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Routledge History of Philosophy Volume IV

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230 RENAISSANCE AND SEVENTEENTH-CENTURY RATIONALISM<br />

kind <strong>of</strong> thing can serve as its definition (canon 15). Completeness in ideas can be<br />

achieved only within the limits allowed by our ways <strong>of</strong> forming ideas, which<br />

Gassendi stipulates in the first few canons <strong>of</strong> the logic. All our ideas come from<br />

the senses and are in the first place ideas <strong>of</strong> individual things. Mental operations<br />

rather than the external world are responsible for our general, analogical and<br />

chimerical ideas (canon 3). Finally, our ideas can only aspire to perfection or<br />

completeness if we are aware <strong>of</strong> the way in which the senses deceive us and keep<br />

in mind these sources <strong>of</strong> deception as we form ideas (canons 11–14).<br />

The fourth set <strong>of</strong> canons in Gassendi’s logic have a different relation to the<br />

physics. Instead <strong>of</strong> speaking <strong>of</strong> operations <strong>of</strong> the mind that physics illuminates,<br />

they prescribe methods <strong>of</strong> ordering thought that regulate physics and other<br />

sciences. Only the first four canons govern investigation in science; the<br />

remaining ten are to do with teaching what one learns. Canon 4 reintroduces the<br />

Epicurean criteria <strong>of</strong> truth: judgements are to be submitted to sense and reason<br />

(IL, 160). Canon 1 recommends the use <strong>of</strong> signs as a way <strong>of</strong> finding the key or<br />

middle term in the solution <strong>of</strong> questions. Canon 3 introduces the distinction<br />

between analysis or resolution and synthesis or composition, suggesting that<br />

whichever has been used to arrive at an answer, the other should be used to<br />

check it.<br />

When he comes to the precepts governing the presentation <strong>of</strong> one’s findings<br />

for the purposes <strong>of</strong> instruction Gassendi produces by way <strong>of</strong> illustration a<br />

description <strong>of</strong> how to teach physics that is hard not to take as a blueprint for the<br />

next major part <strong>of</strong> the Syntagma. He is making the point that in the sciences, as<br />

in the productive arts, it pays to teach as if you were explaining how something<br />

was made; in the case <strong>of</strong> natural science, how the universe is made up from its<br />

parts:<br />

Thus a physicist who is giving instruction in the natural sciences places as<br />

a model before our eyes, like the larger and smaller parts <strong>of</strong> a building,<br />

only on an extended scale, the structure <strong>of</strong> nature or the machine <strong>of</strong> the<br />

world, the sky, the earth, all that they contain, and analysing them into<br />

their smallest possible components takes these as the primary units which<br />

go to make up the whole. His next step is to inquire into the precise nature<br />

and pattern <strong>of</strong> the various combinations responsible for the formation <strong>of</strong><br />

the sun, the moon and the other heavenly bodies, and in the same way the<br />

earth and all the many inanimate, animate and sentient beings…until he<br />

has unfolded the entire panoply <strong>of</strong> the world like a man who has explored<br />

and thoroughly inspected a house which someone else has built.<br />

(IL, 162–3)<br />

An order very similar to the one prescribed is apparent in the sections on physics<br />

in the Syntagma.

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