The Apology by Xenophon</H1>
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The Trial and Death of Socrates : Being the Euthyphron, Apology, Crito, and Phaedo of Plato
LIBRARY UNIVERSITY OF CALIFORNIA SAN DIEGO /?. (Boffcen THE TRIAL & DEATH OF SOCRATES *O 5' dve^Tcurroj /3toj ov /Siwrds cu>0p(j!nrip ' An unexamined life is not worth living.' (PLATO, Apol. 38 A. ) THE TRIAL AND DEATH OF SOCRATES BEING THE EUTHYPHRON, APOLOGY, CRITO, AND PH^EDO OF PLATO TRANSLATED INTO ENGLISH BY F. J. CHURCH, M.A. LONDON MACMILLAN AND CO. AND NEW YORK 1895 [ All rights reserved.] First Edition printed 1880 Second Edition, Golden Treasury Series, 1886 Reprinted 1887, 1888, 1890, 1891, 1892, March and September 1895 PREFACE. THIS book, which is intended principally for the large and increasing class of readers who wish to learn something of the masterpieces of Greek literature, and who cannot easily read them in Greek, was originally published by Messrs. Macmillan in a different form. Since its first appearance it has been revised and corrected throughout, and largely re- written. The chief part of the Introduction is new. It is not intended to be a general essay on Socrates, but only an attempt to explain and illustrate such points in his life and teaching as are referred to in these dialogues, which, taken by themselves, con- tain Plato's description of his great master's life, and work, and death. The books which were most useful to me in writing it are Professor Zeller's Socrates and the Socratic Schools, and the edition of the VI PREFACE. Apology by the late Rev. James Riddell, published after his death by the delegates of the Clarendon Press. His account of Socrates is singularly striking. -
CRATYLUS by Plato Translated by Benjamin Jowett the Project Gutenberg Ebook of Cratylus, by Plato
CRATYLUS By Plato Translated by Benjamin Jowett The Project Gutenberg EBook of Cratylus, by Plato INTRODUCTION. The Cratylus has always been a source of perplexity to the student of Plato. While in fancy and humour, and perfection of style and metaphysical originality, this dialogue may be ranked with the best of the Platonic writings, there has been an uncertainty about the motive of the piece, which interpreters have hitherto not succeeded in dispelling. We need not suppose that Plato used words in order to conceal his thoughts, or that he would have been unintelligible to an educated contemporary. In the Phaedrus and Euthydemus we also find a difficulty in determining the precise aim of the author. Plato wrote satires in the form of dialogues, and his meaning, like that of other satirical writers, has often slept in the ear of posterity. Two causes may be assigned for this obscurity: 1st, the subtlety and allusiveness of this species of composition; 2nd, the difficulty of reproducing a state of life and literature which has passed away. A satire is unmeaning unless we can place ourselves back among the persons and thoughts of the age in which it was written. Had the treatise of Antisthenes upon words, or the speculations of Cratylus, or some other Heracleitean of the fourth century B.C., on the nature of language been preserved to us; or if we had lived at the time, and been 'rich enough to attend the fifty-drachma course of Prodicus,' we should have understood Plato better, and many points which are now attributed to the extravagance of Socrates' humour would have been found, like the allusions of Aristophanes in the Clouds, to have gone home to the sophists and grammarians of the day. -
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. -
The Apology of Socrates, by Plato
The Apology of Socrates, by Plato The Project Gutenberg Edition Trans: Benjamin Jowett INTRODUCTION. Socrates has been put on trial by the citizens of Athens for multiple “crimes” all related to his teaching of philosophy. Meletus is his prosecutor, but he is addressing a jury of hundreds of his fellow citizens. In this famous work, Socrates defends his practice of questioning everything and describes the beauty of a philosophical life. He also antagonizes his fellow Athenians… Note, Plato was Socrates’ student and this is report of how the trial went from Socrates’ perspective. Socrates himself wrote nothing – his philosophical career was spent verbally debating his fellow Athenians. APOLOGY How you, O Athenians, have been affected by my accusers, I cannot tell; but I know that they almost made me forget who I was--so persuasively did they speak; and yet they have hardly uttered a word of truth. But of the many falsehoods told by them, there was one which quite amazed me;--I mean when they said that you should be upon your guard and not allow yourselves to be deceived by the force of my eloquence. To say this, when they were certain to be detected as soon as I opened my lips and proved myself to be anything but a great speaker, did indeed appear to me most shameless--unless by the force of eloquence they mean the force of truth; for is such is their meaning, I admit that I am eloquent. But in how different a way from theirs! Well, as I was saying, they have scarcely spoken the truth at all; but from me you shall hear the whole truth: not, however, delivered after their manner in a set oration duly ornamented with words and phrases. -
