Plato, Aristotle, Egypt and the Structure of Reality

Plato Vs. Aristotle

Aristotle, Plato, Egypt and the Structure of Reality

Immanuel Kant wrote at the close of his Critique of Pure Reason as follows:

In respect of the origin of the modes of ‘knowledge through pure reason’, the question is as to whether they are derived from experience, or whether in independence of ex-experience they have their origin in reason. Aristotle may be regarded as the chief of the empiricists, and Plato as the chief of the noologists. Locke, who in modern times followed Aristotle, and Leibniz, who followed Plato (although in con-considerable disagreement with his mystical system), have not been able to bring this conflict to any definitive conclusion. However we may regard Epicurus, he was at least much more consistent in this sensual system than Aristotle and Locke, inasmuch as he never sought to pass by inference beyond the limits of experience.1

In that paragraph Kant summed up the history of the division of philosophy into two camps with rival focii: the empirical tradition, descending loosely from Aristotle, emphasizing the immediate present, and the Platonic “noology,” stressing the permanence and eternality of the transcendent beyond, mirrored in the mind itself, which reflects the world’s own inherent, ideal structure.

However, which of these two thinkers, if either, is more correct? Is it possible to posit an external, essential structure to the world that supersedes the immediate, empirical experience?  How would such a realm be demonstrated?  The nature of these questions certainly extends beyond the scope of this paper, yet what I will claim is that Plato was more correct that Aristotle.  In fact, though Aristotle’s pioneering work in ethics, logic, politics and aesthetics cannot be overlooked, some of Aristotle’s own insights actually work to make the case for the claims of Plato, as I will argue.  This becomes particularly apparent when one considers the question of the infinity of God and numbers, which Plato and the Pythagoreans appear to have inherited from Egyptian Memphite and Hermetic traditions.  Interestingly, modern mathematical theorists and quantum physicists are coming to the very same conclusions the ancient Egyptians posited: that reality is, at base, much more than is visibly present, including higher and lower dimensions, as well as possibly a base, inherent mathematical essentialism behind the world we experience.  In effect, this means Aristotle’s empirical left turn from the Platonic Academy was in error.

Aristotle’s empiricism becomes most problematic when dealing with mathematical entities.  Aristotle argues against mathematical objects having a separate existence as Plato claimed, as follows: Read more of this post

Symbolic and Platonic Usage of the Mirror in Ben Johnson and George Herbert

Mirror, mirror, on the wall, who's the mostest Platonist of them all?

 By: Jay (c) copyright, all rights reserved.

     The significance of the mirror as an actual object and its usage a symbolic metaphor in literature is found in several English Renaissance era poems. The view of the mirror following upon the Renaissance and its philosophical progenitors, however, continued to have its somewhat mystical connotations in writers.  Viewed in the ancient world as a kind of quasi-magical object, a portal to another world, and a kind of picture the mind itself, in the Renaissance it retained this association through its conceptual usage in the Platonic tradition. This paper will focus on analyzing the different usages of the mirror in poems by Ben Johnson and George Herbert.

     Poet and playwright Ben Johnson (1572-1637) utilizes a fascinating portrayal of the mirror in his poem “XIII Epistle to Lady Katherine Aubigny” from the collection The Forest, published around 1616. Johnson lived in the house of Lady Aubigny, her husband Lord Aubigny being a patron of Johnson’s. In the “XIII Epistle,” Johnson turns the mirror into an image of the poem itself. The poem is lengthy, so the following will be the relevant sections. He writes in praise of Lady Katherine:

Yourself but told unto yourself, and see
In my character what your features be,
You will not from the paper slightly pass:
No lady, but at some time loves her glass.
And this shall be no false one, but as much
Remov’d, as you from need to have it such.
Look then, and see your self — I will not say
 
Your beauty, for you see that every day;
And so do many more:  all which can call
It perfect, proper, pure, and natural,
Not taken up o’ the doctors, but as well
As I, can say and see it doth excel;
That asks but to be censured by the eyes:
And in those outward forms, all fools are wise.[1]
 

 

     Johnson describes the “self” as the subject of the poem, and that just as a mirror presents the self to a person, so his poem itself will become a mirror. However, for Johnson, as a mirror is useful for presenting the outward form of the body, his poem will be a mirror for the real form of Lady Katherine, which is her virtue. Already we have somewhat Platonic notions, which will become clearer as we move on, and which were in vogue in the Renaissance writers’ rediscovery of the classical Greek tradition, especially the Platonic and Neo-platonic corpus.[2] Read more of this post

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