第8章

All thinkers then agree in making the contraries principles, both those who describe the All as one and unmoved (for even Parmenides treats hot and cold as principles under the names of fire and earth) and those too who use the rare and the dense. The same is true of Democritus also, with his plenum and void, both of which exist, be says, the one as being, the other as not-being. Again he speaks of differences in position, shape, and order, and these are genera of which the species are contraries, namely, of position, above and below, before and behind; of shape, angular and angle-less, straight and round.

It is plain then that they all in one way or another identify the contraries with the principles. And with good reason. For first principles must not be derived from one another nor from anything else, while everything has to be derived from them. But these conditions are fulfilled by the primary contraries, which are not derived from anything else because they are primary, nor from each other because they are contraries.

But we must see how this can be arrived at as a reasoned result, as well as in the way just indicated.

Our first presupposition must be that in nature nothing acts on, or is acted on by, any other thing at random, nor may anything come from anything else, unless we mean that it does so in virtue of a concomitant attribute. For how could 'white' come from 'musical', unless 'musical' happened to be an attribute of the not-white or of the black? No, 'white' comes from 'not-white'-and not from any 'not-white', but from black or some intermediate colour. Similarly, 'musical' comes to be from 'not-musical', but not from any thing other than musical, but from 'unmusical' or any intermediate state there may be.

Nor again do things pass into the first chance thing; 'white' does not pass into 'musical' (except, it may be, in virtue of a concomitant attribute), but into 'not-white'-and not into any chance thing which is not white, but into black or an intermediate colour; 'musical' passes into 'not-musical'-and not into any chance thing other than musical, but into 'unmusical' or any intermediate state there may be.

The same holds of other things also: even things which are not simple but complex follow the same principle, but the opposite state has not received a name, so we fail to notice the fact. What is in tune must come from what is not in tune, and vice versa; the tuned passes into untunedness-and not into any untunedness, but into the corresponding opposite. It does not matter whether we take attunement, order, or composition for our illustration; the principle is obviously the same in all, and in fact applies equally to the production of a house, a statue, or any other complex. A house comes from certain things in a certain state of separation instead of conjunction, a statue (or any other thing that has been shaped) from shapelessness-each of these objects being partly order and partly composition.

If then this is true, everything that comes to be or passes away from, or passes into, its contrary or an intermediate state. But the intermediates are derived from the contraries-colours, for instance, from black and white. Everything, therefore, that comes to be by a natural process is either a contrary or a product of contraries.

Up to this point we have practically had most of the other writers on the subject with us, as I have said already: for all of them identify their elements, and what they call their principles, with the contraries, giving no reason indeed for the theory, but contrained as it were by the truth itself. They differ, however, from one another in that some assume contraries which are more primary, others contraries which are less so: some those more knowable in the order of explanation, others those more familiar to sense. For some make hot and cold, or again moist and dry, the conditions of becoming; while others make odd and even, or again Love and Strife; and these differ from each other in the way mentioned.

Hence their principles are in one sense the same, in another different; different certainly, as indeed most people think, but the same inasmuch as they are analogous; for all are taken from the same table of columns, some of the pairs being wider, others narrower in extent. In this way then their theories are both the same and different, some better, some worse; some, as I have said, take as their contraries what is more knowable in the order of explanation, others what is more familiar to sense. (The universal is more knowable in the order of explanation, the particular in the order of sense: for explanation has to do with the universal, sense with the particular.) 'The great and the small', for example, belong to the former class, 'the dense and the rare' to the latter.

It is clear then that our principles must be contraries.