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What the Logicians Have Missed

Le Char d'Apollon, by Odilon Redon
Both Plato and the Katha Upanishad compared the human soul to a chariot.

By Dr Neel Burton — Psychiatrist, philosopher, and wine writer; Fellow of Green Templeton College, University of Oxford; author of over twenty books.

Plato was a master of metaphor. He compared the soul to a chariot and the state to a ship at sea. He compared his teacher Socrates both to a gadfly and to a midwife.

But the most famous of all his analogies is the Allegory of the Cave, in which he compares unphilosophical people to prisoners who, having spent their entire lives in a cave, are unable to imagine a world beyond.

How exactly do allegories work? An allegory (Greek, ‘a speaking about something else’) is a complete and cohesive narrative, for example, a myth, or George Orwell’s Animal Farm, that seems to be about one thing but is actually about another. Or, to put it differently, it is a story with two (or more) meanings: a superficial, literal meaning, and a deeper, figurative one.

Allegories are often described as ‘extended metaphors’, so one way of understanding the allegory is by understanding the smaller metaphor. Whereas an allegory is a complete narrative that seems to be about one thing but is actually about another, a metaphor is a sentence or short segment that equates two seemingly unrelated things. For example, Solomon 2:1-2:

I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters.

The first sentence consists of two metaphors (‘I am the rose of Sharon’ and ‘I am the lily of the valleys’), and the second sentence consists of a simile.

Metaphor, Simile, and Analogy

What is the difference between a metaphor and a simile? In two words, not much. Whereas a metaphor says that something is something else, a simile says that it is like or as something else.

Simile might be considered a type of metaphor, as might also analogy, which involves drawing a comparison for the purpose of explaining or clarifying an idea, for example, if I say, ‘Scientists are as blind to their own paradigms as fish to water.’

In fact, the second sentence from the Solomon (‘As the lily among thorns, so is my love among the daughters’) is more properly an analogy than a simple simile. But my broader point is this: they are close relatives and their boundaries are porous.

Metaphor and simile are figures of speech, which are a type of rhetorical device (also called, depending on context, literary or poetic device). They are both forms of analogy, which can be purely cognitive as well as rhetorical—in the mind and in the mouth, or in the mind only.

Metaphor and the Structure of Thought

Unlike other rhetorical devices, such as alliteration and resonance, metaphor is not merely ornamental, but a cognitively respectable way of knowing.

Metaphor and analogy enable an abstract or unfamiliar idea to be grasped in terms of a more concrete or familiar one. What’s more, the superimposition or juxtaposition of two superficially dissimilar ideas brings out any hidden or secondary correspondences between the two. This is not unlike formal deductive logic, which marries two ideas to give birth to a third—and is, in fact, a lot more common.

Logicians and their students prefer to focus on deduction and induction, but it may be that analogy is the principal form of human reasoning.

Faced with something new, the mind reaches for something familiar: What is this like? It then carries the structure of the familiar over to the unfamiliar, enabling us to make inferences that it may not otherwise have made.

We reason by analogy whenever we apply the lessons of one situation to another. A historian reaches for the past to illuminate the present, a doctor compares a new presentation to previous ones, a lawyer argues from precedent. Darwin reasoned from artificial selection to natural selection. In each case, analogy helps us connect the familiar to the novel.

In the words of Aristotle, whom Dante described as ‘the master of those who know’:

It is a great thing, indeed, to make a proper use of the poetical forms, as also of compounds and strange words. But the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others; and it is also a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars.

What Makes for a Good Metaphor

The force of a metaphor depends above all upon its freshness and originality, in some sense, upon its disruptive qualities.

If a metaphor is overused, it becomes a cliché, and some metaphors are so tired that they are no longer visualised or even thought of as metaphors. For instance, in English (as opposed to, say, Spanish), we tend to talk of time in terms of space and distance, even if we are no longer aware of doing so: ‘I won’t be long’, ‘Let’s look at the weather for the week ahead’, ‘His drinking finally caught up with him.’ Metaphors such as these that are no longer visualised are called dead metaphors, and language is full of them.

