Monthly Archives: April 2024

In the Me of the Beholder: Beauty as an Objective Reality

Christopher Rush

I am no expert on Catholic theology, but I suspect it is easier to solve a problem like Maria than it is to define “beauty” in any authoritative way.  Considering in the more than two thousand years since the classical world, no aesthetician, artist, philosopher, critic, or beleaguered junior high art teacher has been able to craft a widely-satisfying definition of beauty, it would be presumptuous to propose one here and now.  On the other hand, since the likes of Aristotle, Aquinas, Kant, Hegel, Spinoza, and William James have been unable to conquer this chimera, I will be in good company if I cannot do so either.  Instead of attempting to do what the great minds of history have not done, we shall focus instead on advocating beauty as an objective reality as opposed to a subjective one.

Though it is rare for artists and critics to agree on anything, most if not all agree that beauty exists.  The difficulty comes with the next step of rhetorical stasis theory: what kind of thing it is.  Is beauty subjective or objective?  The inability to come to agreement on the nature of beauty is a significant reason why little progress has ever been made in defining it.  This age-old question is perhaps most often answered by the commonplace “beauty is in the eye of the beholder,” which clearly posits beauty as a subjective concept: the reader, the listener, the viewer of whatever subject is presented for the audience has total authority to determine if the work in question should be considered beautiful, or, perhaps, even is beautiful.  The popularity of this saying does not make it, ipso facto, true and authoritative, of course, but it must be acknowledged, and not in my favor for this present argument, that no ready to hand aphorism for beauty’s objectivity exists.

Furthering the complexity of the issue of trying to categorize beauty and its unclear nature as either a subjective or an objective reality, many have suggested that beauty is entwined with truth and goodness, concepts that, at times, are nearly as tenuous to grasp.  Mortimer Adler, in the Syntopicon, summarizes the perplexities of this trio of imbricating ideas this way:

Truth, goodness, and beauty, singly and together, have been the focus of the age-old controversy concerning the absolute and the relative, the objective and the subjective, the universal and the individual. At certain times it has been thought that the distinction of true from false, good from evil, beautiful from ugly, has its basis and warranty in the very nature of things, and that a man’s judgment of these matters is measured for its soundness or accuracy by its conformity to fact. At other times the opposite position has been dominant. One meaning of the ancient saying that man is the measure of all things applies particularly to the true, good, and beautiful. Man measures truth, goodness, and beauty by the effect things have upon him, according to what they seem to him to be. What seems good to one man may seem evil to another. What seems ugly or false may also seem beautiful or true to different men or to the same man at different times.

While often grouped together as significant values, whether universal and transcendent or otherwise, beauty is often treated as fundamentally different from its fellows in this trio, as truth and goodness require much more important responses than beauty.  People tend to find it easier, generally speaking, to disregard a beautiful work if it doesn’t fit their fancy than it is to ignore right conduct (goodness) or truths about existence (again, generally speaking – we all know humanity is excellent at lying to itself and, as Paul says in 1 Corinthians, incapable of understanding spiritual truth).

For Christians, especially those who eschew the notion that man is the measure of all things, as Adler noted above, truth and goodness are not (or should not be) so inscrutable, but beauty remains elusive even for many of us.  If beauty should be collocated with truth and goodness, one might be inclined to consider it an absolute value and thus objective, but the dearth of Bible verses on beauty, especially in an aesthetic sense and related to the created artworks of man or even in elements of nature itself, tends to disincline many Christians from embracing beauty as easily as truth and goodness.  Jesus was, after all, the Truth and the Good Shepherd (cf. John 14:7, 10:11), but Isaiah points out He had “no beauty that we should desire him” (Isaiah 53:2, ESV).  If Jesus was not beautiful, why should we spend effort exploring what is?  This rather dextrous use of logic to pursue heavenly holiness and avoid worldly endeavors is a rather recent notion within the church, and it inspired Christian thinkers in the latter half of the twentieth century, such as Hans Rookmaaker and Francis Schaeffer, to encourage Christians to once again engage in the arts and delight in beauty wherever it could be found without guilt.

