DOCSLIB.ORG

All of a Sudden: the Role of Ἐξαίφνης in Plato's Dialogues

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
All of a Sudden: the Role of Ἐξαίφνης in Plato's Dialogues Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 1-1-2014 All of a Sudden: The Role of Ἐξαιφ́ νης in Plato's Dialogues Joseph J. Cimakasky Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Cimakasky, J. (2014). All of a Sudden: The Role of Ἐξαιφ́ νης in Plato's Dialogues (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/68 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. ALL OF A SUDDEN: THE ROLE OF ἘΧΑΙΦΝΗΣ IN PLATO’S DIALOGUES A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Joseph Cimakasky May 2014 Copyright by Joseph Cimakasky 2014 ALL OF A SUDDEN: THE ROLE OF ἘΧΑΙΦΝΗΣ IN PLATO’S DIALOGUES By Joseph Cimakasky Approved April 9, 2014 ________________________________ ________________________________ Ronald Polansky Patrick Lee Miller Professor of Philosophy Professor of Philosophy (Committee Chair) (Committee Member) ________________________________ John W. McGinley Professor of Philosophy (Committee Member) ________________________________ ________________________________ James Swindal Ronald Polansky Dean, McAnulty College Chair, Philosophy Department Professor of Philosophy Professor of Philosophy iii ABSTRACT ALL OF A SUDDEN: THE ROLE OF ἘΧΑΙΦΝΗΣ IN PLATO’S DIALOGUES By Joseph Cimakasky May 2014 Dissertation supervised by Professor Ronald Polansky There are thirty-six appearances of the Greek word ἐξαίφνης in Plato’s dialogues. Usually translated as “all of a sudden” or “suddenly,” ἐξαίφνης emerges in several significant passages. For example, ἐξαίφνης appears three times in the “allegory of the cave” from Republic vii, and heralds the vision of the Beautiful in Symposium. Commonly translated in the Parmenides as “the instant,” ἐξαίφνης also surfaces in a crucial section of the dialogue’s training exercise. This dissertation demonstrates the connection obtaining between the thirty-six scattered appearances of ἐξαίφνης in order to reveal the role it plays in linking Plato’s theory of ideas with education. In short, it discloses how Plato’s step-by-step, methodical approach to philosophical education climaxes with a dynamic conversion experience signified by the appearance of ἐξαίφνης. iv DEDICATION for Renee v ACKNOWLEDGEMENT John W. McGinley inspired this project. He was the first philosopher to introduce me to ἐξαίφνης and the esoteric in Plato. I owe him a debt that I could never repay. There is nobody like John W. McGinley, and I am so happy that he is my friend. Ronald Polansky directed this dissertation. I admire him more than anyone I have ever met. Patrick Lee Miller contributed more to this dissertation than he will ever know. His courses inspired more “sudden insights” than any other. I could not have completed this dissertation without the love and support of my family: Gerald Cimakasky, Grace Cimakasky, Jerry Cimakasky, James Cimakasky, Christian Cimakasky, Shannon Zera, Gerard Caviston, Barbara Caviston, Renee Caviston, Bix, Jerry Caviston, and Heather Caviston. Finally, thank you to all of my friends at Duquesne University who have helped me so much over the years, especially Therese Bonin, Taine Duncan, Robert Guerin, David Hoinski, Sarah Miller, Chris Mountenay, Stephen Newmyer, Christina Rawls, James Swindal, Joan Thompson, and Matt Valentine. vi TABLE OF CONTENTS Page Abstract…………………………………………………………………………………………iv Dedication……………………………………………………………………………………….v Acknowledgement………………………………………………………………………………vi Chapter I…………………………………………………………………………………………1 Chapter II……………………………………………………………………………………….25 Chapter III………………………………………………………………………………………57 Chapter IV………………………………………………………………………………………91 Chapter V……………………………………………………………………………………...110 Chapter VI……………………………………………………………………………………..134 Chapter VII…………………………………………………………………………………….166 Bibliography…………………………………………………………………………………...197 vii Chapter I – Introduction: Ἐξαίφνης in Greek Literature Prior to Plato In Plato’s entire body of work, the Greek word ἐξαίφνης appears precisely thirty-six times. Usually translated as “all of a sudden” or simply “suddenly,” ἐξαίφνης emerges in some of the most significant passages of Plato’s dialogues.1 For instance, ἐξαίφνης appears three times in the “allegory of the cave” in Republic vii, once