Indeed, an argument could be made that all language is either onomatopoeic (or imitative, like ‘cough’, ‘splash’, and ‘thud’) or metaphorical. After all, what else could it be? The word ‘metaphor’ derives from the Greek for ‘a carrying over’, so it is itself a metaphor.

In its broadest, Aristotelian sense, metaphor is the carrying over of meaning from one thing to another on the basis of some perceived relation between them. Metaphor is a large family, including simile, analogy, metonymy, synecdoche, and more. Here’s a metaphor, or arguably a simile, by Joseph Campbell, author of The Hero with a Thousand Faces:

I have bought this wonderful machine—a computer…it seems to me to be an Old Testament god, with a lot of rules and no mercy.

Unlike tired or dead metaphors, fresh, vivid metaphors like this one are experienced as beautiful and pleasurable. Beautiful because they are so concise and condensed. Pleasurable because, like humour, which they often contain, they exercise our cognitive range and flexibility. And like humour, they can be a little playful, a little naughty, and a little dangerous.

In the words, again, of Aristotle:

To learn easily is naturally pleasant to all people, and words signify something, so whatever words create knowledge in us are the pleasantest.

The Most Brilliant Metaphors

Now back to the allegory. Like the metaphor, the allegory serves to convey abstract and at times subversive ideas in more concrete and condensed forms that then become symbolic of the ideas, making them easier to reveal or conceal or otherwise play with.

When an abstract notion is given the form of a person or animate being, this is known as personification. Narcissus, for example, is a personification of vanity and self-absorption, and Icarus of hubris. The Mahabharata, the Iliad of India (although a lot longer), presents three approaches to moral problems, personified by Bhima (brute force, ego, desire), Yudhishthira (rigid moral law, deontology), and Arjuna (virtue ethics, moral indeterminacy), who, wavering between the paths of his two elder brothers, is forced to make difficult, existential choices.

An important advantage of the allegory is that it can be approached on more than one level, meaning that people can enjoy it as it suits them, and see in it as much or as little as they are prepared to see—or indeed, whatever they wish to see, bending the allegory to the curve, or twist, of their minds.

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What the Odyssey Can Teach Us About Wine—and Drinking

Odysseus pours wine for the Cyclops Polyphemus
Odysseus offers Polyphemus the wine of Maron. After a design by John Flaxman.

By Dr Neel Burton — Psychiatrist, philosopher, and wine writer; Fellow of Green Templeton College, University of Oxford; author of over twenty books.

Wine flows through the Odyssey. Homer mentions it well over a hundred times, and even supplies the first recorded tasting note in history. He loves wine so much he sees it on the face of the sea: the famous ‘wine-dark sea’.

But wine in the Odyssey is far more than a drink, or even a poetic image. It is a measure of civilisation. How people drink, and whether they drink at all, tells us what kind of people they are.

What Odysseus Most Loves

Many people imagine that the Odyssey unfolds in straightforward chronological order, from Troy to Ithaca. In fact, most of the adventures for which it is famous—the Cyclops, Circe, the Sirens, Scylla and Charybdis—are narrated retrospectively, as Odysseus recounts them to the Phaeacians.

But before beginning his story, Odysseus tells King Alcinous and the Phaeacian court what, to him, constitutes the happiest scene imaginable:

For I say that there is no fulfilment more delightful than when joy possesses a whole people, and the banqueters in the halls sit in rows listening to a singer, while beside them the tables are laden with bread and meat, and the wine-bearer draws wine from the mixing bowl and carries it round and pours it into their cups. This seems to my mind the fairest thing there is.

This is the very scene before him. It is a revealing picture of the good life, three thousand years ago. Wine is not drunk alone, or merely for intoxication. It is shared, with food, music, conversation, and storytelling. And the adventures that Odysseus is about to relate will show what happens when those customs break down.

The Wine That Bested a Giant

Odysseus begins with the Cicones at Ismarus. After sacking their city, he orders his men to leave immediately. But they refuse. Instead, they remain on the shore slaughtering livestock and drinking wine. ‘There,’ Homer tells us, ‘much wine was drunk.’ While they are feasting, the surviving Cicones summon reinforcements. They counterattack, and Odysseus loses six men from every ship. Already, wine-drinking has become a test of self-command.

