The Good, Agathon)
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PLATO's SYMPOSIUM J
50 ccn~ PLATO'S SYMPOSIUM j - - -- ________j e Library of Liberal Arts PLATO'S SYMPOSIUM Tran lated by BENJAMIN JOWETT With an Introduction by FULTON H. ANDERSON Professor of Philosophy, University of Toronto THE LIBERAL ARTS PRESS NEW YORK CONTENTS SELECTED BIBLIOGRAPHY .. .... ................................... ......... ... ........... 6 EDITOR'S INTRODUCTION ................... ............................................. 7 SYMPOSIUM APOLLODORUS 13 THE SPEECH OF PHAEDRUS ...... .......................... .......................... .. 19 THE SPEECH OF PAU ANIAS ................. ... ................................. ... .. 21 THE SPEECH OF ERYXIMACHUS 27 THE SPEECH OF ARISTOPHAN E .. ............................... .................. 30 THE SPEECH OF AGATHON ............ .............................................. .. 35 THE SPEECH OF SocRATES ................................ .. ................... ..... .. 39 THE SPEECH OF ALCIBIADES ................. ............... ... ........... ...... .... .. 55 8 PLATO INTROD CTION 9 crescendo, and culminates in the report by Socrates on wi dom and epistemology, upon all of which the Symposium ha bearing, learned from the "wi e" woman Diotima. are intertwined, we m ay set down briefly a few of the more general The dialogue i a "reported" one. Plato himself could not have principles which are to be found in it author's many-sided thought. been present at the original party. (What went on there was told The human soul, a cording to Plato, is es entially in motion. time and time again about Athens.) He was a mere boy when it It is li fe and the integration of living functions. A dead soul is a con took place. Nor could the narrator Apollodorus have been a guest; _lladiction in terms. Man throughout his whole nature is erotically he was too young at the time. The latter got his report from motivated. His "love" or desire i manifest in three mutually in Aristodemus, a guest at the banquet. -
The Highest Good for Plato Goodness Is an Abstract Concept That Is Very
The Highest Good for Plato Goodness is an abstract concept that is very difficult to define, and saying what counts as the highest good is perhaps even more so. In Republic, Plato attempts to say something about what makes things good, but his answer is very vague in the end. Still, we can get some clarity on what he would have answered if asked what the highest good is, from what he says in this text. What counts as the highest good for Plato can be said to be knowledge of the Form of the Good, because it is necessary for knowing and using the other Forms well. The nature of the Forms is not clear in Republic; Plato writes about them as if his audience already knows what they are. Still, we can get some sense of what forms are like from the text. In several places he says that when two or more things share the same name, then they share a form. For example, in Book IV Socrates and Glaucon talk about the form of justice: “…are things called by the same name, whether they are bigger or smaller than one another, like or unlike with respect to that to which the name applies? Alike. Then a just man won’t differ at all from a just city in respect to the form of justice; rather he’ll be like the city” (435 a-b). But what is a Form, exactly? We can start to get a sense of what Plato means by a Form by looking back at Euthyphro. -
Plato's Hypothetical Inquiry in the Meno Naoya Iwata