during the climactic moment of the “epistemological digression” from the Seventh Letter, and immediately precedes the vision of the Beautiful in Symposium. Translated in Parmenides as “the instant,” ἐξαίφνης also surfaces in a crucial section of the training exercise that constitutes the latter two-thirds of this challenging dialogue. Because it appears that this term may be highly significant, the purpose of this dissertation is to demonstrate the connection obtaining between the thirty-six scattered appearances of ἐξαίφνης in order to reveal the role it plays in linking Plato’s theory of ideas with education.2 In short, I aim to show how in several significant contexts throughout the dialogues, Plato’s step-by-step, methodical approach to philosophical education culminates with a dynamic capstone signified by the appearance of ἐξαίφνης.3 What appears suddenly is unexpected and out of the ordinary. In Greek literature prior to Plato, “the sudden” generally indicates a quick turn for the worse. What I aim to show is that Plato shifts the meaning of the sudden to a more encouraging state of affairs. In other words, 1 Ἐξαίφνης is a Greek adverb most commonly translated as “suddenly”. The word is formed by combining the preposition ἐκ, which becomes ἐξ when placed before a vowel, and the adverb αἴφνης. Ἐξ admits of multiple meanings depending upon usage, but the most general sense of the word is from out of or away from a thing. The adverb αἴφνης, or alternately ἄφνω, means unawares, or of a sudden. Thus, the root meaning of ἐξαίφνης connotes surprise, or being caught unaware all of a sudden. 2 For the most part, those commentators who recognize the phenomenon either quickly dismiss it, or are at a loss to explain it. Cornford 1957, 203 offers a typical summation of ἐξαίφνης in the dialogues: “I have not been able to understand how Plato’s businesslike account of the instant at which the various species of change occur can be connected with the ‘sudden’ vision of the Beautiful and the doctrine of anamnesis. The only link appears to be the use of the word ἐξαίφνης in its normal sense of ‘suddenly’ at Symp. 210E, and Ep. vii, 341D.” Consequently, I shall demonstrate how the various appearances of ἐξαίφνης are connected. 3 As a minor corollary to this objective, I will examine the emergence of the Greek words and cognates for “third” and “strange” that often accompany appearances of ἐξαίφνης in Plato’s dialogues. 1 with Plato, ἐξαίφνης takes on a much more promising and positive role. Furthermore, Plato’s innovation with respect to the sudden would seem to be a result of the general orientation of philosophy as he understands it, as opposed to the Homeric worldview that had prior to Plato dominated Greek thought. Specifically, it is Plato’s distinctive conceptualization of the natural, metaphysical, and ethical spheres that differentiates his vision of the cosmos from the fatalistic spiritual climate of Homer’s Greece. For example, one special aspect of Plato’s use of the sudden is found in his non-linear development of philosophical education. In Plato’s hands ἐξαίφνης represents something akin to a flash of illumination, and this sudden illumination experience is transformative and self-sustaining. The change that it inspires is enriching and constructive. Consequently, Plato’s philosophy reorients ensuing conceptions about the sudden, and, in turn, supplants the Homeric worldview that characterized sudden change as destructive and disastrous. The current chapter, however, reviews the use of ἐξαίφνης in all Greek literature prior to Plato in order to determine the background of his usage. There are fifty-nine instances of this term in extant Greek works previous to Plato. The earliest appearances are in Homer’s Iliad. In addition to Homer, ἐξαίφνης appears in the works of Aesop, Aeschylus, Sophocles, Euripides, Thucydides, Herodotus, Isocrates, Aristophanes, and Xenophon, among others. Thus I intend to compare and contrast these early appearances in order to discern parallel meanings obtaining among the different genres these authors represent. In the examination below, the relevant passages are presented and cited, while the context and significance of each appearance of ἐξαίφνης is clarified by a brief exegesis. In this way I hope to provide a suitable foundation for an investigation of Plato’s usage of ἐξαίφνης. 2 Homer That the Homeric epics were known to virtually all Greeks is beyond dispute. The popularity of these masterpieces, coupled with an egalitarian approach to literacy, served to establish the Iliad and the Odyssey as a cultural bond for the ancient Greeks. As Garland 2008, 6 notes, “Literacy in the Greek world was not confined to a particular social group, as it was in Egypt, for instance, where only members of the priesthood were literate. This made for far greater openness in all aspects of Greek life – civil, political,
