment on the entirety of the Organon, some Latin scholastic commentators, like Herman the German, viewed poetics as a part of Logic.

As surprising as it might be to think that poetry should be considered primarily within the context of “logic,” there is strong evidence that poetry was also studied within the context of the quadrivium. And yet, many medieval thinkers, the Pythagorean believed that number lay at the root of creation itself. For example, Dante writes in the Convivio when commenting on the beauty of a canzone:

All of you who cannot perceive the meaning of this canzone, do not reject it on that account, but consider its beauty: considerable for the way it is constructed, which is the concern of the grammarians; the ordering of its discourse, which is the concern of the rhetoricians; and for the metrical numbering of its parts, which is the concern of poets. (II.xi.9–10)

The key word to focus upon here is numbering. Familiarity with the Commedia and its frequent references to the starsis enough to convince a reader that one aspect of the numbering that Dante had in mind was the medieval discipline of astronomy, but there is also good reason to think that Dante had music in mind. Some of this evidence is textual…the numerous references to music in the Purgatorio and Paradiso…, but some of this evidence can be found in Boethius.

This blog post is excerpted from the University of Notre Dame’s Medieval Institute Research Blog.