Author BC AD ACHILLES TATIUS 500? Acts of Paul and Thecla, of Pilate, of Thomas, of Peter and Paul, of Barnabas, Etc
Author BC AD ACHILLES TATIUS 500? Acts of Paul and Thecla, of Pilate, of Thomas, of Peter and Paul, of Barnabas, etc. at the earliest from 2d cent. on AELIAN c. 180 AESCHINES 345 AESCHYLUS *525, †456 AESOP 1 570 AETIUS c. 500 AGATHARCHIDES 117? ALCAEUS MYTILENAEUS 610 ALCIPHRON 200? ALCMAN 610 ALEXIS 350 AMBROSE, Bp. of Milan 374 AMMIANUS MARCELLINUS †c. 400 AMMONIUS, the grammarian 390 ANACREON2 530 ANAXANDRIDES 350 ANAXIMANDER 580 ANDOCIDES 405 ANTIPHANES 380 ANTIPHON 412 ANTONINUS, M. AURELIUS †180 APOLLODORUS of Athens 140 APOLLONIUS DYSCOLUS 140 APOLLONIUS RHODIUS 200 APPIAN 150 APPULEIUS 160 AQUILA (translator of the O. T.) 2d cent. (under Hadrian.) ARATUS 270 ARCHILOCHUS 700 ARCHIMEDES, the mathematician 250 ARCHYTAS c. 400 1 But the current Fables are not his; on the History of Greek Fable, see Rutherford, Babrius, Introd. ch. ii. 2 Only a few fragments of the odes ascribed to him are genuine. ARETAEUS 80? ARISTAENETUS 450? ARISTEAS3 270 ARISTIDES, P. AELIUS 160 ARISTOPHANES *444, †380 ARISTOPHANES, the grammarian 200 ARISTOTLE *384, †322 ARRIAN (pupil and friend of Epictetus) *c. 100 ARTEMIDORUS DALDIANUS (oneirocritica) 160 ATHANASIUS †373 ATHENAEUS, the grammarian 228 ATHENAGORUS of Athens 177? AUGUSTINE, Bp. of Hippo †430 AUSONIUS, DECIMUS MAGNUS †c. 390 BABRIUS (see Rutherford, Babrius, Intr. ch. i.) (some say 50?) c. 225 BARNABAS, Epistle written c. 100? Baruch, Apocryphal Book of c. 75? Basilica, the4 c. 900 BASIL THE GREAT, Bp. of Caesarea †379 BASIL of Seleucia 450 Bel and the Dragon 2nd cent.? BION 200 CAESAR, GAIUS JULIUS †March 15, 44 CALLIMACHUS 260 Canons and Constitutions, Apostolic 3rd and 4th cent. -
Why Did Xenophon Write a Symposium? Erotica Paideia and Logos Sokratikos*
JOSÉ VELA TEJADA Why did Xenophon write a Symposium? Erotica paideia and logos Sokratikos* 1. Xenophon, Socrates and the logos Sokratikos Xenophon bequeathed a collection of works, with philosophical con- tent, grouped under the title of Socratica, whose composing was mainly in- spired by the leading role of Socrates, or, actually, by Xenophon’s under- standing of the Athenian master’s ideas. Therefore, the Socrates’ lifetime until his condemn, and his intellectual activity – matters that are less focused in his historical works – find a proper narrative vehicle in the Socratica, ac- cording to Xenophontean tendency to thematic specialization. The topic of this essay is the effect of Socratic spirit1, also ascertained in the pedagogic aim and in the ultimate search of the individual paradigm of the Xenophon’s historical works. Nevertheless, we should not insist – as in previous analyses – in estab- lishing the epistemological superiority that results from comparison with * This article was made under the general frame of the Research-Team Byblíon H 52 (Dirección General de Investigación, Innovación y Desarrollo, Consejería de Ciencia y Tec- nología, DGA, Spain). 1 We say spirit or influence because, although Xenophon informs us of personal rela- tionship with Socrates in Anabasis (III, 1, 5), this does not mean that he was member of the closest circle of Socrates’ disciples. In relation to that, WATERFIELD 2004, 79, considers Xe- nophon as a true Socratic for “he followed Socrates’ philosophy to the best of his ability”. H istorikαv I 2011 ISSN 2240-774X e-ISSN 2039-4985 81 José Vela Tejada Plato2. Sometimes it has been suggested that the Xenophontean profile of Socrates has a more accurate historical reliability than the Platonic one; however, we cannot prove any hypothesis neither in the historian nor in the philosopher3. -
The Influence of Plato's Crito and Phaedo on Xenophon's Apology of Socrates
