Phaedrus Plato
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Refuting Polus (466–481)
Γοργίας | Gorgias 8 Refuting Polus (466–481) 1. Genuine and Spurious Expertise (463d–465d)1 Mind (politikē) Body (sōmatos therapeias) regulative corrective regulative corrective true or genuine good state, legislative justice exercise medicine technē; leads to physical (nomothetikē) (dikaiosunē) (gumnastikē) (iatrikē) real being and mental health spurious pseudo- merely apparent technē, ‘good’ state; sophistry rhetoric cosmetics cookery appearance, forms of flattery (sophistikē) (rhetorikē) (kommōtikē) (opsopoiikē) simulacrum; (kolakeia), ‘fake’ being see 464c–d 2. Refuting Polus in Four Stages First Paradox. Rhetors are the least powerful members of society. (466b–468e) 1.1 Power is a good thing (agathon) for its possessor. 1.2 Rhetoric lacks logos (465a), and hence its aim cannot be our welfare (i.e. what is best for us: to beltiston). 1.3 Rhetors do not know what is best for them. 1.4 Rhetors only do what seems best for them. (This follows on from the flattery discussion; see table above.) 1.5 There is a difference between doing what one wants and doing what seems best (for one to do). (For those who know, these two things coincide—this is real power.) 1.6 Things are either good (agathon), bad (kakon), or indifferent (metaxu [= in between], adiaphora). We avoid what is bad, choose or seek what is good, and use indifferents as a means for good. 1.7 Everyone does things in pursuit of good. 1.8 We want (boulesthai) good things because they are in our interest (ōphelima). Only the good is best for us. 1.9 Actions that produce harm do not reflect one’s will: agents only do what seems best or beneficial, but they do not want these actions. -
The Roles of Solon in Plato's Dialogues
The Roles of Solon in Plato’s Dialogues Dissertation Presented in partial fulfillment of the requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Samuel Ortencio Flores, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Bruce Heiden, Advisor Anthony Kaldellis Richard Fletcher Greg Anderson Copyrighy by Samuel Ortencio Flores 2013 Abstract This dissertation is a study of Plato’s use and adaptation of an earlier model and tradition of wisdom based on the thought and legacy of the sixth-century archon, legislator, and poet Solon. Solon is cited and/or quoted thirty-four times in Plato’s dialogues, and alluded to many more times. My study shows that these references and allusions have deeper meaning when contextualized within the reception of Solon in the classical period. For Plato, Solon is a rhetorically powerful figure in advancing the relatively new practice of philosophy in Athens. While Solon himself did not adequately establish justice in the city, his legacy provided a model upon which Platonic philosophy could improve. Chapter One surveys the passing references to Solon in the dialogues as an introduction to my chapters on the dialogues in which Solon is a very prominent figure, Timaeus- Critias, Republic, and Laws. Chapter Two examines Critias’ use of his ancestor Solon to establish his own philosophic credentials. Chapter Three suggests that Socrates re- appropriates the aims and themes of Solon’s political poetry for Socratic philosophy. Chapter Four suggests that Solon provides a legislative model which Plato reconstructs in the Laws for the philosopher to supplant the role of legislator in Greek thought. -
The Minotaur in Phaedo's Labyrinth: Philosophy's Necessary Myth
Trinity College Trinity College Digital Repository Trinity Publications (Newspapers, Yearbooks, The Trinity Papers (2011 - present) Catalogs, etc.) 2016 The Minotaur in Phaedo’s Labyrinth: Philosophy’s Necessary Myth Gregory Convertito Trinity College, Hartford Connecticut Follow this and additional works at: https://digitalrepository.trincoll.edu/trinitypapers Part of the Classical Literature and Philology Commons Recommended Citation Convertito, Gregory, "The Minotaur in Phaedo’s Labyrinth: Philosophy’s Necessary Myth". The Trinity Papers (2011 - present) (2016). Trinity College Digital Repository, Hartford, CT. https://digitalrepository.trincoll.edu/trinitypapers/43 The Minotaur in Phaedo’s Labyrinth: Philosophy’s Necessary Myth Gregory Convertito Plato’s Phaedo is a confusing dialogue. It takes place after the Apology and the Crito, on Socrates’s last night before his execution; Socrates has been waiting in prison for a long time due to an Athenian law barring executions during the annual ritual to celebrate Theseus’s mythical victory over the Minotaur. This story of the death of Socrates is embedded in a narration by Phaedo himself, who is relating the story to Echecrates. Socrates, after discussing the soul, the self, immortality, and death with Simmias and Cebes, Pythagorean acquaintances who have come to visit him, drinks the φαρμακον and dies. The myth of the Minotaur—a monster which has the body of a man and the head of a bull—is explicitly invoked in the text, which structurally mirrors this myth. Each has a monster, fourteen characters, and a thread which leads out of a labyrinth. In the myth, Theseus and the others are taken into the labyrinth wherein the Minotaur resides as tribute, as dictated by the Delphic Oracle, and the princess Ariadne gives Theseus a ball of thread to attach to the entrance, so he may find his way out again. -