Returning to the seemingly subjective notion that beauty is in the eye of the beholder, closer examination of this saying reveals that the beholder is required to make a judgment.  The beholder has to perceive the object of beauty and decide that it is beautiful.  If the saying wanted to convey a passive acknowledgement of the truth of the beauty of the object being observed, it would be self-defeating by implying the object is innately beautiful and the observer’s role is simply to observe that it is beautiful, free of judgment.  As it stands, then, the saying advocates beauty as subjective, but in order for beauty to be subjective, the observer has to make a rational judgment to that end.

It is this aspect of perceiving beauty, rational judgment, that drives much of Roger Scruton’s analysis of beauty in Beauty: A Very Short Introduction.  “The judgement [sic, passim] of beauty, it emerges, is not merely a statement of preference.  It demands an act of attention. … Less important than the final verdict is the attempt to show what is right, fitting, worthwhile, attractive or expressive in the object: in other words, to identify the aspect of the thing that claims our attention.”  Scruton spends much of his book demonstrating that acknowledging beauty where it is seen is not merely a matter of taste, which would be wholly subjective.  Beauty can be found in various aspects of reality: nature itself; man’s attempts to systematize nature through well-kept gardens and aesthetically-pleasing architecture; works of fine art such as paintings, sculpture, poetry, music, and, perhaps, cinema; and even in everyday objects of fine craftsmanship that promote balance and order, two additional companions of beauty.

The discussion of nature being beautiful acts as an effective foundational argument for beauty’s objectivity.  In the appreciation of nature, says Scruton, “we are all equally engaged, and though we may differ in our judgements, we all agree in making them.  Nature, unlike art, has no history, and its beauties are available to every culture and at every time.  A faculty that is directed towards natural beauty therefore has a real chance of being common to all human beings, issuing judgements with a universal force.”  Scruton emphasizes the existence of nature as the main point here: since it exists apart from mankind as its usual observer, individual responses are not authoritative.  The claim “I don’t think Impressionist paintings are beautiful” warrants discussion in the subjective/objective debate here, but “I don’t think waterfalls are beautiful” is less tenable, in part because of that universal quality of nature Scruton mentions.  Nature is.  Disliking how reality is does not contribute anything for anyone, even the person hewing to that idea.  The person who says, “I do not enjoy reading Newton’s Mathematical Principles of Natural Philosophy” is worth debating; the person who says, “I am not a fan of gravity” may best be left alone, at least for a little while.  If nature is beautiful, beauty exists separate from our subjective responses to it.  Natural beauty existing in places people cannot see is troublesome to Kant: “how are we to explain why nature has scattered beauty abroad with so lavish a hand, even in the depth of the ocean where it can but seldom be reached by the eye of man – for which alone it is final?”  Christian aesthetes would likely respond that man is not the final eye for observing nature anyway, and the hand that scattered beauty abroad so lavishly belongs to the One who created it for His own good pleasure as well as out of love to share it with His creations.  In any event, if beauty exists where our eyes cannot observe it, beauty does not depend on our subjective responses after all.

Those who acknowledge nature as beautiful (or sublime) may even credit the universal quality of nature Scruton highlights, while still raising the objection that man-made realms of art can be legitimately received or designated subjectively.  Nature is one thing; those Impressionist paintings and laborious prose of scientists and theologians is another, as we have acknowledged above.  “You like Bach, she likes U2; you like Leonardo, he likes Mucha; she likes Jane Austen, you like Danielle Steele,” as Scruton puts it.  This returns us to the fundamental tenet of beauty’s subjectivity: personal taste, if not the only standard, is at least an acceptable standard for aesthetic judgment, and once that is averred, “beauty is in the eye of the beholder” soon gives way to “anything can be art,” and before one can say Milton Cross the barbarians are not only through the gates but also they are using The Adoration of the Lamb as a placemat under their chicken fried waffles.  Weak attempts at humorous hyperbole aside, Scruton seriously attempts to forestall such a decline into banality by presenting the other sources of beauty (cultivated nature in gardens and such, everyday objects of fine craftsmanship, and, perhaps most significantly, the fine arts) as objective beauty-realities just as nature is.  His defense of these areas often confront the question of subjectivity through the idea of purpose – not just the telos of these discrete human endeavors in isolation but also the purposeful implications for us as people in pursuing these endeavors the way we do – and that purpose never seems to be enough for mankind.