Plato’s Hypothetical Inquiry in the Meno Naoya Iwata At Meno 86e2–4 Socrates proposes to Meno that they should consider the question whether virtue is teachable on a hypothesis. Partly because its concrete procedure is illustrated by a baffling geometrical example, there has still been wide disagreement among scholars as to how he actually carries out this hypothetical inquiry into virtue. The basic structure of the argument at 87b2–89a5 appears very simple: Socrates converts the original question whether virtue is teachable to the question whether it is knowledge, and then examines the latter on the basis of his agreement with Meno that virtue is good. Apart however from that agreement being, as it is explicitly called, a ‘hypothesis’, opinion is divided on what other hypothesis Socrates posited. Some think of it as the conditional ‘if virtue is knowledge, it is teachable’ or as ‘knowledge is teachable’ (Bedu-Addo 1984, 7–9; Wolfsdorf 2008, 44–6 and 58–60),1 and others as the bi-conditional ‘if virtue is knowledge, it is teachable, but if not, not’ or as ‘knowledge alone is teachable’ (Grgić 1999, 34–6; Weiss 2001, 131; Zyskind and Sternfeld 1976, 132). 2 But most scholars, in contrast, identify it with the simple proposition ‘virtue is knowledge’ (Bedu-Addo 1984, 7–9; Benson 2003, 107–25; Bluck 1961, 17–19 and 85–91; Bostock 1986, 165–6; Canto-Sperber 1991, 98–102; Cherniss 1947, 140; Hackforth 1955, 140–1; Kahn 1996, 310; Robinson 1953, 116–18; Rose 1970, 3–7; Sayre 1969, 29 n. 40; Scott 2006, 137–40 and 221–4; Sharples 1985, 167).3 It is also suggested that Socrates’ new philosophical tool does not involve any process of positing a hypothesis but only aims to establish the equivalence between teachability and knowledge (Ebrey 2013, 76 and 83–4). -
The Form of the Good in Plato's Timaeus
THANASSIS GKATZARAS | 71 One of the many philosophical problems The Form of the Good in that we face in the Timaeus is raised by the Plato’s Timaeus claim that the God who created the world (from now on we shall call him ‘Demiurge’)1 is good (Tim. 29d7-30a2). A satisfying explanation of Demiurge’s goodness is far from easy, and dif- ferent approaches have been proposed. How- ever, in this paper I’ll try to show that a clear, sufficient and relatively simple interpretation is possible, if we are based on the hypothesis that Timaeus follows the theory of causation in the Phaedo (including the distinction between ‘safe’ and ‘elegant’ cause) and the concept of the Thanassis Gkatzaras Form of the Good in the Republic.2 University of Ioannina [email protected] To be more specific, I’ll try to show that the Form of the Good of the Republic is also presupposed in the Timaeus and it plays the same role, and we should consider it as a first principle of platonic cosmology, independ- ent from the existence of Demiurge or even the Divine Paradigm (i.e. the model accord- ing to which the Demiurge creates the world). On first impression, this interpretation looks barely possible, since there is no direct refer- ence in the text to this particular Form, with the possible exception of what is said at Tim. 46c7-d1.3 In my opinion, this absence has to do ABSTRACT with specific purposes Timaeus serves, and not with the abandonment of the Good as a cause. -
Lectures on Greek Poetry
Lectures on Greek Poetry 1 2 ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ CLASSICAL PHILOLOGY SERIES NO. 35 GERSON SCHADE Lectures on Greek Poetry POZNAŃ 2016 3 ABSTRACT. Gerson Schade, Lectures on Greek Poetry [Wykłady o poezji greckiej]. Adam Mickiewicz University Press. Poznań 2016. Pp. 226. Classical Philology Series No. 35. ISBN 978-83-232-3108-0. ISSN 0554-8160. Text in English with a summary in German. The series of lectures contained in this volume were written for students at Adam Mic- kiewicz University. A first group of these lectures are intended to serve as an introduc- tion to Greek poetry of the archaic, classical and pre-Hellenistic age. They treat a selection of texts, ranging from the eighth to the fourth century BC. A second group of these lec- tures focuses on Homer’s Iliad: while the whole work is treated, the lectures follow the story of Achilles, which is developed mainly in five books. All texts are provided in trans- lation, and secondary literature is discussed and used to make the texts more accessible for young students interested in poetry. The lectures introduce to some of the main issues that characterise the texts, such as their relationship to their primary audience, the impact of orality, and the influence of the eastern poetic tradition on the Greeks. Where appro- priate, the lectures also treat the interrelation between various texts, their intertextuality. They try to answer the questions of how poetry did work then, and why these texts do matter for the European poetic tradition. Schade Gerson, Adam Mickiewicz University in Poznań, Faculty of Polish and Classical Philology, Institute of Classical Philology, Fredry 10, 61-701 Poznań, Poland Reviewers: prof. -