Phi 260: History of Philosophy I Prof
Phi 260: History of Philosophy I Prof. Brandon C. Look University of Kentucky Spring 2007 Plato’s Symposium Although we will be looking at the Symposium as work of philosophy, its literary qualities should not be ignored. It can easily be read as a Comedy in three acts (see below), with a prologue (the conversation between Apollodorus and his friend) and an epilogue (Alcibiades’ drunken, tragic (?) account of his love). Consider also the narrative complexity of the work. By the time we get to Diotima’s speech, we have the following levels of narration: Plato says that Apollodorus says that Aristodemus says that Socrates says that Diotima says…Why is there so much distance placed within the narration? Is it supposed to show us how far away the Truth lies? The six speeches given by the attendants can be group into three pairs: Phaedrus and Pausanias; Eryximachus and Aristophanes; and Agathon and Socrates. 1st speech: Phaedrus • There is no greater good for a young boy than a gentle lover, and for a lover a boy to love. • Consider Phaedrus’ suggestion regarding the nature of the relation between lover and beloved: “if a man in love is found doing something shameful… then nothing would give him more pain than being seen by the boy he loves. … If only we could have cities and armies of lovers…” (178d-179a) So, gays in the military would actually be a good thing, right? • Gods honor virtue most highly when it belongs to Love. (180b) 2nd speech: Pausanias • There are two kinds of love: Urania, or Heavenly Aphrodite, and Pandemos, or Common Aphrodite. -
Theory of Forms 1 Theory of Forms
Theory of Forms 1 Theory of Forms Plato's theory of Forms or theory of Ideas[1] [2] [3] asserts that non-material abstract (but substantial) forms (or ideas), and not the material world of change known to us through sensation, possess the highest and most fundamental kind of reality.[4] When used in this sense, the word form is often capitalized.[5] Plato speaks of these entities only through the characters (primarily Socrates) of his dialogues who sometimes suggest that these Forms are the only true objects of study that can provide us with genuine knowledge; thus even apart from the very controversial status of the theory, Plato's own views are much in doubt.[6] Plato spoke of Forms in formulating a possible solution to the problem of universals. Forms Terminology: the Forms and the forms The English word "form" may be used to translate two distinct concepts that concerned Plato—the outward "form" or appearance of something, and "Form" in a new, technical nature, that never ...assumes a form like that of any of the things which enter into her; ... But the forms which enter into and go out of her are the likenesses of real existences modelled after their patterns in a wonderful and inexplicable manner.... The objects that are seen, according to Plato, are not real, but literally mimic the real Forms. In the allegory of the cave expressed in Republic, the things that are ordinarily perceived in the world are characterized as shadows of the real things, which are not perceived directly. That which the observer understands when he views the world mimics the archetypes of the many types and properties (that is, of universals) of things observed. -
Posidippus' Equestrian Angelia
Mouseion, Series III, Vol. 16 (2019) 433–452 © 2019 Mouseion (published in 2019) Horse and Herald: Posidippus’ Equestrian Angelia Peter J. Miller Abstract / Résumé Posidippus’ epigrams for equestrian victors (the Hippika, AB 71–88) build on epi- nician convention by maintaining the central role of the herald’s proclamation— the angelia—in the representation of athletic achievement. In a few of these epigrams, however, Posidippus embeds the horse itself in postvictory rituals. For example, the horse brings the crown to the victor, replacing the figure of the herald who announced and crowned victors; or, in a narrative of the race’s aftermath, the horse, incredibly, chooses the victor. Posidippus’ horses, there- fore, act as causal agents for the glory of their owners, and his detailed descrip- tions transform the horse from flesh-and-blood equine to everlasting (literary) monument. Les épigrammes de Posidippe sur les victoires équestres (les Hippiques, 71-88 A.