One assumes they were drinking the local wine—from what is now PGI Ismaros, in Thrace. At the heart of this wine region is the ancient town of Maroneia, named for Maron, the legendary priest of Apollo—and in later tradition, grandson of Dionysus. During the raid, Odysseus had spared Maron, together with his wife and child. In gratitude, Maron gave him gold, a silver mixing bowl, and twelve jars of an extraordinary wine.

It is here that Homer gives us the first tasting note:

He gave me twelve jars of wine, sweet and unmixed, a divine drink. No servant or maid in the house knew of it, but only [Maron] himself, his dear wife, and one housekeeper. And whenever they drank this honey-sweet red wine, he would fill one cup and pour it into twenty measures of water, and from the mixing bowl there rose a marvellous sweet fragrance: then indeed it would have been no pleasure to hold back.

Admittedly, Homer is not using the WSET tasting template. But I think the examiners would be satisfied that this is no rustic plonk.

Odysseus takes a skin of the wine when he goes to investigate the Cyclopes. The Cyclops Polyphemus, though a shepherd, is not a social or civilised creature. He has generous grapes—later tradition would place him on the volcanic slopes of Mount Etna—and milk and cheese, but no wine. So when Odysseus pours him some of Maron’s wine, he drinks it neat and is overwhelmed by it. When he asks for more, Odysseus obliges him three times, until he slumbers. That’s when the red-hot olive stake is driven into his single eye. It was not merely by his cunning that Odysseus defeated the vastly stronger Cyclops, but by wine, and by turning the monster’s own savagery against him.

The Sorceress’s Wine

Several adventures later, Odysseus and his remaining men reach the island of Circe. The sorceress welcomes a group of them into her house and feeds them a mixture of cheese, barley meal, honey, and Pramnian wine, a strong, celebrated wine of uncertain origin—interlaced with amnesic drugs. As they gulp it down, she strikes them with her wand, and they are transformed into pigs. (Circe is the original sorceress, and why Western witches and sorcerers carry a wand.)

Men surrender to their appetites, forget their homes, and become animals. Yet Homer is not preaching abstinence, but self-control. After Odysseus overcomes Circe and she restores the men, wine and feasting help lift their spirits.

Two Kinds of Feast

Much later, when back in Ithaca, Odysseus offers one of the shrewdest descriptions of drunkenness in ancient literature. In Alexander Pope’s verse translation:

And wine can of their wits the wise beguile,
Make the sage frolic, and the serious smile,
The grave in merry measures frisk about,
And many a long-repented word bring out.

For Homer, then, the question is not whether to drink, but how. For a positive model, we need only return to the Phaeacians. They mix their wine with water, pour libations to the gods, exchange gifts, eat together, listen to music, and tell stories. They welcome the shipwrecked Odysseus and create the conditions in which a stranger might tell his story. Here, wine does not obliterate memory, but facilitates its recovery. And the scene is, of course, ‘the fairest thing there is.’ Grapes have been turned into wine, ingredients into cuisine, sounds into music, strangers into guests, and experiences into stories. Only once he has recovered his story is Odysseus fit to return to Ithaca.

Ithaca, where the suitors have been occupying Odysseus’ palace, slaughtering his livestock, draining his wine stores, and feasting at his expense while competing for Penelope. Outwardly, theirs is a civilised feast. There is meat and wine, music and conversation, servants and guests. But the suitors abuse that hospitality and gorge themselves day after day. Like Polyphemus, they know how to consume but not how to live.

Homer lived almost three thousand years ago, in a world in which wine was not treated simply as another form of ‘alcohol’. It was agriculture and craftsmanship transformed into hospitality, fellowship, ritual, pleasure, and even enlightenment. But Homer was not uncritical. Wine could indeed loosen the tongue, overwhelm judgement, invite forgetfulness, lose men, and return them to animals. The same drink could accompany Odysseus’ fairest vision, while also bringing down a giant, turning his men into swine, and foreboding the demise of the suitors. Civilisation requires not the abstinence of Cyclopes, but the moderation of men.