Kentron Revue pluridisciplinaire du monde antique 31 | 2015 Les Socratica de Xénophon The influence of Plato’s Crito and Phaedo on Xenophon’s Apology of Socrates Boris Hogenmüller Electronic version URL: http://journals.openedition.org/kentron/347 DOI: 10.4000/kentron.347 ISSN: 2264-1459 Publisher Presses universitaires de Caen Printed version Date of publication: 1 November 2015 Number of pages: 127-138 ISBN: 978-2-84133-747-7 ISSN: 0765-0590 Electronic reference Boris Hogenmüller, « The influence of Plato’s Crito and Phaedo on Xenophon’s Apology of Socrates », Kentron [Online], 31 | 2015, Online since 19 October 2016, connection on 17 November 2020. URL : http://journals.openedition.org/kentron/347 ; DOI : https://doi.org/10.4000/kentron.347 Kentron is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 International License. The inFluence OF Plato’S CRITO and PHAEDO Hauteur 1 du rectangle d’empagement on Xenophon’S APOLOGY OF SOCRATES T_3_Article The relationship between Plato and Xenophon has been the subject of research for many years. During the late 19th and early 20th century, the result of this research, especially in terms of the ‘Sokratesbild’, was always the same, and Xenophon’s dependence on the logoi Sokratikoi written by Plato and Antisthenes has always been quite obvious 2. In the middle of the 20th century, however, new studies have given rise to another opinion 3, which made the case for dependence of Xenophon on other Socratics. Thus L.-A. Dorion’s statement (« Xénophon dépend des autres Socratiques : il ne constitue pas une source indépendante » 4), although he attempts to refute it 5, seems more appropriate today than ever before. -
On the Daimonion of Socrates
SAPERE Scripta Antiquitatis Posterioris ad Ethicam REligionemque pertinentia Schriften der späteren Antike zu ethischen und religiösen Fragen Herausgegeben von Heinz-Günther Nesselrath, Reinhard Feldmeier und Rainer Hirsch-Luipold Band XVI Plutarch On the daimonion of Socrates Human liberation, divine guidance and philosophy edited by Heinz-Günther Nesselrath Introduction, Text, Translation and Interpretative Essays by Donald Russell, George Cawkwell, Werner Deuse, John Dillon, Heinz-Günther Nesselrath, Robert Parker, Christopher Pelling, Stephan Schröder Mohr Siebeck e-ISBN PDF 978-3-16-156444-4 ISBN 978-3-16-150138-8 (cloth) ISBN 987-3-16-150137-1 (paperback) The Deutsche Nationalbibliothek lists this publication in the Deutsche Natio- nal bibliographie; detailed bibliographic data is availableon the Internet at http:// dnb.d-nb.de. © 2010 by Mohr Siebeck Tübingen. This book may not be reproduced, in whole or in part, in any form (beyond that permitted by copyright law) without the publisher’s written permission. This applies particularly to reproductions, translations, microfilms and storage and processing in electronic systems. This book was typeset by Christoph Alexander Martsch, Serena Pirrotta and Thorsten Stolper at the SAPERE Research Institute, Göttingen, printed by Gulde- Druck in Tübingen on non-aging paper and bound by Buchbinderei Spinner in Ottersweier. Printed in Germany. SAPERE Greek and Latin texts of Later Antiquity (1st–4th centuries AD) have for a long time been overshadowed by those dating back to so-called ‘classi- cal’ times. The first four centuries of our era have, however, produced a cornucopia of works in Greek and Latin dealing with questions of philoso- phy, ethics, and religion that continue to be relevant even today. -
Putting the Philebus's Indispensable Method To
PUTTING THE PHILEBUS’S INDISPENSABLE METHOD TO USE ABSTRACT: The Philebus presents a comprehensive epistemological and metaphysical view in two of that dialogue’s most difficult passages (15b-18c, and 23c-28c). In particular, the method described in the first passage is used in the second passage to do metaphysics; and the metaphysical picture it uncovers is precisely the one needed to support the epistemological presumptions of the first passage. This ‘circularity’ is not vicious, but elegant; seeing it so reveals most about Socrates’ preferred candidate for the (cause of) good in human life. There is considerable perplexity around the methodological discussion of the Philebus 16a ff. Quite apart from the vexed issues of what the method is, and what it is for, there is the awkward puzzle over why Socrates bothers bringing it up at all. As he introduces it, Socrates claims that this is a “gift from the gods to men...hurled down from heaven” (16c5) and that “everything in any field of art that has ever been discovered has come to light because of this” (16c2-3).1 This gift is recommended not merely as a useful tool, but as a necessary one: no knowledge except by observing this procedure. Thus, I shall argue, the claim at the heart of this god-given method of inquiry is an epistemological one: knowledge is that state which results from observing these recommendations for inquiry. Less than a page later, however, and as soon as his interlocutors indicate they have grasped the basic points, Socrates declares that the Divine Method, with its demand for an analysis of pleasure and knowledge, is not necessary after all. -
Platonic Defences of Socrates: the Apology, Symposium and Other Works