Load more

Recommended publications
  • Ibycus Pmgf 287: Love and Disgrace Ἔρος Αὖτέ Με Κυανέοισιν Ὑπὸ Βλεφάροις Τακέρ' Ὄµ
    IBYCUS PMGF 287: LOVE AND DISGRACE Ἔρος αὖτέ µε κυανέοισιν ὑπὸ βλεφάροις τακέρ’ ὄµµασι δερκόµενος κηλήµασι παντοδαποῖς ἐς ἄπει- ρα δίκτυα Κύπριδος ἐσβάλλει· 5 ἦ µὰν τροµέω νιν ἐπερχόµενον, ὥστε φερέζυγος ἵππος ἀεθλοφόρος ποτὶ γήρᾳ ἀέκων σὺν ὄχεσφι θοοῖς ἐς ἅµιλλαν ἔβα. Judging from the source which has preserved this fragment for us and from its overall structure, which I will analyze below, I believe that these lines of Ibycus constitute in all probability a complete poem1. This provides us the opportunity for a thorough interpretation and evaluation, an opportu- nity which has not, in my opinion, been adequately exploited by scholars so far. The intricacy and dexterity of Ibycus’ poetic art in this particular speci- men of his work has gone largely unnoticed. As will be seen by the ensuing analysis, there is not even a single word in these seven verses which has a superfluous or merely ornamental function; on the contrary, it is carefully chosen, put and invested with a particular significance that contributes ef- fectively to the production of the implicit meaning that the poet imparts to his creation. And this meaning mostly concerns the unavoidable danger of facing disgrace in one’s efforts of erotic conquest. The first remark to be made is that Ibycus’ poem is comprised by two distinct images, which are however implicitly linked2; an initial connection is established by the correlation between the phrase Ἔρος αὖτέ µε and the adjective φερέζυγος: the subjugation of the horse, which comes to represent the poetic persona that Ibycus here adopts, denotes precisely that the speaker is constantly under the influence of Eros, that he finds himself repeatedly falling in love.
    [Show full text]
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • Kretan Cult and Customs, Especially in the Classical and Hellenistic Periods: a Religious, Social, and Political Study
    i Kretan cult and customs, especially in the Classical and Hellenistic periods: a religious, social, and political study Thesis submitted for degree of MPhil Carolyn Schofield University College London ii Declaration I, Carolyn Schofield, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been acknowledged in the thesis. iii Abstract Ancient Krete perceived itself, and was perceived from outside, as rather different from the rest of Greece, particularly with respect to religion, social structure, and laws. The purpose of the thesis is to explore the bases for these perceptions and their accuracy. Krete’s self-perception is examined in the light of the account of Diodoros Siculus (Book 5, 64-80, allegedly based on Kretan sources), backed up by inscriptions and archaeology, while outside perceptions are derived mainly from other literary sources, including, inter alia, Homer, Strabo, Plato and Aristotle, Herodotos and Polybios; in both cases making reference also to the fragments and testimonia of ancient historians of Krete. While the main cult-epithets of Zeus on Krete – Diktaios, associated with pre-Greek inhabitants of eastern Krete, Idatas, associated with Dorian settlers, and Kretagenes, the symbol of the Hellenistic koinon - are almost unique to the island, those of Apollo are not, but there is good reason to believe that both Delphinios and Pythios originated on Krete, and evidence too that the Eleusinian Mysteries and Orphic and Dionysiac rites had much in common with early Kretan practice. The early institutionalization of pederasty, and the abduction of boys described by Ephoros, are unique to Krete, but the latter is distinct from rites of initiation to manhood, which continued later on Krete than elsewhere, and were associated with different gods.