For Homer, the opposite of drunkenness was not sobriety, but civilisation.

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First, Tell Me What You Mean by God

William Blake, The Ancient of Days (1794).
William Blake, The Ancient of Days (1794). Is Urizen what Blake meant by God?

By Dr Neel Burton — Psychiatrist, philosopher, and wine writer; Fellow of Green Templeton College, University of Oxford; author of over twenty books.

In February 2012, three of the world’s most distinguished intellectuals gathered in Oxford’s Sheldonian Theatre to discuss the origins of human beings and, tied with that, the existence of God. There was Richard Dawkins, evolutionary biologist and celebrated atheist; Rowan Williams, then Archbishop of Canterbury; and the philosopher Sir Anthony Kenny, a former Catholic priest who professed to be ‘ignorant’—that is, an agnostic. Kenny, who died in August 2026 at the age of 95, was a philosopher of exceptional range and clarity, and perhaps the ideal person to sit between the other two.

Here, apparently, were the three great positions in the God debate: belief, disbelief, and quiet uncertainty. But there was a problem. What did each man mean by ‘God’?

This is no minor philosophical quibble. Before asking whether something exists, we need, surely, to establish what that something is. Yet people routinely declare themselves theists, atheists, or agnostics without first defining the object of their belief, disbelief, or doubt. You cannot meaningfully ask whether something exists until you have some idea of what you are looking for. And ‘God’ can mean radically different things to different people.

Which God?

At one end of the spectrum is the God that Dawkins principally attacks: a supernatural intelligence who created the universe, designed living things, listens to prayers, judges our actions, performs miracles, and otherwise intervenes in human affairs. Millions of people believe in some version of this God, so it is perfectly reasonable for Dawkins to argue that such a being does not exist.

But it is far from the only conception of God. Aristotle’s God, for example, is the unmoved mover: the ultimate cause of change in the universe, itself unchanging. Aristotle’s God did not create the universe, which Aristotle believed to be eternal, and certainly does not sit in heaven listening to our prayers. Instead, he is the ultimate introvert, described by Aristotle as noesis noeseos, ‘thought thinking itself’.

Spinoza went even further in collapsing God. For him, God and Nature are one and the same: Deus sive Natura, ‘God or Nature’. Everything that exists is in God, because God is the single infinite substance of which everything else is a mode—a recognised position also in Indian philosophy.

Now ask the atheist: ‘Do you believe in Spinoza’s God?’ What would it mean to say no? That he does not believe in the rock that he is kicking? Unless the atheist wishes to deny the existence of Nature, the disagreement is no longer about whether something exists. It is about whether we ought to call that something ‘God’.

What Does an Atheist Not Believe In

When someone says, ‘I don’t believe in God’, what they really mean is, ‘I don’t believe in a particular idea of God.’

This becomes increasingly apparent as soon as we begin stripping attributes from God. Suppose we start with a personal creator who designed the universe, answers prayers, performs miracles, rewards virtue, punishes sin, and promises an afterlife. There is plenty here to believe or disbelieve. Now progressively remove the afterlife, divine intervention, answered prayers, God’s personality, and even the act of creation. With each subtraction, there is less for the atheist to reject. Eventually, we might arrive at God as the order of nature, the ground of being, Nature itself, or some such.

The less we say about God, the harder God becomes to disbelieve in.

At the limit, the atheist and the believer may agree completely about what exists. The disagreement is only about whether to call it ‘God’. Indeed, the atheist who tells Spinoza, ‘I don’t believe in your God’, may really be saying, ‘I believe in exactly the same thing as you, but I don’t think you should call it God.’ More commonly, Spinoza was himself accused of atheism, on the grounds that identifying God with everything amounted to believing in nothing.

The Problem with Agnosticism

The same problem applies to agnosticism. An agnostic typically says, ‘I don’t know whether God exists.’ But again: which God?

It makes perfect sense to be agnostic about a supernatural creator. Perhaps such a being exists; perhaps not; perhaps we cannot know. But what would it mean to be agnostic about Spinoza’s God? ‘I don’t know whether Nature exists’ is hardly a coherent position.