-B.) s’appuient sur une convention poétique propre aux épinicies qui maintient le rôle de la proclamation du héraut – l’angelia – dans la représentation de la réussite athlétique. Cependant, dans quelques-unes de ces épigrammes, Posidippe intègre le cheval lui-même au rituel marquant la victoire. Par exemple, le cheval apporte la couronne au vainqueur en remplacement de la figure du héraut qui annonce et cou- ronne les vainqueurs ; ou encore, dans le récit de l’après-course, le cheval choisit, de façon surprenante, le vainqueur. Les chevaux de Posidippe interviennent donc en tant qu’agents causaux dans la gloire de leur propriétaire. Ses descriptions détaillées trans- forment ainsi l’être de chair et de sang qu’est le cheval en un monument (littéraire) éternel. -
Plato's Phaedrus and Apuleius' Metamorphoses1
“Necessary Roughness”: Plato’s Phaedrus and Apuleius’ Metamorphoses1 JEFFREY T. WINKLE Calvin College Introduction Readers of Apuleius have long recognized the influence of Plato’s Phaedrus (along with other Platonic works) on his Metamorphoses, especially in the allegorical elements of the “Cupid and Psyche” centerpiece.2 Outside of “Cu- pid and Psyche” a handful of other allusions to the Phaedrus in the novel have been widely noted3 but it is the contention of this essay that elements of Plato’s Phaedrus are more deeply embedded in the themes and overall narrative(s) of the Apuleian novel than previously recognized. Reading the whole of the novel closely against the Phaedrus reveals that just as this particular dialogue provides a useful interpretive touchstone for the “Cupid and Psyche” tale, it functions in a similar and deliberate way for the novel’s principal narrative concerning Lucius, acting as backdrop to and underlining what we might call his fall and redemption. What follows is not an argument that the Phaedrus ————— 1 I am very grateful to my colleagues Ken Bratt, U.S. Dhuga, and David Noe for their helpful comments on an early draft of the essay as well as to Luca Graverini and the journal refer- ees especially for bringing me up to speed on recent scholarship and talking me down from particular interpretive ledges. 2 For Phaedrean (and other Platonic) influence on Cupid and Psyche see: Hooker 1955; Walsh 1970, 55ff, 195, 206ff; Penwill 1975; Anderson 1982, 75-85; Kenney 1990, 17-22; Schlam 1992, 82-98; Shumate 1996, 259ff; Dowden 1998; O’Brien 1998; Zimmerman 2004; Graverini 2012a, 112-113. -
Lysias and the Date of Plato's Phaedrus by Spiro
LYSIAS AND THE DATE OF PLATO'S PHAEDRUS BY SPIRO PANAGIOTOU It is generally accepted nowadays that the Phaedyus is a relatively late dialogue. Stylometric studies 1) and internal evidence 2) make almost certain that it was composed after the Republic. As to possible dates, Howland suggests 372 B. C. as the upper and 368 as the lower terminus 3). Hackforth rejects Howland's argument but accepts its general conclusions. Although very hesitant to give us a precise date, he ventures the guess of "37o B.C. or there- abouts" 4). Professor De Vries would prefer to bring the date a little forward to 369-67. But he also suggests that a "date between 366 and 362 is not excluded" 5). In this paper I wish to recommend 365 ?4 B.C. as the teyminus a quo for the composition of the Phaedyus. My discussion will center around the possible date for Lysias' death. In Section I I shall present a number of arguments which, taken together, make it virtually certain that Lysias is dead when Plato sits down to write the Phaedyus. I shall then offer in Section II some reasons for thinking that Lysias is alive up to the mid 36os. The consid- erations of Section II are admittedly problematic. However, I think it worth while to put them forth here. I Lysias must be dead when Plato sits down to compose the Phaedyus. There are at least three complementary reasons to 1) For results of stylometric studies cf. W. D. Ross, Plato's Theory of Ideas (Oxford 1953), 2. -
On the Arrangement of the Platonic Dialogues
Ryan C. Fowler 25th Hour On the Arrangement of the Platonic Dialogues I. Thrasyllus a. Diogenes Laertius (D.L.), Lives and Opinions of Eminent Philosophers 3.56: “But, just as long ago in tragedy the chorus was the only actor, and afterwards, in order to give the chorus breathing space, Thespis devised a single actor, Aeschylus a second, Sophocles a third, and thus tragedy was completed, so too with philosophy: in early times it discoursed on one subject only, namely physics, then Socrates added the second subject, ethics, and Plato the third, dialectics, and so brought philosophy to perfection. Thrasyllus says that he [Plato] published his dialogues in tetralogies, like those of the tragic poets. Thus they contended with four plays at the Dionysia, the Lenaea, the Panathenaea and the festival of Chytri. Of the four plays the last was a satiric drama; and the four together