The drive to reshape nature into gardens, parks, manicured lawns surely speaks to a universal yearning for beauty and order, even if not everyone enjoys pulling weeds and gassing up the lawnmower.  Turning the wilderness around us into an orderly space for the kinds of flowers we prefer and a navigable path to the hot tub and charcoal grill does not deny the innate beauty of nature; rather, it demonstrates a desire to inhabit beauty and make the spaces in which we exist orderly and enjoyable.  “This attempt to match our surroundings to ourselves and ourselves to our surroundings is arguably a human universal,” Scruton says.  “And it suggests that the judgement of beauty is not just an optional addition to the repertoire of human judgements, but the unavoidable consequence of taking life seriously, and becoming truly conscious of our affairs.”  The purpose of gardens is not to show nature and entropy who’s boss; it is to increase beauty wherever we can.  Likewise we design buildings with flair and style, Bauhaus and Minimalism fads aside, because not only do we need space for our things and places to work but also we want to work in attractive places.  Few have faulted the exterior of the Sydney Opera House for being non-functional.  The skylines of Florence, Italy and Dubuque, Iowa may not normally be placed in propinquity like in this sentence, but both are marked by centuries-old architecture designed to delight as well as function, supplied mainly by buildings that exist for religious purposes, interestingly enough.  It is telling that for most of Western civilization, when lifespans were markedly short, architecture and furniture were marked by a commitment to beauty beyond utility and materials meant to last (marble and oak).  Today, with lifespans ever increasing, architecture is a hurried affair of bland rectangles and pressed-wood bookshelves.  Telling as well that the cars of the ’50s and ’60s are still beloved collector’s items, not for their gas mileage and cup holders, but for their fins and freshness and beautiful originality.  Some people, at least, still think beauty is worth the material and temporal cost.

The same can effectively be said for everyday use objects and their connection to beauty, especially as shown through function and order and enhanced by flair.  Scruton uses the example of setting the table for guests: “you will not simply dump down the plates and cutlery anyhow.  You will be motivated by a desire for things to look right – not just to yourself but also to your guests.”  Sometimes we engage in fellowship on paper plates and plasticware (often when s’mores and fireworks are on the agenda as well), but we also know that fine china exists to “get the job done” when the occasion is special and beauty enhances the experience.  Just like we do not wear a tuxedo everywhere we go, we do not use the fine china for every meal – but even the regular plates and glasses have a pattern and an etching because the necessity of utility is not enough (assuming one is not a single twenty-year-old thriving on mac-n-cheese and cola).

Of course, the main subject under investigation for beauty being subjective or objective is the world of the fine arts.  It is mainly in the realm of art that beauty and the beholder’s eye is called into question.  Many people who cannot stand the opera are quite willing to enjoy a sunset and those fireworks, as well as recognizing the value of setting a nice table for Thanksgiving, perhaps even willing to call those things beautiful (even if accompanied with “in their way”).  So it is to art we finally turn in our exploration of beauty as objective and not subjective.

Though much has been said about art, beauty, purpose, subjectivity, and objectivity for thousands of years, as noted at the outset no one has authoritatively put the full stop on the debate.  Without trying to sound like begging the question, we have summarized the argument for subjectivity in the apothegm “beauty is in the eye of the beholder,” which has transformed in practice into “anything can be art.”  The merits of subjectivity in art and thus beauty are mainly the appeal to personal freedom, which people enjoy “because it seems to emancipate people from the burden of culture, telling them that all those venerable masterpieces can be ignored with impunity, that TV soaps are ‘as good as’ Shakespeare and Radiohead the equal of Brahms, since nothing is better than anything and all claims to aesthetic value are void.”  It does not take long for this aesthetic relativism to expand into moral relativism and, in all sincerity, suddenly the world is not fit for man nor beast.  Even if people clamor to live that way, Christians, especially, should not sit idly by and allow that to happen (any more than we have since Modernism).

Instead, let us examine the consequences (yea, benefits) of art and beauty as objective.  In his forgotten yet still trenchant essay “The Trivialization of Outrage,” Roger Kimball thoroughly details the squeamish world of what passed for “modern art” at the close of the twentieth century.  Though he does admit beauty is “by no means an unambiguous term,” Kimball clearly demonstrates that so-called art that has rejected beauty and attempts only to shock and outrage is not art at all, just as philosophy that has rejected truth as a valid end or objective reality is no true philosophy.  “Art that loses touch with the resources of beauty is bound to be sterile,” says Kimball.  Art allied with beauty is the only path for art’s restoration as well as the restoration of our well being culturally: “The point is that, in its highest sense, beauty speaks with such great immediacy because it touches something deep within us.  Understood in this way, beauty is something that absorbs our attention and delivers us, if but momentarily, from the poverty and incompleteness of everyday life.”  It may almost be worth considering beauty as objective simply from a desperate sense of survival, but surely it is more than that: beauty does not just mean an escape from death, it enables and ennobles life itself.