Like atheism and theism, agnosticism depends upon some prior conception of God. Until that conception has been supplied, saying, ‘I am an agnostic’ tells us surprisingly little. The familiar spectrum—theist, agnostic, atheist—is not really a spectrum of attitudes towards God. It is a spectrum of attitudes towards a particular—some might say quasi-mythological—conception of God. Change the conception and you may change your position without having altered a single belief about reality.

Is Dawkins Attacking a Straw Man?

This helps explain something peculiar about the modern God debate. Dawkins is not attacking a straw man when he attacks the supernatural, interventionist God. Millions of people believe in precisely such a God.

But difficulties arise when an argument against that concept of God is treated as an argument against God tout court.

The God of philosophy and theology can be much more elusive. God may be described not as a being but as Being itself; not as one cause among others but as the ground of causation; not as something within the universe but as that upon which the universe ultimately depends. Dawkins’s arguments against a supernatural designer may have considerable force without touching these concepts at all.

The atheist can reasonably reply, ‘You have defined God into existence.’ The theologian can equally reasonably reply, ‘You have been attacking a God I don’t believe in.’ And there, in miniature, lies the problem.

The more concrete and anthropomorphic God becomes, the easier God is to attack. But the more abstract and deflationary God becomes, the less obvious it is what atheism could mean—and, eventually, why we need the word ‘God’ at all.

Why Does the God Debate Persist?

If the problem is so simple, why do some of our most distinguished intellectuals sit there arguing about God without first agreeing what they mean by the word?

One reason may be that belief and disbelief are about far more, and far less, than metaphysics. For many people, religion is bound up with family, community, culture, morality, and personal identity. When someone starts questioning their idea of God, they are also questioning their idea of who they are.

Atheism can function in much the same way. For some, especially since the rise of the New Atheism, it can signify reason, science, intellectual independence, or emancipation from religious tradition. People on both sides may therefore be defending not merely propositions, but identities and the ego defences that buttress them. This may account for the extraordinary heat surrounding the debate. Once people start agitating, it is no longer simply about the facts.

Another reason is that the God debate has acquired the status of the ultimate intellectual question. It seems to encompass the origins of the universe, the meaning of life, morality, death, and our place in the cosmos. To call oneself a theist, atheist, or agnostic is not only to take a position in the debate but to take a position on reality itself—even if said position happens to be incoherent.

The ambiguity that makes the question philosophically troublesome may be precisely what makes it so attractive. Everyone thinks they understand the question, and even ‘I have no clue’ counts as a valid answer. All in all, the God debate makes for excellent theatre—hence the Sheldonian for the venue, while virtue ethics is for the basement.

A more rigorous debating approach would begin by defining God, fragment into more precise questions, and attract smaller audiences.

Three Clever Men in the Sheldonian

Which brings us back to Dawkins, Williams, and Kenny. Perhaps the most striking thing about their discussion is not that three exceptionally intelligent men could disagree about God, but they could appear to disagree before establishing whether they were talking about the same thing.

Dawkins was principally rejecting a supernatural creator. Williams resisted treating God as another object or explanatory cause within the universe. Kenny, sitting between them, professed uncertainty. All three positions are perfectly intelligible in themselves. The difficulty arises when we treat them as answers to the same under-defined question—as though Dawkins were saying no, Williams yes, and Kenny maybe.

Perhaps, then, there is no single God debate. There are only debates about particular conceptions of God, some more substantial than others. Once those conceptions are made explicit, apparent disagreements may sharpen into real ones—or disappear altogether. As things stand, everyone can leave feeling that they have won. In a properly defined debate, some people might have to accept that they are wrong.

Of course, none of this says whether God exists, or does not exist. It makes a simpler point: neither statement means very much until we know what ‘God’ means.

So before you tell me that you are a believer, an atheist, or an agnostic—or worse, ask me whether I am one of those—there is something else I need to know.

What do you mean by God? —And, do you know your Aristotle and your Advaita Vedanta?