    [Show full text]
  • Pt: Must Translate By: 2
    Solution to Challenge 3 Start by using the description of the MPSC cipher and Hint 1. We have: pt: m u s t Translate by: 2 3 4 5 CT: P Y X Z What this tells you: 1. If “m” was shifted two to the right to arrive at “p”, the “n” or “o” must be missing in between them. That means that “n” or “o” (but not both) appear in the keyword. This assumes that “m” isn’t in the keyword, but since it lies two letters from “p” it looks like it is in the normal alphabetical sequence. 2. One of “v”, “w”, or “x” must also be in the keyword. (The keyword is not “kryptos” !). Again, this assumes that “u” is not in the keyword. 3. Once again, since “s” is about 4 letters from “x” in the normal alphabet, we assume that “s” and “x” are not in the keyword but appearing in alphabetical order. This agrees nicely with #2: “v” or “w” is in the keyword AND “t” and “u” are NOT in the keyword (since we need these letters to keep “s” and “x” 4 letters apart. 4. If “v” or “w” is in the keyword, this makes “t” 5 letters from “z” if “y” and “z” are not in the keyword. Then end of the alphabet line looks like: … m (n o ) p… s t u (v w) x y z where parentheses were used to indicate groupings where one letter is missing (and appears earlier in the keyword). In order to make further progress, one might start guessing at possible two letter words that could reasonably precede “must”: “we” and “it” come to mind.
    [Show full text]
  • Provided by the Internet Classics Archive. See Bottom for Copyright
    Provided by The Internet Classics Archive. See bottom for copyright. Available online at http://classics.mit.edu//Homer/iliad.html The Iliad By Homer Translated by Samuel Butler ---------------------------------------------------------------------- BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away.
    [Show full text]
  • The Historicity of Plato's Apology of Socrates
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1946 The Historicity of Plato's Apology of Socrates David J. Bowman Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classical Literature and Philology Commons Recommended Citation Bowman, David J., "The Historicity of Plato's Apology of Socrates" (1946). Master's Theses. 61. https://ecommons.luc.edu/luc_theses/61 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1946 David J. Bowman !HE HISTORICITY OP PLATO'S APOLOGY OF SOCRATES BY DA.VID J. BOWJWf~ S.J• .l. !BESIS SUBMITTED Ilf PARTIAL FULFILIJIE.NT OF THB: R}gQUIRE'IIENTS POR THE DEGREE OF IIA.STER OF ARTS Ill LOYOLA UlfiVERSITY JULY 1946 -VI'fA. David J. Bowman; S.J•• was born in Oak Park, Ill1no1a, on Ma7 20, 1919. Atter b!a eleaentar7 education at Ascension School# in Oak Park, he attended LoJola AcademJ ot Chicago, graduat1DS .from. there in June, 1937. On September 1, 1937# he entered the Sacred Heart Novitiate ot the SocietJ ot Jesus at Milford~ Ohio. Por the tour Jear• he spent there, he was aoademicallJ connected with Xavier Univeraitr, Cincinnati, Ohio. In August ot 1941 he tranaterred to West Baden College o.f Lorol& Universit7, Obicago, and received the degree ot Bachelor o.f Arts with a major in Greek in Deo.aber, 1941.