Kimball’s injunction for art’s allegiance to beauty as an attention-arresting experience returns us to our earlier observation that absorbing beauty, whether found in nature or art or anything, is an intellectual process, even when purportedly in the eye of the beholder.  Returning as well to Scruton, he refrains from engaging with this key slogan of beauty’s subjectivity until his concluding chapter, and his summary response to that position

is simply this: everything I have said about the experience of beauty implies that it is rationally founded.  It challenges us to find meaning in its object, to make critical comparisons, and to examine our own lives and emotions in the light of what we find.  Art, nature, and the human form all invite us to place this experience in the centre [sic] of our lives.  If we do so, then it offers a place of refreshment of which we will never tire.  But to imagine that we can do this, and still be free to see beauty as nothing more than a subjective preference or a source of transient pleasure, is to misunderstand the depth to which reason and value penetrate our lives.

Beauty, clearly, is more than just personal taste.  It is a rational means of experience and interpreting reality itself, both in nature (God’s handiwork) and art (man’s handicraft), and because of that, it must be an objective reality, and our aesthetic judgments can only be meaningful in an allegiance to objective existence.

The issue of beauty’s subjectivity or objectivity might be related to C. S. Lewis’s argument for a transcendent moral reality in the broadcasts that became Mere Christianity.  Lewis argues it is fundamentally irrelevant that people disagree on what is right and wrong – the important issue is that people, by engaging in such debate even internally, thereby acknowledge right and wrong exist, and thus a meaningful standard for evaluation and distinction must also exist.  This is similar to Scruton’s point with judgments of beauty: we tend to get distracted by the particular things called beautiful or ugly (“we may differ in our judgements”), forgetting that even attributing this quality to something can only be done if it exists and if a meaningful standard for warranting that application exists.  As morality must exist within an objective standard else we would have no basis for calling one thing “good” and another “bad,” just so an objective standard for beauty must exist.  Otherwise anything could indeed be art, and the very terms “art” and “beauty” would have no meaning.  And while some “artists” today may be committed to that chaotic end, everyday delight in beautiful objects and man’s continued desires to “look good” and enhance function with flair continue to combat that appetite for destruction.

Let us delight, instead, in beauty’s objective existence, and that art is an accessible means of flourishing beauty in our lives.  As Hegel says, the aim of art

is placed in arousing and animating the slumbering emotions, inclinations, and passions; in filling the heart, in forcing the human being, whether cultured or uncultured, to feel the whole range of what man’s soul in its inmost and secret corners has power to experience and to create, and all that is able to move and to stir the human breast in its depths and in its manifold aspects and possibilities; to present as a delight to emotion and to perception all that the mind possesses of real and lofty in its thought and in the Idea – all the splendor of the noble, the eternal, and the true…

From the heart to the head and throughout the soul, all of this wonder and delight and joy (and more) comes to us from objective beauty.

Bibliography

Adler, Mortimer. “Beauty,” in Syntopicon, vol. 1. Edited by Mortimer J. Adler and Philip W. Goetz. Second Edition. Vol. 1. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Hegel, Georg Wilhelm Friedrich. Introductory Lectures on Aesthetics. New York: Penguin Books, 1993. 1886.

Kant, Immanuel. Critique of Judgement. Edited by Mortimer J. Adler and Philip W. Goetz. Trans. James Creed. Second Edition. Volume 39. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Kimball, Roger. “The Trivialization of Outrage.” In Experiments Against Reality. Chicago: Ivan R. Dee, 2000.

Scruton, Roger. Beauty: A Very Short Introduction. Oxford: Oxford University Press, 2011.