What I mean is that the familiar God debate is culturally provincial. It tends to assume a conception of God shaped by Christianity: a personal creator, separate from the world, who takes an interest in human affairs. But Aristotle’s unmoved mover already unsettles that picture, while Advaita Vedanta can dissolve the distinction between God, ultimate reality, and the deepest self.

Once we step outside the familiar Christian frame, the apparently simple opposition between belief and disbelief begins to break down.

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Why Eudaimonia Is Better Than Happiness

A concert pianist performs rapturously
It’s about what we do, not what we feel.

By Dr Neel Burton — Psychiatrist, philosopher, and wine writer; Fellow of Green Templeton College, University of Oxford; author of over twenty books.

We all say we want to be happy, yet the pursuit of happiness often seems like a wild goose chase.

Perhaps the problem is not so much with us, or the world we live in, but with the very concept of happiness.

The ancient Greeks had a better idea. They called it eudaimonia, literally, ‘good soul’, ‘good spirit’, or ‘good god’. Although Socrates, Plato, and Aristotle each understood eudaimonia in somewhat different ways, they all regarded it as the highest good, often even as the very aim and purpose of philosophy.

What Is Eudaimonia?

Eudaimonia is often translated simply as ‘happiness’—but that can be misleading.

The word happy, which is related to happen and perhaps, derives from the Norse happ for ‘chance’, ‘fortune’, or ‘luck’. From Irish to Greek, most European words for ‘happy’ originally meant something like ‘lucky’—one exception being Welsh, in which it originally meant ‘wise’. Another Old English word for ‘happy’ or ‘fortunate’ was gesælig, which, over the centuries, morphed into our ‘silly’.

Eudaimonia, by contrast, is anything but silly. It has nothing to do with chance or fortune and everything to do with thought and design—with how we choose to live. Compared with happiness, it is a much deeper, fuller, and richer idea, often articulated in terms of flourishing or living a life that is worthwhile, fulfilling, and elevating.

All the major philosophical schools of antiquity, including even the Epicureans, regarded eudaimonia as the highest good. Like Socrates, Plato, and Aristotle, they differed over how it was to be achieved, but they all agreed that the aim of human life must be something higher or fuller than simple happiness.

Unlike happiness, eudaimonia is not an emotion but a state of being—or, especially for Aristotle, a state of doing. As such, it is more deeply rooted than happiness, and more stable and reliable. Although it leads to pleasure or satisfaction of the highest kind, it does not arise from pleasure, but from higher values and principles that transcend the here and now. The people of Athens put Socrates in prison, they even put him to death, but they did not and could not take away his eudaimonia.

Socrates on Eudaimonia

Socrates, it seems, equated eudaimonia with wisdom and virtue. In the Greater Alcibiades, he says that he who is not wise cannot be happy; in the Gorgias, that nothing truly bad can ever happen to a good man; and in the Meno, that everything the soul endeavours or endures under the guidance of wisdom ends in happiness.

At his trial, Socrates gave a defiant defence, telling the jurors that they ought to be ashamed of their eagerness to possess as much wealth, reputation, and honour as possible, while not caring for or giving thought to wisdom or truth, or the best possible state of their soul. ‘Wealth,’ he said, ‘does not bring about excellence, but excellence makes wealth and everything else good for men, both individually and collectively.’

Socrates supplied the supreme proof that nothing truly bad can ever happen to a good man, for when the jurors condemned him to death, they only made him and his ideas as immortal as can be—and rather than appease them, which he could easily have done, he chose instead, very cannily, to abet them.

Plato on Eudaimonia

Plato broadly agreed with his teacher Socrates, and sought to answer an obvious objection: If virtue is the path to a flourishing life, why does injustice so often seem the easy shortcut?

In the Republic, Plato’s brother Glaucon argues that most people are venal, but maintain a reputation for virtue and justice to evade the social costs of being or seeming unjust. But if a man could get hold of the fabled Ring of Gyges and make himself invisible, he would behave without restraint:

No man would keep his hands off what was not his own when he could safely take what he liked out of the market, or go into houses and lie with any one at his pleasure, or kill or release from prison whom he would, and in all respects be like a god among men.