    [Show full text]
  • Euripides” Johanna Hanink
    The Life of the Author in the Letters of “Euripides” Johanna Hanink N 1694, Joshua Barnes, the eccentric British scholar (and poet) of Greek who the next year would become Regius Professor at the University of Cambridge, published his I 1 long-awaited Euripidis quae extant omnia. This was an enormous edition of Euripides’ works which contained every scrap of Euripidean material—dramatic, fragmentary, and biographical —that Barnes had managed to unearth.2 In the course of pre- paring the volume, Barnes had got wind that Richard Bentley believed that the epistles attributed by many ancient manu- scripts to Euripides were spurious; he therefore wrote to Bentley asking him to elucidate the grounds of his doubt. On 22 February 1693, Bentley returned a letter to Barnes in which he firmly declared that, with regard to the ancient epistles, “tis not Euripides himself that here discourseth, but a puny sophist that acts him.” Bentley did, however, recognize that convincing others of this would be a difficult task: “as for arguments to prove [the letters] spurious, perhaps there are none that will convince any person that doth not discover it by himself.”3 1 On the printing of the book and its early distribution see D. McKitterick, A History of Cambridge University Press I Printing and the Book Trade in Cambridge, 1534–1698 (Cambridge 1992) 380–392; on Joshua Barnes see K. L. Haugen, ODNB 3 (2004) 998–1001. 2 C. Collard, Tragedy, Euripides and Euripideans (Bristol 2007) 199–204, re- hearses a number of criticisms of Barnes’ methods, especially concerning his presentation of Euripidean fragments (for which he often gave no source, and which occasionally consisted of lines from the extant plays).
    [Show full text]
  • 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.
    [Show full text]
  • Constructing Kallipolis: the Political Argument of Plato's Socratic Dialogues
    Constructing Kallipolis: The Political Argument of Plato's Socratic Dialogues The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Muller, Joe Pahl Williams. 2016. Constructing Kallipolis: The Political Argument of Plato's Socratic Dialogues. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493293 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Constructing Kallipolis: The Political Argument of Plato’s Socratic Dialogues A dissertation presented by Joe Pahl Williams Muller to The Department of Government in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Political Science Harvard University Cambridge, Massachusetts April 2016 © 2016 Joe Pahl Williams Muller All rights reserved. Dissertation Advisors: Joe Pahl Williams Muller Professor Eric Nelson Professor Rusty Jones Constructing Kallipolis: The Political Argument of Plato’s Socratic Dialogues Abstract This dissertation examines the political argument of Plato’s Socratic dialogues. Common interpretations of these texts suggest, variously: (1) that Socrates does not offer much in the way of a political theory; (2) that Socrates does reflect on politics but ultimately rejects political in- stitutions as irrelevant to his ethical concerns; (3) that Socrates arrives at a political theory that either accepts or even celebrates free and demo- cratic political arrangements.
    [Show full text]
  • Dissertation Master
    APOSTROPHE TO THE GODS IN OVID’S METAMORPHOSES, LUCAN’S PHARSALIA, AND STATIUS’ THEBAID By BRIAN SEBASTIAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Brian Sebastian 2 To my students, for believing in me 3 ACKNOWLEDGMENTS A great many people over a great many years made this possible, more than I could possibly list here. I must first thank my wonderful, ideal dissertation committee chair, Dr. Victoria Pagán, for her sage advice, careful reading, and steadfast encouragement throughout this project. When I grow up, I hope I can become half the scholar she is. For their guidance and input, I also thank the members of my dissertation committee, Drs. Jennifer Rea, Robert Wagman, and Mary Watt. I am very lucky indeed to teach at the Seven Hills School, where the administration has given me generous financial support and where my colleagues and students have cheered me on at every point in this degree program. For putting up with all the hours, days, and weeks that I needed to be away from home in order to indulge this folly, I am endebted to my wife, Kari Olson. I am grateful for the best new friend that I made on this journey, Generosa Sangco-Jackson, who encouraged my enthusiasm for being a Gator and made feel like I was one of the cool kids whenever I was in Gainesville. I thank my parents, Ray and Cindy Sebastian, for without the work ethic they modeled for me, none of the success I have had in my academic life would have been possible.