were called a tetralogy.” b. Characters or types of dialogues (D.L. 3.49): 1. instructive (ὑφηγητικός) A. theoretical (θεωρηµατικόν) a. physical (φυσικόν) b. logical (λογικόν) B. practical (πρακτικόν) a. ethical (ἠθικόν) b. political (πολιτικόν) 2. investigative (ζητητικός) A. training the mind (γυµναστικός) a. obstetrical (µαιευτικός) b. tentative (πειραστικός) B. victory in controversy (ἀγωνιστικός) a. critical (ἐνδεικτικός) b. subversive (ἀνατρεπτικός) c. Thrasyllan categories of the dialogues (D.L. 3.50-1): Physics: Timaeus Logic: Statesman, Cratylus, Parmenides, and Sophist Ethics: Apology, Crito, Phaedo, Phaedrus, Symposium, Menexenus, Clitophon, the Letters, Philebus, Hipparchus, Rivals Politics: Republic, the Laws, Minos, Epinomis, Atlantis Obstetrics: Alcibiades 1 and 2, Theages, Lysis, Laches Tentative: Euthyphro, Meno, Io, Charmides and Theaetetus Critical: Protagoras Subversive: Euthydemus, Gorgias, and Hippias 1 and 2 :1 d. -
Select Epigrams from the Greek Anthology
SELECT EPIGRAMS FROM THE GREEK ANTHOLOGY J. W. MACKAIL∗ Fellow of Balliol College, Oxford. PREPARER’S NOTE This book was published in 1890 by Longmans, Green, and Co., London; and New York: 15 East 16th Street. The epigrams in the book are given both in Greek and in English. This text includes only the English. Where Greek is present in short citations, it has been given here in transliterated form and marked with brackets. A chapter of Notes on the translations has also been omitted. eti pou proima leuxoia Meleager in /Anth. Pal./ iv. 1. Dim now and soil’d, Like the soil’d tissue of white violets Left, freshly gather’d, on their native bank. M. Arnold, /Sohrab and Rustum/. PREFACE The purpose of this book is to present a complete collection, subject to certain definitions and exceptions which will be mentioned later, of all the best extant Greek Epigrams. Although many epigrams not given here have in different ways a special interest of their own, none, it is hoped, have been excluded which are of the first excellence in any style. But, while it would be easy to agree on three-fourths of the matter to be included in such a scope, perhaps hardly any two persons would be in exact accordance with regard to the rest; with many pieces which lie on the border line of excellence, the decision must be made on a balance of very slight considerations, and becomes in the end one rather of personal taste than of any fixed principle. For the Greek Anthology proper, use has chiefly been made of the two ∗PDF created by pdfbooks.co.za 1 great works of Jacobs, -
Oh, Phaedrus, If I Don't Know My Phaedrus I
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 “Oh, Phaedrus, if I don’t know my Phaedrus I must be forgetting who I am myself”: Glimpses of Self in Divine Erotic Madness Jared de Uriarte Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient Philosophy Commons, Epistemology Commons, Metaphysics Commons, Philosophy of Language Commons, and the Philosophy of Mind Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation de Uriarte, Jared, "“Oh, Phaedrus, if I don’t know my Phaedrus I must be forgetting who I am myself”: Glimpses of Self in Divine Erotic Madness" (2018). Senior Projects Spring 2018. 225. https://digitalcommons.bard.edu/senproj_s2018/225 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. “Oh, Phaedrus, if I don’t know my Phaedrus I must be forgetting who I am myself”: Glimpses of Self in Divine Erotic Madness Senior Project Submitted to The Division of Social Studies of Bard College by Jared Rappa de Uriarte Annandale-on-Hudson, New York May 2018 To Greg, For all the favors that made this project possible. -
The Lesson of Plato's Symposium
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2005 Eros, Paideia and Arête: The Lesson of Plato’s Symposium Jason St. John Oliver Campbell University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Campbell, Jason St. John Oliver, "Eros, Paideia and Arête: The Lesson of Plato’s Symposium" (2005). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/2806 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Eros, Paideia and Arête: The Lesson of Plato’s Symposium by Jason St. John Oliver Campbell A thesis submitted in partial fulfillment of the requirement for the degree of Masters of Arts Department of Philosophy College of Arts and Sciences University of South Florida Major Professor: Joanne B. Waugh Ph.D. Charles Guignon, Ph.D. Martin Schöenfeld, Ph.D. Date of Approval: April 14, 2005 Keywords: Ancient Greece, Socrates, Education, Pedagogy, Sunousia © 2005, Jason St. John Oliver Campbell Acknowledgments I wish to extend a debt of gratitude to Professor Joanne B. Waugh for her continued dedication throughout the completion of this thesis. Table of Contents Abstract ii General Introduction 1 Chapter One 4 Introduction 4 Mousikē: The First Component