Five Strikes and You’re Out: Euthyphro, Piety, and the Elusive Art of Defining the Abstract

Christopher Rush

On the steps of justice, an odd meeting occurs between two acquaintances, both enmeshed in situations that may not have anything to do with justice and even less to do with piety.  Euthyphro has come to the Porch of the King Archon to prosecute his own father for murder.  Socrates is there to defend himself against charges of corrupting the youth.  Three generations collide in the search for human justice, but the more pressing concern is whether these cases are not only just in the eyes of mortal man but pious in the eyes of the immortal gods.

If a son prosecuting his father for murder were not unusual enough, Socrates, the beleaguered defendant, is actually pleased he is being prosecuted, since, like his prosecutor, he is in favor of eliminating those who corrupt the youth.  He is not pleased for himself, of course, but pleased Meletus is taking action to keep the youth uncorrupted, misguided as he may be in direction if not intention.  With his typical self-effacing humor, Socrates soon shows his delight at being prosecuted is more akin to surprise at the true nature of Meletus’ antagonism: Socrates is purportedly “a poet or maker of gods” who “invent[s] new gods and den[ies] the existence of old ones.”  Euthyphro agrees this is a worse crime in the eyes of society, as maintaining the status quo concerning the gods is a great comfort to the people.  Anything that changes that status quo hints at impiety, a situation Euthyphro himself knows well.

Euthyphro tells Socrates about his own case, which instigates the main argument of the dialogue, for only a wise man, says Socrates, would have the courage to bring his own father to court on such a serious charge of murder.  Euthyphro naturally believes he has such wisdom, and concomitant piety as well, since he would prosecute his father for this crime whether the victim were a loved one or a servant; a distinction that should not matter concerning justice, wisdom, and piety.  The case gets more complicated (not to Euthyphro) in that his father did not directly kill the servant but indirectly allowed him to die, tantamount to murder according to Euthyphro (but ignored in the rest of the dialogue).  Euthyphro is the only person who thinks he is being pious and doing what the gods want him to do.  Such self-assuredness by Euthyphro impels Socrates to learn from him what piety truly is, beginning the dialogue’s five attempts at defining piety in a way that satisfies Euthyphro and Socrates, a herculean task indeed.

Euthyphro’s first attempt at a definition is his current conception of piety: “Piety is doing as I am doing; that is to say, prosecuting any one who is guilty of murder, sacrilege, or of any similar crime — whether he be your father or mother, or whoever he may be — that makes no difference; and not to prosecute them is impiety.”  Like for most of us, Euthyphro’s initial standard for piety is not only achievable by his own human effort but also representative of how he already lives his life.  It is also circular and not a real definition, as Socrates points out: “Remember that I did not ask you to give me two or three examples of piety, but to explain the general idea which makes all pious things to be pious.”  This gentle reprimand from Socrates is the most useful part of the dialogue: knowing that examples of concepts are not the same as defining the concept is a crucial distinction for all philosophers (and students writing papers).  A definition, says Socrates, gets to the essence of the concept as well as enables the person to use the term correctly: “Tell me what is the nature of this idea, and then I shall have a standard to which I may look, and by which I may measure actions, whether yours or those of any one else, and then I shall be able to say that such and such an action is pious, such another impious.”

Undeterred, Euthyphro attempts to satisfy Socrates with his second definition: “Piety, then, is that which is dear to the gods, and impiety is that which is not dear to them.”  Here Euthyphro shifts the direction of piety completely from the standard of human activity to the attitude of the gods.  This is more to Socrates’ liking, as it is an actual definition of the concept of piety that restores piety to the heavenly realm of ideals and absolutes, but it is still rather ambiguous.  Socrates’ contention with this definition stems from the gods’ own inability to agree on what pleases and displeases them, mirrored in humanity’s inability to distinguish absolutely what is pleasing and good and just from what is displeasing, bad, and unjust: “people regard the same things, some as just and others as unjust, — about these they dispute; and so there arise wars and fightings among them” and “the same things are hated by the gods and loved by the gods, and are both hateful and dear to them,” says Socrates, with which Euthyphro must agree.

