Mark 6:49

Phantasma

φάντασμα, -ατος (τὸ): Refers to various types of appearances or phenomena, including: 1) an apparition, vision, or dream (Plato, Republic 510a; Theocritus, Idylls 21.30); 2) a mental image or representation formed by an object or thought, often implying insubstantiality (Plato, Phaedo 81d; Aristotle, De Anima 3.3.9); 3) a specter or ghost, typically a supernatural apparition (Aeschylus, Seven Against Thebes 710; Euripides, Hecuba 54, 95, 390; Plato, Phaedo 81d, Timaeus 71a); 4) a celestial phenomenon or extraordinary event (Aristotle, De Mundo 4.21; Dionysius of Halicarnassus, 4.62; Plutarch, Dion 2). Derived from φαντάζω (phantazo), meaning "to make visible" or "to appear."

In philosophical contexts, the word φάντασμα (phantasma) was used to describe mental images or appearances that arise in the mind, often as a result of sensory perception, imagination, or reasoning. These images or phenomena are not necessarily linked to physical reality but are the products of the mind's activity. The term was used by philosophers like Plato and Aristotle to explore concepts of perception, reality, and knowledge.

1. Plato:

   • In his dialogues, φάντασμα is often used to describe mental images or appearances that arise from the interaction between the mind and the external world. Plato viewed these appearances as insubstantial and unreliable, in contrast to the true knowledge found in the realm of the Forms.
     • For example, in Phaedo (81d), Plato discusses how physical appearances (which are mere φάσματα) can deceive us, as they are only reflections or shadows of the true, unchanging reality of the Forms.
     • In Parmenides (166a), he uses the term to indicate the illusory nature of appearances in the material world, which can give us false beliefs about reality.

2. Aristotle:

   • Aristotle, in works like the De Anima (On the Soul), also discusses φάντασμα as mental images that are produced by the interaction of the soul with external stimuli. These images are the mind’s representations of the sensory input it receives.
   • He saw these mental images as crucial to human cognition, but he differentiated between phantasms (which arise from sense perception) and actual knowledge (which arises from reason and intellectual understanding).
     • For example, in De Anima (3.3.9), Aristotle argues that these images or phantasms are important in the process of memory and imagination, but they are not equivalent to true knowledge.

3. Epistemological Implications:

   • In both Plato and Aristotle's philosophies, φάντασμα highlights the tension between appearance and reality. Philosophers used the concept to explore whether the images and appearances presented by the senses are trustworthy sources of knowledge or if they merely veil the truth.
   • Plato, especially, emphasized that sensory experiences and their corresponding mental images (i.e., φάσματα) were deceptive, leading to ignorance if relied upon too heavily. He believed that true knowledge comes from reasoning about the Forms, not from the imperfect, changing world of appearances.
   • Aristotle, while recognizing the importance of sensory images in knowledge formation, also distinguished between appearances and scientific knowledge, advocating that while our senses provide us with useful information, true knowledge comes from abstract reasoning.