According to Glaucon, we behave justly not because we value justice, but because we are weak and fearful; while the unjust man who is cunning enough to seem just will get the better of everyone and everything.

In his magisterial reply to Glaucon, Plato famously conjures an idealised Republic to help him ‘locate’ (define) justice, first in the state, where it is larger and easier to pin down, and then in the individual. He argues that justice and injustice are to the soul as health and disease are to the body: if health in the body is intrinsically desirable, then so too is justice in the soul. For Plato, an unjust man cannot be happy because he is not in rational and ordered control of himself.

Aristotle on Eudaimonia

It is with Plato’s one-time student Aristotle, and his Nicomachean Ethics, that the concept of eudaimonia is most closely associated.

For Aristotle, a thing is best understood by looking at its end, purpose, or goal (Greek, telos—as in ‘teleology’ and ‘telomere’). The purpose of a knife is to cut, and it is by seeing this that one best understands what a knife is. The goal of medicine is good health, and it is by seeing this that one best understands what medicine is, or should be. If this is true of knives and medicine, might it also be true of us? Might we also have an ergon, or ‘distinctive function’?

Maybe we’ll come back to that.

If one follows Aristotle’s line of thought, it soon becomes apparent that some goals are subordinate to other goals, which are themselves subordinate to yet other goals. A medical student’s goal may be to qualify as a doctor, but this is subordinate to her goal of healing the sick, which is itself subordinate to her goal of making a living by doing something useful. This could go on and on, but unless the medical student has a goal that is an end-in-itself, nothing that she does is actually worth doing.

What, asks Aristotle, is this end-in-itself? This ‘supreme good’, he replies, is eudaimonia, and eudaimonia alone.

Eudaimonia, notice, is not just ‘happiness’, it’s salvation—the thing that prevents life from being an infinite regress of ends, as it so often seems. Only in eudaimonia does life become worth living in and of itself.

So, given its importance, what exactly did Aristotle understand by eudaimonia?

Whereas human beings need nourishment like plants, and have sentience like animals, our ergon—the thing that most makes us not something else, like an oak, a dolphin, or a baboon—says Aristotle, is our unique and god-like capacity to reason. Aristippus of Cyrene made much the same point when he chided a champion swimmer: ‘Aren’t you ashamed of boasting about what a fish or dolphin could better do?’ Thus, our supreme good is to lead a life that enables us to use and develop our reason, and that is in accordance with rational principles.

By living our life to the full according to our essential nature as rational beings, we are bound to flourish, that is, to develop and express our full human potential, regardless of the ebb and flow of our good or bad fortune.

To put this in modern terms, if we develop our thinking and imagining skills, if we guard against lies and self-deception, if we refine and master our emotions, we will, over the years, make better and better choices, do more and more meaningful things, and derive ever-increasing satisfaction from all that we have become and all that we have achieved, and are yet able to achieve.

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Odysseus, Calypso, and the Philosophy of Immortality

Odysseus and Calypso
Calypso offered eternity. Odysseus chose Ithaca.

By Dr Neel Burton — Psychiatrist, philosopher, and wine writer; Fellow of Green Templeton College, University of Oxford; author of over twenty books.

Would you want to live forever? Then why did Odysseus refuse Calypso’s offer of immortality?

Suppose an attractive goddess offered you eternal youth and immortality. Would you accept? Most of us wouldn’t have waited for the end of my last sentence. Homer, however, tells the story of a man who turned her down.

Calypso is one of the most elusive characters in Greek mythology. Like ‘apocalypse’ and ‘eucalyptus’, her name derives from the Greek kalyptō, ‘to conceal’ or ‘to hide’. She lives on the remote island of Ogygia, hidden from both gods and men. She is beautiful and deeply in love with Odysseus. More than that, she offers him the greatest prize of all: eternal life with eternal youth.

Yet every day Odysseus sits alone upon the shore, gazing out to sea and weeping. He longs not for paradise, but for Ithaca.