The conversation returns to Euthyphro’s case against his father, as the only specific example of actions or behaviors considered pious or impious by all or some men and gods.  Zeus may approve of Euthyphro prosecuting his father, but Cronos, naturally, would likely disapprove of it.  This distinction inspires Euthyphro to combat Socrates’ enthymeme: perhaps not all would be pleased by the situation, “[b]ut I believe, Socrates, that all the gods would be agreed as to the propriety of punishing a murderer: there would be no difference of opinion about that,” says Euthyphro.  Socrates effectively agrees with this remark, but only as a general statement of propriety.  Whereas Euthyphro believes the gods find punishing murderers pious because he is trying to do that (returning to his first definition), Socrates acknowledges both gods and mankind should never say “the doer of injustice is not to be punished” — but that still does not clarify what actions are just or pious, only that pious actions should elicit a certain kind of response.

To keep the argument going, Socrates assists Euthyphro by rephrasing his second sally into a more specific third attempt at defining piety: “But I will amend the definition so far as to say that what all the gods hate is impious, and what they love pious or holy; and what some of them love and others hate is both or neither.”  Euthyphro gladly assents to this revision centered on unanimity among the gods, but this definition, even from Socrates, is not sufficient either, though it leads into the heart of the dialogue: are things pious because the gods love them, or do the gods love them because they are pious?  Is piety an intrinsic quality, or is it attributed to something (or someone) by an external authority (such as the gods of Olympus)?

Socrates leans toward innate qualities prior to current circumstances: “my meaning is, that any state of action or passion implies previous action or passion. It does not become because it is becoming, but it is in a state of becoming because it becomes; neither does it suffer because it is in a state of suffering, but it is in a state of suffering because it suffers.”  The nature of a thing exists prior to an outside observer becoming aware of such qualities of the thing observed; it does not “receive” those qualities because of an observer observing them, though the observer can still adjectivize the quality or condition sequent to the observation.  If piety (or holiness) is that which is “loved by all the gods,” then, the thing is “loved because it is holy, not holy because it is loved,” agrees Euthyphro.  The gods choosing to bestow love onto something or someone does not concomitantly impute holiness or piety onto the thing or person in this view.

As much sense as this distinction makes, it does not achieve the ultimate end of defining piety, since it only establishes piety is not created by the affections or attentions of the gods (all to the good, knowing how capricious they are even in Socrates’ view).  Socrates highlights this insufficiency by returning to the application of definition number three: even if the gods love things that are already pious, those same things are “dear” to the gods because they are loved by them, not loved because already dear.  Socrates posits that since the attribute of being dear to the gods comes as a result of their loving yet their loving does not impart piety to that thing, if the thing held dear is also pious, the present postulate reverts to merely another example of piety, not an actual definition.  Saying piety is “the attribute of being loved by all the gods” is simply describing something that happens to pious objects, not elucidating the concept of piety itself.

By this point Euthyphro is, somewhat understandably, growing weary of the conversation, resulting in Socrates mocking his youth, calling him “lazy,” and taking over the conversation.  Socrates, now in full control, returns to his usual form by beginning definition number four in the form of a question and recalling the audience to the setting of the conversation, two court cases of justice: “Is not that which is pious necessarily just?”  This is not an entire definition, as Socrates knows this is more of a correlating quality of piety than a nature-of definition, but he is building to a fuller definition.  He begins with a lateral movement from definition three, applying enthymemes similar to an “all squares are rectangles but not all rectangles are squares” theorem to piety’s connection to justice.  Justice, they decide, is of a larger scope than piety and can exist without piety, meaning piety is a part of justice, not its own absolute characteristic.  If they can discover what part of justice piety is specifically, they will finally arrive at an actual definition.  Euthyphro, having learned from Socrates’ earlier remonstrations that piety should not be man-centered, says, “Piety or holiness, Socrates, appears to me to be that part of justice which attends to the gods, as there is the other part of justice which attends to men.”  Socrates is not wholly satisfied with this and draws out further explication on “attends,” only to end up back where they started, leading Euthyphro circuitously to the idea “piety is the art of attending to the gods,” leaving justice momentarily by the wayside.  To this Socrates adds that those who attend to things (such as a huntsman attending to his dogs) do so for the benefit of that which is attended: the dogs are benefited by the huntsman’s attention, oxen are benefited by the oxherd’s attention.  If this is true, though, the gods must then benefit from the attention paid to them by pious worshipers, a notion both Euthyphro and Socrates quickly reject.  If piety is attending to the gods, it must be of a different nature than actions or attitudes that improve or assist the gods, and as neither of them can adduce a satisfactory substitute for what “attending” the gods might mean, the fourth definition peters out.

