Confronting Aristotle's Ethics (review)

Readers of this journal are likely to be familiar with Eugene Garver's 1994 Aristotle's Rhetoric: An Art of Character. The main claim advanced in that important book is that for Aristotle rhetoric is an art because it has internal norms and ends. From this, it follows that although any red-blooded rhetor probably does aim at winning a case, advancing a political career, getting rich, and other external goals, what is artful in rhetorical craft (technikos), and hence expressive of the distinctive human capacity for human rationality, is timely argumentation that binds premises to actionable conclusions through displays of good character and apt emotional response. This ordered combination of ethos, pathos, and logos recruits, or if you will interpellates, an audience that is uniquely capable of judging cases, proposals, and performances reasonably. In this way Aristotle defends rhetoric as a genuine art—an intellectual virtue—against Plato's Gorgias.

To arrive at this conclusion Garver draws more widely on other parts of the Aristotelian corpus than rhetorical scholars normally do. In particular, he contrasts external with internal ends by using Aristotle's metaphysical distinction between movements, processes, or behaviors (kineseis), of which the world is chock-full, and actualizations or realizations (energeiai) of capacities, which are more rare. Because rhetorical art, qua artful, is an actualization, Garver infers that it is a "practical art" and so brushes up closely against ethical-political praxis.

How closely? To be sure, they are not identical. Praxis actualizes our rational capacities by issuing in deeds done for their own sake rather than in an ordered series of acts whose intelligibility and worth are, in the end, measured by their outcomes or products, as in arts (poiesis) (46). For this reason a rhetor or a doctor can display artfulness by consciously misbehaving as well as by doing his or her job well, whereas willful misbehavior on the part of a moral agent automatically disbars him or her from possessing practical wisdom (phronesis) at all (46; see Nicomachean Ethics [NE] 1140b22–25). Accordingly, even though moral virtues and technical skills are both acquired by slowly internalizing norms that at first aim only at external ends (29) and are both matched to their distinctive ends through their internal rational norms, Aristotle makes it abundantly clear that "the arts, including rhetoric, do not bring the soul into a good condition" (10). They are not the wellspring or protector of the intrinsically good actions that are constituents of happiness. that role is assigned to moral virtues such as prudence, courage, liberality, and, when these are practiced in relation to others, justice and friendship.

Confronting Aristotle's Ethics begins by reviewing the above account of rhetorical art in Garver's earlier book. Precisely because that account posits a greater affinity between ethical virtue and craft knowledge than most contemporary analyses of Aristotle's Nicomachean Ethics, Garver feels a need to spell out more carefully than usual why Aristotle thinks that the arts, even at their best, cannot yield the intrinsically good acts that the moral virtues do and why for Aristotle the habitual performance of just such acts is constitutive of happiness (eudaimonia). To answer these questions is the aim of the book.

Garver reports that satisfactory answers are surprisingly rare even in otherwise sophisticated contemporary Aristotelian studies (5–7). Now and again he points to one reason why this might be so. Since at least the eighteenth century, Aristotle's ethical theory has been commended by sloughing off its original political integument. Even Hannah Arendt, a devotee of Aristotle's conception of the public life if ever there was one, says that public figures must leave happiness to the private lives of little people. this depoliticization of ethics has allowed contemporary commentators to evade Aristotle's burden of proof. As good readers of Aristotle they may try to distance themselves from people who think that there might be an art of happiness by which one can technically realize one's desires. (Your local Barnes and Noble will...