The Ascent from Nominalism Philosophical Studies Series
THE ASCENT FROM NOMINALISM PHILOSOPHICAL STUDIES SERIES Editors: WILFRID SELLARS, University of Pittsburgh KEITH LEHRER, University of Arizona Board of Consulting Editors: J ON A THAN BENNETT, Syracuse University ALLAN GIBBARD, University of Michigan ROBERT STALNAKER, Cornell University ROBERT G. TURNBULL, Ohio State University VOLUME 37 TERR Y PENNER Department of Philosophy, The University of Wisconsin at Madison, U.S.A. THE ASCENT FROM NOMINALISM Some Existence Arguments in Plato's Middle Dialogues D. REIDEL PUBLISHING COMPANY ~~ A MEMBER OF THE KLUWER . ACADEMIC PUBLISHERS GROUP DORDRECHTj BOSTONj LANCASTERjTOKYO Library of Congress Cataloging in Publication Data Penner, Terry, 1936- The ascent from nominalism. (Philosophical studies series; v. 37) Bibliography: p. Includes indexes. 1. Plato. 2. Aristotle. 3. Metaphysics-History. 4. Nominalism-History. I. Title. II. Series. B395.P347 1987 111'.2'0924 86·31641 ISBN-13: 978-94-010-8186-3 e-ISBN-13: 978-94-009-3791-8 DOl: 10.1007/978-94-009-3791-8 Published by D. Reidel Publishing Company, P.O. Box 17, 3300 AA Dordrecht, Holland. Sold and distributed in the U.S.A. and Canada by Kluwer Academic Publishers, 101 Philip Drive, Assinippi Park, Norwell, MA 02061, U.S.A. In all other countries, sold and distributed by Kluwer Academic Publishers Group, P.O. Box 322, 3300 AH Dordrecht, Holland. All Rights Reserved © 1987 by D. Reidel Publishing Company, Dordrecht, Holland Softcover reprint of the hardcover I 5t edition 1987 No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical induding photocopying, recording or by any information storage and retrieval system, without written permission from the copyright owner ACKNOWLEDGEMENTS Much of this work was conceived and executed between 1971 and 1975, though some of it was done much earlier, and a few bits are quite recent. -
Illinois Classical Studies
23 Later Euripidean Music ERIC CSAPO In memory of Desmond Conacher, a much-loved teacher, colleague, andfriend. I. The Scholarship In the last two decades of the twentieth century several important general books marked a resurgence of interest in Greek music: Barker 1984 and 1989, Comotti 1989a (an expanded English translation of a work in Italian written in 1979), M. L. West 1992, W. D. Anderson 1994, Neubecker 1994 (second edition of a work of 1977), and Landels 1999. These volumes provide good general guides to the subject, with particular strengths in ancient theory and practice, the history of musical genres, technical innovations, the reconstruction and use of ancient instruments, ancient musical notation, documents, metrics, and reconstructions of ancient scales, modes, and genera. They are too broadly focussed to give much attention to tragedy. Euripidean music receives no more than three pages in any of these works (a little more is usually allocated to specific discussion of the musical fragment of Orestes). Fewer books were devoted to music in drama. Even stretching back another decade, we have: one general book on tragic music, Pintacuda 1978, two books by Scott on "musical design" in Aeschylus (1984) and in Sophocles (1996), and two books devoted to Aristophanes' music, Pintacuda 1982 and L. P. E. Parker 1997. Pintacuda 1978 offers three chapters on basic background, and one chapter for each of the poets. The chapter on Euripides (shared with a fairly standard account of the New Musicians), contains less than four pages of general discussion of Euripides' relationship to the New Music (164-68), which is followed by fifty pages of blow-by-blow description of the musical numbers in each play—a mildly caffeinated catalogue-style already familiar from Webster 1970b: 110-92 and revisited by Scott. -
The Hybris of Socrates: a Platonic 'Revaluation of Values' in T