Euthyphro, now clearly tired of the conversation, gives a fifth and final attempt at defining piety: “Let me simply say that piety or holiness is learning how to please the gods in word and deed, by prayers and sacrifices.  Such piety is the salvation of families and states, just as the impious, which is unpleasing to the gods, is their ruin and destruction.”  Socrates effectively acts as if Euthyphro said nothing at all and asks again, “what is the pious, and what is piety? Do you mean that they are a sort of science of praying and sacrificing?”  Euthyphro agrees, possibly without fully attending to what Socrates is saying either, leading Socrates to narrow this final definition into “piety is a science of asking and giving.”  If this definition is true, then we are back to definition four: piety requires the gods receive from us sacrifices that they desire, and when pious worshippers give the gods that which they desire, the gods benefit from this transaction.  Yet, if they do not benefit from such sacrifices, the pious give nothing of substance to the gods, and that hardly meshes with what they think piety should be, more than receiving bountifully from the gods and giving nothing meaningful in return.  But if the gods still desire such prayers and sacrifices, then, says Socrates, they are back to definition number two, “piety is dear to the gods.”  The gods do not benefit from sacrifices by pious worshipers, but they do enjoy them.  By inadvertently returning to a definition they have already rejected, Euthyphro and Socrates have walked a long way to arrive back where they started, no closer to defining piety than when the conversation began.  Having swung at and missed piety five times, a tired Euthyphro bows out, leaving Socrates mildly (yet likely insincerely) despondent.

As is typical of many early Platonic dialogues, the Euthyphro ends with no satisfactory definition of piety, having spent most of the time describing what piety is not.  Still, Euthyphro and Socrates highlight at least two important aspects of piety, especially early on.  The major flaw of Euthyphro’s first definition is its human-centeredness: “Surely I am doing what is right, therefore the gods must approve” sort of attitude is typical, as we have said, of most humans’ conception of piety (or holiness or, perhaps today, “virtue”).  Such a standard has nothing transcendent about it, nothing substantial, and is effectively no better than saying “I’m not as bad as Hitler, so I must be good.”  The “standard,” such as it is, for piety is as flexible as taffy and just as salubrious.  Socrates’ quick dismissal of this human-centered perspective is helpful and beneficial, certainly for Christians and for non-Christians as well.  Piety is more than being “good enough”; it must be suprahuman at the least, if not divine (divinely inspired, perhaps, or divinely granted).  The rest of the dialogue’s centering piety on the gods is much closer to a useful conception of piety for us flawed mortals.

The brief discussion during the third definition, whether things are pious because they are approved by the gods or the gods’ approval of things makes them pious, is the other important aspect of this dialogue, if not one of the more important aspects of Western philosophy: do things have certain qualities by their essence, because they have them (or are them), or do things have certain qualities because the observer observes and describes the things a certain way (possibly imputing the qualities onto what is observed through simple sensory human acts).  Such an interesting distinction requires more time and space than we have here to explore adequately, but the distinction is worth considering.

Despite the unsatisfactory conclusion of the dialogue, Socrates leaves us with a small but helpful handful of negations on what piety is not: centered on man’s self-appraisal, affected by a majority or minority of opinions, determined by attributive observations or assessments, or measured by its effect on others.  This is a helpful beginning to defining an elusive abstract concept such as piety, but before concluding this exploration of Socratic piety, let us examine some of the other references to piety in Plato’s other dialogues to see if we can glean any further insights from Socrates as to what piety might possibly be.

Most of the other dialogues associate piety with the gods, a quite natural and expected association.  In Apollodorus’ story in the Symposium, he recalls this line: “Wherefore let us exhort all men to piety, that we may avoid evil, and obtain the good, of which Love is to us the lord and minister; and let no one oppose him — he is the enemy of the gods who oppose him.”  Apollodorus has just recalled the gods punishing people for disobedience, so the exhortation toward piety is an exhortation to revere and fear the gods, not specifically praying and sacrificing to them, but whatever it is (no specifics are given). piety consists of both a right attitude and right actions.  The motivation is almost (acceptably) mercenary: to avoid chastisement from the gods and to receive blessings.  Piety may be done for one’s own benefit, even if it does not benefit the gods who receive the fruit of pious deeds (whatever they may be).

