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  • Architectonic, Truth, and Rhetoric
  • Glenn Alexander Magee

Scientists, we are often told, employ "aesthetic criteria" in their work: a scientific theory must be "simple" and "elegant" if it is to be a good candidate for truth.1 Is this also true of philosophers? Do philosophers rely (implicitly or explicitly) on aesthetic criteria in the development of their ideas, not simply in order to make their ideas accessible or palatable but also as a guide to truth? This question bears on the relationship between art and philosophy, between art and truth, and between beauty and truth. If the answer is yes, then is there a point at which the line between art and philosophy becomes blurred? This is often claimed, though almost always in reference to the way in which philosophers use metaphor and rhetoric to express their ideas. However, I am suggesting in addition that the line may be blurred not just in the expression of their ideas but in the very form or structure they give to their philosophies. This aesthetic moment is not dispensable. On the contrary, philosophers make their thought into an aesthetic object because of a tacit, pre-reflective intuition that the beautiful is the true. In what follows, I will argue for this thesis and explore its implications.

I.

First of all, the philosophers I have in mind are philosophers in the classic sense: creators of systematic worldviews, those who aim at knowledge of the whole. I have in mind, therefore, thinkers like Plato, Aristotle, Plotinus, [End Page 59] Aquinas, Spinoza, Leibniz, Kant, Schelling, and Hegel, among others. All these thinkers are alike in that they do not approach philosophy piecemeal, as a set of disconnected "problems." Instead, they take the aim of philosophy to be to give a complete account of what is real. In the introduction to The Phenomenology of Spirit, for instance, Hegel writes that philosophy is "actual cognition of what truly is" (1977, 46). This is a definition one can imagine Plato and Aristotle—indeed almost all of the great philosophers—agreeing with. Philosophical knowledge, in this classical understanding, becomes a whole of ideas in which each element depends on every other and nothing of significance is left out. (Perhaps the best example of such a philosophy is, again, Hegel's.) It is only to "systems" of philosophy that our question about aesthetic criteria in philosophy is applicable,2 for it is only when a number of ideas are taken together into an overall structure and given a fundamental unity that a philosophy can become "beautiful" or "ugly."

The Greek word sustema literally means "things which stand together or are made to stand together so as to form a whole" or "a whole compounded of several parts" (Klein 1985, 201). The Greeks applied the word to many things but never, it seems, to thought. Then, as Jacob Klein writes, "from about the year 1600 on there is a sudden and most remarkable shift: book after book appears under titles like 'System of Logic,' 'System of Rhetoric,' 'System of Grammar,' 'System of Theology,' 'System of Ethics and Politics,' 'System of Physics,' 'System of Jurisprudence,' 'System of Astronomy,' of Arithmetic, of Geography, of Medicine and even 'System of Systems' " (1985, 201). According to Klein, systematic philosophy is a response to the peculiar anxiety of modernity expressed so well by Yeats: "Things fall apart"—and we need a philosophical system to put them back together again.

The idea of a system of philosophy cannot, however, be dismissed merely as a "modern invention," for it is a legitimate extension of the Greek concept of sustema. The Greek philosophers would not have reflected on their activity as "systematic" because they regarded themselves as describing a reality that was itself a sustema. Pressed to explain what philosophers are, Pythagoras, according to legend, compared them to the theoroi or onlookers at the Olympic Games. As Werner Jaeger writes of the legend, "The comparison depends on the ambiguity of the word theorein, which means both watching a spectacle and contemplation and research in the ' theoretical' sense" (1962, 432). Reality is a sustema; the philosopher's account of reality is a reflection of it and thus is itself a sustema...

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