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library The hybris of Socrates 43 The hybris of Socrates: A Platonic ‘revaluation of values’ in the Symposium Will Desmond Abstract: In the final speech of Plato’s Symposium, the young, aristocratic Alcibiades accuses Socrates of being characteristically hybristic. This is a startling claim that requires explanation, in relation both to the rest of the Symposium and to Plato’s broader ethical and metaphysical concerns. Previous interpretations of the meaning and purpose of Alcibiades’ speech miss the main point: namely, the notion of a philosphical or Socratic hybris complements the discussion by Socrates-Diotima of the ideal nature of eros. Just as all desire in fact aims at eternal ends, so the Platonic philosopher acts ‘hybristically’, by typically asserting his own activity and insights vis-à-vis temporal, contingent values. Therefore, Alcibiades’ speech should be understood in the context of a more general Platonic ‘revaluation of values’ that reorients traditional words and concepts towards ideal ends. At the end of Plato’s Symposium, Alcibiades bursts into Agathon’s house and proceeds to deliver a speech in praise of Socrates. It is a deeply ambivalent speech. Intermixed with genuine admiration for Socrates’ moral virtues, intelligence and physical strength, is the recurrent and insistent condemnation of Socrates for hybris. Alcibiades levels the charge at the beginning of his speech when he compares Socrates to the satyr Marsyas: ‘You are a hybristes, Socrates. If you deny it, I will produce witnesses’. -
Rafael Ferber PLATO's ``SIDE SUNS'': BEAUTY, SYMMETRY AND
Rafael Ferber PLATO'S ``SIDE SUNS'': BEAUTY, SYMMETRY AND TRUTH. COMMENTS CONCERNING SEMANTIC MONISM AND PLURALISM OF THE ``GOOD'' IN THE PHILEBUS (65 A 1-5) * Abstract Under semantic monism I understand the thesis ``The Good is said in one way'' and under semantic pluralism the antithesis ``The Good is said in many ways''. Plato's Socrates seems to defend a ``semantic monism''. As only one sun exists, so the ``Good'' has for Socrates and Plato only one reference. Nevertheless, Socrates defends in the Philebus a semantic pluralism, more exactly trialism, of ``beauty, sym- metry and truth'' (Phil.65a 2). Therefore, metaphorically speaking, there seem to exist not only one sun, but three suns. If the platonic Socrates defends a semantic monism on the one hand and pluralism on the other, how can we unite his pluralism with his monism? My thesis is that the three references are ``qualities'' (poia) (cfr. ep. VII 343 b 8-c 2) of the one single reference, or again, speaking metaphorically, ``side suns'' (Nebensonnen) of the single sun. In the following, I propose first *The article is the enlarged English version of a paper read on the occasion of the Eighth Symposium Platonicum, Dublin 23-28, July 2007, which I gave also in Rome on the invitation of Ada Neschke and Christoph Riedweg and in Belgrade on the invitation of Irina DereticÏ. A shortened German version appeared under the title Platons Nebensonnen: SchoÈnheit, Symmetrie und Wahrheit. Einige Bemer- kungen zum semantischen Monismus und Pluralismus des `Guten' im `Philebus' (65a1- 5),inJ.Dillon-L. Brisson (eds.), Plato's `Philebus'. -
Agathon's 'Ilioupersis'
Agathon’s Ilioupersis in Aristophanes’ Thesmophoriazusae Existing scholarship has shown how Aristophanes in the Thesmophoriazusae parodies Agathon’s style and music (Rau 1967, p. 104; Paduano 1983, pp. 85-6; Bierl 2001, pp. 163-4; Austin-Olson 2004, p. 87; Mastromarco-Totaro 2006, p. 449.), but this focus on form has led to relative neglect of content. In my paper, I show how the playwright mocks the content of Agathon’s tragedies as well. At line 101, Agathon enters singing a freshly-composed choral song. This song, though an invention, is also a means by which Aristophanes mocks a specific tragedy by Agathon on the destruction of Troy. To make this argument, I defend the manuscript reading in the first strophe of the song (lines 101-103): for its obscurity, the expression cu\n e)leuqe/r# / patri/di xoreu/sasqai boa/n has been