The Odyssey is full of monsters and marvels. The Cyclops tests Odysseus’ ingenuity. Circe his self-control. The Sirens his judgement. Yet Homer saves his greatest temptation until the monsters are gone. Calypso cannot be defeated. She can only be refused. Her island may be the most philosophical place in all literature. It asks neither how we survive nor how we succeed, but what makes a human worth living—or even, what makes a human life human.

At first sight, Odysseus’ decision seems irrational. Calypso is more beautiful than Penelope, her island more idyllic than rocky Ithaca. She offers not merely pleasure, or happiness, but eternity. Why exchange eternity for a finite, imperfect, and uncertain human life?

Nor is Calypso a villain. Homer invites us to sympathise with her. When Hermes arrives bearing Zeus’ command that she release Odysseus, she bitterly complains that the male gods freely take mortal lovers while condemning goddesses for doing the same. Before letting him go, she desperately pleads with Odysseus. Penelope can never rival her beauty or save him from ageing and death.

The obvious answer is that Odysseus misses his wife and son. But Homer suggests something deeper. To embrace Calypso would be to abandon not merely his home, but himself. When we fall in love, we fall in love with someone who would change us, but not change us beyond all recognition. Calypso does not ask Odysseus to become a better Odysseus. She asks him to become someone, or something, else.

For thousands of years writers and philosophers and sorcerers have returned to the same question.

Some five centuries before Homer, another hero came to the opposite conclusion. After the death of his friend Enkidu, whom he mourned ‘like a woman mourning’, Gilgamesh set out in search of eternal life. At the end of his long journey and descent into the underworld, he discovered the plant of immortality—only for a serpent to steal it while he bathed. He returned home empty-handed, having learnt that the proper task of human beings is not to escape death, but to make the most of life.

Greek mythology itself offers an even darker warning. Eos, the goddess of the dawn, fell in love with the Trojan prince Tithonus and, fearing his loss, begged Zeus to grant him immortality. As the centuries pass, the once alluring youth shrivels into a babbling old man, too frail to live yet unable to die. In some versions of the myth, he shrinks into a cicada, condemned forever to thirst and chirp.

Jonathan Swift issues a similar warning in Gulliver’s Travels. The Struldbrugs, though born immortal, continue to age indefinitely. As they lose their memories and outlive everyone they have ever loved, they sink into loneliness, despondency, and envy of mortals.

In his essay The Makropulos Case (1973), the philosopher Bernard Williams sought to explain why immortality might ultimately become undesirable. The ambitions and desires that give our lives meaning, he argued, cannot sustain one and the same person forever. Once they are exhausted, we could escape the resulting tedium only by becoming different people, with different ambitions and desires. But then who exactly would be living forever?

Immortality threatens not only meaning but identity. Tolkien reached a similar conclusion, this time by asking the opposite question. In The Silmarillion, his mythology of Middle-earth, death is ‘the Gift of Men’. It is not men who envy the immortal elves. It is the elves who envy men, because only mortal lives possess the shape, urgency, and completion that immortality denies. Far from a punishment, mortality becomes one of humanity’s greatest blessings.

Today, our oldest ambition has become a technological one. Silicon Valley entrepreneurs spend vast fortunes on longevity research. Some hope to slow ageing indefinitely. Others dream of uploading consciousness into machines. Cryonics companies promise to preserve bodies until such a time as science might revive them. The quest of Gilgamesh is now drawing venture capital.

Before asking whether any of this will succeed, we should ask, with Homer, whether it should.

Odysseus’ refusal is one of the most astonishing decisions in all literature. Offered eternal youth and immortality, he prefers an ageing wife, a rocky, run-down island, and a fragile, mortal life. Rightly or wrongly, it is not life that Odysseus wants, but his life—not an immortal life, but a meaningful one. Instead of trying to live forever, it is today that we should seek to live.

That, anyway, is what Homer seems to be saying. 

What about me? Would I accept Calypso’s offer?

I think I’d compromise and ask for three hundred years. That way, I’d have the best of everything.

There are two things that man can do that God cannot: make wine, and end his own life.

Deus non sibi potest mortem consciscere si velit, quod homini dedit optimum in tantis vitae poenis. —Pliny

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