![]() ![]() © Oxford University Press 2018 All rights reserved. Published in the United States of America by Oxford University Press, 198 Madison Avenue, New York, NY 10016, United States of America. Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Long, Glenn Most, James Romm Oxford University Press is a department of the University of Oxford. Mensch translates: "Of these motions there is no beginning, since they are caused.LIVES OF THE EMINENT PHILOSOPHERS LIVES OF THE EMINENT PHILOSOPHERS DIOGENES LAERTIUS Translated by Pamela Mensch Edited by James Miller Consulting Editors James Allen, Tiziano Dorandi, Jay R. (3) The incognitive is either that which does not arise from what is, or from that which is but not exactly in accordance with what is: one which is not clear or distinct." Adding yet another option, as Mensch does, only muddies the waters for no real gain. (2) The cognitive, which they say is the criterion of things, is that which arises from what is and is stamped and impressed exactly in accordance with what is. 1 (Cambridge 1987): "(1) Of impressions, one kind is cognitive, the other incognitive. Sedley, The hellenistic philosophers, vol. The non-graspable presentation is either not from an existing object, or from an existing object but not in accordance with it it is neither clear nor well-stamped " secondly, A. The graspable presentation, which they say is the criterion of facts, is that which comes from an existing object, and is stamped and moulded in accordance with the existing object itself. Gerson, Hellenistic Philosophy: Introductory Readings (2 nd edn, Indianapolis 1997): "Of presentations, some are graspable, some non-graspable. The uncomprehending impression is that which does not arise from an existing object, or, if it does, does not accord with it it is neither clear nor distinct" (7.44) really better than either of the two following versions? First, B. The comprehending impression, which they say is the criterion of reality, is that which arises from an existing object and is imprinted and stamped in accordance with it. But is Mensch's "Some impressions involve comprehension, others do not. ![]() Of course, her decision to use scare-quotes when speaking of the duties of animals and plants indicates the limitations of "duty." Still, more recent choices, e.g., "proper function" or "appropriate action," lose important connotations of the word, and so are not obviously improvements.įor the vexed Stoic term of art φαντασία καταληπτική, Mensch uses "comprehending impression." On its own, this is fine. Here Mensch reasonably retains "duty," the traditional translation (also Hicks's) for καθῆκον. Actions neither belonging to duty, nor contrary to it, are those that reason neither prescribes our doing nor forbids, such as picking up a twig, holding a stylus or a scraper, and the like. Actions contrary to duty are those that reason forbids, for example, neglecting one's parents, ignoring one's brothers, being out of sympathy with one's friends, disregarding one's country, and the like. Actions belonging to duty are those that reason prescribes our doing, as is the case with honoring one's parents, brothers, country, and spending time with one's friends. For "duties" can also be discerned with respect to plants and animals. They apply the term "duty" to an action that, when done, can be defended on reasonable grounds, such as its consistency with life and this extends to plants and animals as well. ![]() But not everything Mensch does is an innovation, nor are all her innovations improvements.Ĭonsider this, from book 7, on the Stoics: ![]() Hicks in the Loeb Classical Library series (Cambridge, MA, and London, England, 1925). Dorandi's text (Cambridge 2013), is lively and engaging, and almost always superior to that of R. Its merits are, however, far from being confined to these immediately evident attractions. Together these make the volume seem more like a coffee-table book than a work of scholarship-a fact that presumably accounts for its being for sale in New York's Metropolitan Museum of Art. The high production quality here stands out: heavy, genuinely opaque paper generous line spacing and margins and, especially, more than 100 beautiful illustrations, drawn from all periods of (mostly, European) art. ![]()
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