considered corrupted and emended in many different ways by many different scholars. I defend the reading of the manuscript, proposing a new interpretation of the passage, based on a rhetorical analysis of these lines, and arguing that the poet is referring here to the last day of Troy. Then I discuss the presence of Leto, Apollo and Diana in the song, three divinities tightly connected with the city of Troy, and the allusion to the foundation of a city by Apollo, the mythical founder of Troy. This Trojan tragedy is the one referred to by Aristotle (Poet. 1456 a 11-19) among the worst examples of tragic art. I argue that Aristophanes in the Thesmophoriazusae has Agathon sing a song about Troy because he wants to mock this tragedy, which at his time, as well as some decades later (as Aristotle attests), was considered the most poorly composed and received of Agathon’s works. -
A Critical Analysis of Plato's Theory of Forms
The One, The Many, and Plato A Critical Analysis of Plato’s Theory of Forms Emann Allebban lato‘s theory of forms conveys his theories of both real- ity and knowledge, attracting the attention of philoso- phers of his time all the way to the present. The theory, however, is not without its problems. As will be dem- Ponstrated in the following, Plato‘s theory of forms fails in resolv- ing the One/Many problem and does not overcome the objection raised by Plato in Parmenides – the failure to figure out the exact relation between the form and the particular. Before that, a brief review of relevant aspects of the the- ory is necessary. Plato postulates the existence of what he calls eternal Forms, which particular objects in the sensory world imi- tate and from which they derive their existence and nature. Thus a desk participates in the Form of ―Hardness‖ and is an imitation and reflection of that Form. Objects can, of course, participate in more than one Form at once. So a monkey may participate in the Form of ―Monkeyness‖ and the Form of ―Maleness‖, among oth- ers. These Forms are eternal and unchanging, while the sensory world is not. The theory of forms is most clearly revealed through his Cave Allegory and Divided Line Image, which divides our knowledge into four levels: conjecture/imagining, belief, think- ing/understanding, and reason/intelligence.1 The first level, also the bottom level of knowledge, is the level of conjecture and imagination. It coincides with the prisoners sitting in front of the cave wall, watching the shadows of the props being cast on the wall. -
Notes and References
Notes and References 1 'The Great Educators' 1. A. N. Whitehead, Process and Reality: An Essay on Cosmology. 2 Plato 1. The Epinomis of Plato, trans. J. Harward, § 487. On the assumption that the Epinomis can be ascribed to Plato, see A. E. Taylor, Plato: The Man and His Work, pp. 497-8. All the succeeding quotations from Plato's writings are from Jowett's 1875 translation, and the references are to the marginal page numbers of that work. 2. For Greek education see Werner Jaeger, Paideia: The Ideals of Greek Culture, trans. G. Highet;H. I. Marrou,A History ofEducation in Antiquity, trans. G. Lamb; F. A. G. Beck, Greek Education, 450-350 B.C.; W. Barclay, Educational Ideals in the Ancient World. 3. § 313. 4. Protagoras, § 340. Cf. Euthydemus, § 277. 5. Protagoras, § 309. 6. Laches, § 186. 7. Protagoras was the first to accept payment (Protagoras, § 348): 'You proclaim in the face of Hellas that you are a Sophist or teacher of virtue or education and are the first that demanded pay in return.' His method of exacting payment - a form of payment by results - was as follows (Protagoras, § 328): 'When a man has been my pupil, if he likes he pays my price, but there is no compulsion; and if he does not like, he has only to go into a temple and take an oath of the value of the instructions, and he pays no more than he declares to be their value.' The result was, as reported by Socrates in the Meno, § 91: 'I know of a single man, Protagoras, who made more out of his craft than the illustrious Pheidias, who created such noble works, or any ten other statuaries.