The Apology and Republic have likewise very brief references to piety and impiety, which is odd: two dialogues one might suppose should be replete with overt examples, discussions, and explanations of piety (Socrates’s self-defense against charges of impiety and a detailed manual for creating the right kind of society) only have passing mentions of the concept at their conclusions.  Socrates ends his address in the Apology by urging his friends not to perjure themselves in court because “there can be no piety in that. Do not then require me to do what I consider dishonorable and impious and wrong, especially now, when I am being tried for impiety on the indictment of Meletus.”  Here is another quality of what piety is not: piety is not dishonesty, especially in court.  Impiety is perhaps tantamount to dishonorable and wrong actions, motivation, and thoughts as well, which may imply piety is akin to honor and rightness.  Except for a passing remark about the rain falling on the pious in book two of the Republic, Socrates does not mention piety until the end of the lengthy discourse, while berating the poets: “We will not have them (the poets) trying to persuade our youth that the gods are the authors of evil, and that heroes are no better than men — sentiments which, as we were saying, are neither pious nor true, for we have already proved that evil cannot come from the gods.”  Again Socrates associates piety with another abstract value, truth, and again he mentions piety in a negation (poets are not pious when they lead others, especially youth, to think ill of the gods), and again we have a passing example but no substantial definition of piety.

About halfway through the Theaetetus, while trying to define knowledge itself, Socrates, revisits another abstraction he associates with piety: “But in the other case, I mean when they (sophists) speak of justice and injustice, piety and impiety, they are confident that in nature these have no existence or essence of their own — the truth is that which is agreed on at the time of the agreement, and as long as the agreement lasts; and this is the philosophy of many who do not altogether go along with Protagoras.”  Piety is again associated with justice, and again Socrates (perhaps more Plato, if Theaetetus is a later dialogue) leans toward piety (and justice) being an intrinsic quality despite what sophists advocate as temporary or superficial observations.  Nothing new is added to the aspects found in Euthyphro, but the constancy of relating piety to justice and best understood as innate reality not subjective attribution is helpful in arriving at an understanding of Socratic/Platonic piety.

Finally in Plato’s output, in book four of the Laws, the Athenian Stranger says, “In the first place, we affirm that next after the Olympian Gods and the Gods of the State, honor should be given to the Gods below; they should receive everything in even numbers, and of the second choice, and ill omen, while the odd numbers, and the first choice, and the things of lucky omen, are given to the Gods above, by him who would rightly hit the mark of piety.”  Piety is again the proper response of man to the gods themselves.  Later, the Stranger mentions the three “noblest aspirations”: “The principle of piety, the love of honor, and the desire of beauty, not in the body but in the soul.”  Again, piety is another abstract value among many (not justice here) and a spiritual, almost otherworldly aspect of mankind’s function in life.  Toward the end of the Laws, the Stranger echoes two of Socrates’ negation descriptions of piety, saying poets and prose writers “draw you aside from your natural piety” by praising evil men, and other men who “defile the names of the Gods” and “care little about piety and purity in their religious actions.”  Reversing the negation, piety is honoring the names of the Gods among fellow humans, not just honoring the gods themselves directly through prayer and sacrifice.

Through a scrutiny of Euthyphro and a survey of other Platonic dialogues, we get, if not a full and satisfactory definition of piety, at least a helpful and somewhat practical starting conception of piety, especially as to what it is not.  To be fair to Socrates (and Plato), we know we are not going to get a full and satisfying definition of anything, really — but that is much of the joy and challenge of dialoguing with him: it truly is the journey not the destination.  We need not be as exasperated as Euthyphro at seemingly getting no closer to defining piety, since we are actually better able to grasp the qualities of the pious person in motion, at least, if not in fact.  Piety is a part of justice and a boon companion of truth, honor, and spiritual beauty.  It is rooted in our acknowledgement of the divine above and, to an extent, beyond us, and our actions and attitudes must be aimed toward pleasing God, even if we do not benefit Him by our prayers or sacrifice or obedience.

What does that piety actually look like?  As Euthyphro said, look at the time…

Work Cited

Plato. The Dialogues of Plato; The Seventh Letter. Edited by Mortimer J. Adler and Philip W. Goetz. Translated by Benjamin Jowett and J. Harward. Second Edition. Vol. 6. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.  All dialogues quoted are taken from the pagination of this source.