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Empedocles
(redirected from Empedoclean)

   Also found in: Medical, Wikipedia, Hutchinson 0.04 sec.
Empedocles (ĕmpĕd`əklēz), c.495–c.435 B.C., Greek philosopher, b. Acragas (present Agrigento), Sicily. Leader of the democratic faction in his native city, he was offered the crown, which he refused. A turn in political fortunes drove him and his followers into exile. Empedocles taught that everything in existence is composed of four underived and indestructible roots, material particles identified as fire, water, earth, and air. He declared the atmosphere to be a corporeal substance, not a mere void; and in the absence of the void or empty space he explained motion as the interpenetration of particles, under the alternating action of two forces, harmony and discord. Believing that motion, or change of place, is the only sort of change possible, he explained all apparent changes in quality or quantity as changes of position of the basic particles underlying the observable object. He was thereby the first to state a principle that is now central to physics.

Bibliography

See studies by C. E. Millerd (1980) and M. R. Wright (1981).


Empedocles

(born c. 490, Acragas, Sicily—died 430 BC, the Peloponnese) Greek philosopher, statesman, poet, and physiologist. All that remains of his writings are 500 lines from two poems. He held that all matter was composed of four basic ingredients: fire, air, water, and earth. Like Heracleitus, he held that two forces, love and strife, interact to bring together and separate the four substances. Believing in the transmigration of souls, he declared that salvation requires abstention from the flesh of animals, whose souls may once have inhabited human bodies.


Empedocles
?490--430 bc, Greek philosopher and scientist, who held that the world is composed of four elements, air, fire, earth, and water, which are governed by the opposing forces of love and discord


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It's the Empedoclean principle of like-flocking-to-like in action.
For the catalogue of the Milan show O'Hara wrote that Bluhm's "paintings - passionate, precise, impulsive, classical - embrace the elements of actuality as they are sensed rather than seen, and if there is reference to nature it is to those pure Empedoclean qualities which we had thought lost: earth, fire, water, air.
For this idea, I was mainly indebted to Sacvan Bercovitch's article "Love and Strife in Kyd's Spanish Tragedy" (SEL 9 [1969]: 215-29), which also provided the insight that the infernal Book of Fate was a symbol of the Empedoclean cycle of Love-Strife which informs the structure of the play.
 
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