The letters are the causes of syllables, the material of artificial products, fire, &c., of bodies, the parts of the whole, and the premisses of the conclusion, in the sense of 'that from which'. Of these pairs the one set are causes in the sense of substratum, e.g. the parts, the other set in the sense of essence-the whole and the combination and the form. But the seed and the doctor and the adviser, and generally the maker, are all sources whence the change or stationariness originates, while the others are causes in the sense of the end or the good of the rest; for 'that for the sake of which' means what is best and the end of the things that lead up to it.
(Whether we say the 'good itself or the 'apparent good' makes no difference.)
Such then is the number and nature of the kinds of cause.
Now the modes of causation are many, though when brought under heads they too can be reduced in number. For 'cause' is used in many senses and even within the same kind one may be prior to another (e.g. the doctor and the expert are causes of health, the relation 2:1 and number of the octave), and always what is inclusive to what is particular. Another mode of causation is the incidental and its genera, e.g. in one way 'Polyclitus', in another 'sculptor' is the cause of a statue, because 'being Polyclitus' and 'sculptor' are incidentally conjoined. Also the classes in which the incidental attribute is included; thus 'a man' could be said to be the cause of a statue or, generally, 'a living creature'. An incidental attribute too may be more or less remote, e.g. suppose that 'a pale man' or 'a musical man' were said to be the cause of the statue.
All causes, both proper and incidental, may be spoken of either as potential or as actual; e.g. the cause of a house being built is either 'house-builder' or 'house-builder building'.
Similar distinctions can be made in the things of which the causes are causes, e.g. of 'this statue' or of 'statue' or of 'image' generally, of 'this bronze' or of 'bronze' or of 'material' generally.
So too with the incidental attributes. Again we may use a complex expression for either and say, e.g. neither 'Polyclitus' nor 'sculptor' but 'Polyclitus, sculptor'.
All these various uses, however, come to six in number, under each of which again the usage is twofold. Cause means either what is particular or a genus, or an incidental attribute or a genus of that, and these either as a complex or each by itself; and all six either as actual or as potential. The difference is this much, that causes which are actually at work and particular exist and cease to exist simultaneously with their effect, e.g. this healing person with this being-healed person and that house-building man with that being-built house; but this is not always true of potential causes--the house and the housebuilder do not pass away simultaneously.
In investigating the cause of each thing it is always necessary to seek what is most precise (as also in other things): thus man builds because he is a builder, and a builder builds in virtue of his art of building. This last cause then is prior: and so generally.
Further, generic effects should be assigned to generic causes, particular effects to particular causes, e.g. statue to sculptor, this statue to this sculptor; and powers are relative to possible effects, actually operating causes to things which are actually being effected.
This must suffice for our account of the number of causes and the modes of causation.