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on sense and the sensible-第3部分

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This also helps us to understand why the olfactory organ has its



proper seat in the environment of the brain; for cold matter is



potentially hot。 In the same way must the genesis of the eye be



explained。 Its structure is an offshoot from the brain; because the



latter is the moistest and coldest of all the bodily parts。



  The organ of touch proper consists of earth; and the faculty of



taste is a particular form of touch。 This explains why the sensory



organ of both touch and taste is closely related to the heart。 For the



heart as being the hottest of all the bodily parts; is the



counterpoise of the brain。



  This then is the way in which the characteristics of the bodily



organs of sense must be determined。



                                 3







  Of the sensibles corresponding to each sensory organ; viz。 colour;



sound; odour; savour; touch; we have treated in On the Soul in general



terms; having there determined what their function is; and what is



implied in their becoming actualized in relation to their respective



organs。 We must next consider what account we are to give of any one



of them; what; for example; we should say colour is; or sound; or



odour; or savour; and so also respecting 'the object of' touch。 We



begin with colour。



  Now; each of them may be spoken of from two points of view; i。e。



either as actual or as potential。 We have in On the Soul explained



in what sense the colour; or sound; regarded as actualized 'for



sensation' is the same as; and in what sense it is different from; the



correlative sensation; the actual seeing or hearing。 The point of



our present discussion is; therefore; to determine what each



sensible object must be in itself; in order to be perceived as it is



in actual consciousness。



  We have already in On the Soul stated of Light that it is the colour



of the Translucent; 'being so related to it' incidentally; for



whenever a fiery element is in a translucent medium presence there



is Light; while the privation of it is Darkness。 But the



'Translucent'; as we call it; is not something peculiar to air; or



water; or any other of the bodies usually called translucent; but is a



common 'nature' and power; capable of no separate existence of its



own; but residing in these; and subsisting likewise in all other



bodies in a greater or less degree。 As the bodies in which it subsists



must have some extreme bounding surface; so too must this。 Here; then;



we may say that Light is a 'nature' inhering in the Translucent when



the latter is without determinate boundary。 But it is manifest that;



when the Translucent is in determinate bodies; its bounding extreme



must be something real; and that colour is just this 'something' we



are plainly taught by facts…colour being actually either at the



external limit; or being itself that limit; in bodies。 Hence it was



that the Pythagoreans named the superficies of a body its 'hue'; for



'hue'; indeed; lies at the limit of the body; but the limit of the



body; is not a real thing; rather we must suppose that the same



natural substance which; externally; is the vehicle of colour exists



'as such a possible vehicle' also in the interior of the body。



  Air and water; too 'i。e。 as well as determinately bounded bodies'



are seen to possess colour; for their brightness is of the nature of



colour。 But the colour which air or sea presents; since the body in



which it resides is not determinately bounded; is not the same when



one approaches and views it close by as it is when one regards it from



a distance; whereas in determinate bodies the colour presented is



definitely fixed; unless; indeed; when the atmospheric environment



causes it to change。 Hence it is clear that that in them which is



susceptible of colour is in both cases the same。 It is therefore the



Translucent; according to the degree to which it subsists in bodies



(and it does so in all more or less); that causes them to partake of



colour。 But since the colour is at the extremity of the body; it



must be at the extremity of the Translucent in the body。 Whence it



follows that we may define colour as the limit of the Translucent in



determinately bounded body。 For whether we consider the special



class of bodies called translucent; as water and such others; or



determinate bodies; which appear to possess a fixed colour of their



own; it is at the exterior bounding surface that all alike exhibit



their colour。



  Now; that which when present in air produces light may be present



also in the Translucent which pervades determinate bodies; or again;



it may not be present; but there may be a privation of it。



Accordingly; as in the case of air the one condition is light; the



other darkness; in the same way the colours White and Black are



generated in determinate bodies。



  We must now treat of the other colours; reviewing the several



hypotheses invented to explain their genesis。



  (1) It is conceivable that the White and the Black should be



juxtaposed in quantities so minute that 'a particle of' either



separately would be invisible; though the joint product 'of two



particles; a black and a white' would be visible; and that they should



thus have the other colours for resultants。 Their product could; at



all events; appear neither white nor black; and; as it must have



some colour; and can have neither of these; this colour must be of a



mixed



character… in fact; a species of colour different from either。 Such;



then; is a possible way of conceiving the existence of a plurality



of colours besides the White and Black; and we may suppose that 'of



this 'plurality'' many are the result of a 'numerical' ratio; for



the blacks and whites may be juxtaposed in the ratio of 3 to 2 or of 3



to 4; or in ratios expressible by other numbers; while some may be



juxtaposed according to no numerically expressible ratio; but



according to some relation of excess or defect in which the blacks and



whites involved would be incommensurable quantities; and; accordingly;



we may regard all these colours 'viz。 all those based on numerical



ratios' as analogous to the sounds that enter into music; and



suppose that those involving simple numerical ratios; like the



concords in music; may be those generally regarded as most



agreeable; as; for example; purple; crimson; and some few such



colours; their fewness being due to the same causes which render the



concords few。 The other compound colours may be those which are not



based on numbers。 Or it may be that; while all colours whatever



'except black and white' are based on numbers; some are regular in



this respect; others irregular; and that the latter 'though now



supposed to be all based on numbers'; whenever they are not pure;



owe this character to a corresponding impurity in 'the arrangement of'



their numerical ratios。 
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