Platonic Defences of Socrates: The Apology, Symposium and other works By Agapi Ortaxidou A thesis submitted to the Faculty of Graduate Studies The University of Manitoba In partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of Classical Studies University of Manitoba Winnipeg Copyright © 2017-18 by Agapi Ortaxidou [Type here] Abstract Does Plato defend Socrates in his dialogues? This is my main question throughout this paper which aims to prove that Plato indeed, at least in the examined works, defends his master. I examine in the following order Plato’s Apology, the Symposium, the Meno, the Euthydemus and Charmides. The first two Platonic works comprise chapter one and two respectively, while the three following works compose chapter three. Each chapter includes an introduction, an analysis of my thesis statement and a short conclusion. In the close study of the five works above, my aim is to identify Plato’s means of Socrates’ defence (figures of speech, direct/ indirect defending arguments) against his formal and informal accusations (corruption of the young, impiety, relation to the Sophists). I also identify common traits between these and other Platonic works, while I compare them with works of other ancient scholars too (e.g. Xenophon). Providing the claims of many contemporary scholars, I hope to complete the picture of the Platonic defence. ii [Type here] Acknowledgements I would like to express my gratitude to my supervisor Dr. Mark Joyal, professor at the Department of Classics, University of Manitoba, for his constant guidance and encouragement through the learning process of this master thesis. -
Dialogue and Virtue in Xenophon's
Dialogue, Speeches, and the Acquisition of Virtue In Xenophon’s Memorabilia Louis-André Dorion (Université de Montréal) The role that dialogue plays in the works of Xenophon is a deeply interesting issue that could be analyzed from a variety of different perspectives. From a literary point of view, it would be possible to raise the question of how dialogue fits into what is above all a narrative framework, in particular in the Cyropaedia and in the Anabasis. It would also be worthwhile to analyze from a literary point of view dialogues that have the form of a mise en abyme. Here I am mainly thinking of the dialogue between Virtue and Vice (Mem. 2.1.21-34), which is related by Socrates in a conversation with Aristippus, as well as of the dialogue between Socrates and Ischomachus (Oec. 7-21), which is also related by Socrates, but this time in a conversation with Critobulus. In addition, it would be interesting to ask whether the dialogues in Xenophon’s Socratic writings are models for the dialogues in his other works. For example, does the dialogue between Simonides and Hiero, in Xenophon’s Hiero, have the same literary form and the same philosophical aims as the Socratic dialogues in the Memorabilia? Is the irony that Simonides manifests in the first part of the Hiero of the same nature as Socrates’ irony? These are a few examples of questions, among many others, that it would be interesting to examine. I have decided, however, to examine Xenophon’s use of dialogue from another interpretative angle, one that is somewhat ambitious, for I propose to analyze the nature, the role, and the effectiveness of dialogue in the process of acquiring virtue as it is depicted in the Memorabilia. -
REVIEW ARTICLES Xenophon at Play
REVIEW ARTICLES Xenophon at Play Deborah Levine Gera A. J. Bowen, Xenophon: Symposium, Warminster, England: Aris and Phillips, 1998. 146 pp. ISBN Ο 85 668 681 6. B. Huß, Xenophons Symposion: Ein Kommentar, Beiträge zur Altertums kunde Bd. 125, Stuttgart and Leipzig: ΒὋ. Teubner, 1999. 493 pp. ISBN 3519 0767 48. Studies of the Greek symposium have blossomed over the last two decades, precisely at the time that Xenophon’s literary reputation has enjoyed a con siderable upswing. In retrospect, it seems almost inevitable that more than one book on Xenophon’s Symposium should have appeared in recent years. The Symposium is a charming work, playful but not without substance. While Xenophon, as always, has a pedagogical aim in composing the work (see 1.1), here he wears his didacticism lightly, portraying Socrates and his fellow symposiasts in an entertaining and illuminating way. The cast of characters found at the party given by the notoriously wealthy Callias is varied. There is the young, athletic, and beautiful Autolycos, courted by Callias; his father (and chaperon) Lycon; Nicias’ son Niceratos; Crito’s son Critobulus; Charmides; the pious Hermogenes; the argumentative Antisthe nes; and, of course, Socrates. We also find in the Symposium a troupe of entertainers, led by a Syracusan impresario, and an uninvited guest, the co median Philippus. The work seems to be a casually linked series of episodes, but is, in fact, carefully structured. Discussions held by Callias and his guests alternate with performances by the professional troupe. The post-prandial conversation is lively, even dialectical at times, and ranges over such varied topics as the capabilities of women, the practical lessons to be learned from Homer, and the uses of wealth, to name just a few.