    [Show full text]
  • Hero As Citizen Models of Heroic Thought and Action in Homer, Plato and Rousseau
    Man as Hero - Hero as Citizen Models of Heroic Thought and Action in Homer, Plato and Rousseau Dominic Stefanson Thesis submitted for the degree of Doctor of Philosophy in the Discipline of Politics School of History and Politics The University of Adelaide December 2004 Frontisp iece Illustration included in print copy of thesis: Jacques-Louis David, The Death of Socrates (1787) iii Contents Abstract………………………………………………………………………… v Declaration…………………………………………………………………….. vi Acknowledgements……………………………………………………………. vii Introduction…………………………………………………………………… 1 PART I HOMER: THE BIRTH OF HEROISM 1. Homeric Man: The Hero …………………………………………………… 21 • Homeric heroes as models for men 22 • Seeking immortal glory achieving a “god-like status” 26 • Who is the hero? Preconditions for heroism 35 • A guide to heroism: transparency of thought, speech and action 44 • The transparency of Homeric narration 48 • Conclusion 55 2. Homeric Polis: the absence of a polis……………………………………… 57 • Finley and Adkins 58 • Seeking a polis in the Iliad 66 • The heroic code as an anti-model 77 • Patroclus’ funeral games as a microcosm of the polis 87 • Conclusion 93 PART II PLATO: EXTENDING HEROISM TO THE POLITICAL 3. Platonic Man: The philosopher as a new hero…………………………… 95 • Socrates: an heroic life 97 • Socratic Intellectualism: the primacy of knowledge 101 • Androgynous virtue 106 • Seeking eternity: philosophy as an activity for gods 111 • Tripartite psychology: heroism within human reach 117 • Theory of Forms 119 • The late dialogues 125 • Conclusion 130 iv 4. Platonic Polis: The political engagement of the heroic philosopher…….. 133 • Enlisting Philosophers to rule 135 • The elitist nature of philosophical rule throughout the Platonic corpus 137 • Philosophical leadership in the late dialogues 143 • The benefits of philosophical rule: harmony and unity in the Republic 150 • Does the community benefit from philosophical leadership? 154 • Conclusion 162 PART III ROUSSEAU: THE DEMISE OF HEROISM IN POLITICAL THOUGHT 5.
    [Show full text]
  • A HISTORY of the PELASGIAN THEORY. FEW Peoples Of
    A HISTORY OF THE PELASGIAN THEORY. FEW peoples of the ancient world have given rise to so much controversy as the Pelasgians; and of few, after some centuries of discussion, is so little clearly established. Like the Phoenicians, the Celts, and of recent years the Teutons, they have been a peg upon which to hang all sorts of speculation ; and whenever an inconvenient circumstance has deranged the symmetry of a theory, it has been safe to ' call it Pelasgian and pass on.' One main reason for this ill-repute, into which the Pelasgian name has fallen, has been the very uncritical fashion in which the ancient statements about the Pelasgians have commonly been mishandled. It has been the custom to treat passages from Homer, from Herodotus, from Ephorus, and from Pausanias, as if they were so many interchangeable bricks to build up the speculative edifice; as if it needed no proof that genealogies found sum- marized in Pausanias or Apollodorus ' were taken by them from poems of the same class with the Theogony, or from ancient treatises, or from prevalent opinions ;' as if, further, ' if we find them mentioning the Pelasgian nation, they do at all events belong to an age when that name and people had nothing of the mystery which they bore to the eyes of the later Greeks, for instance of Strabo;' and as though (in the same passage) a statement of Stephanus of Byzantium about Pelasgians in Italy ' were evidence to the same effect, perfectly unexceptionable and as strictly historical as the case will admit of 1 No one doubts, of course, either that popular tradition may transmit, or that late writers may transcribe, statements which come from very early, and even from contemporary sources.
    [Show full text]