Marina McCoy

The commentary on Ionescu’s presentation agrees with her main claim that pleasure is developed dialectically, and then departs from her ideas at two points. First, I argue that there are still good reasons to say that pleasure belongs in the class of the unlimited, and ordinary experiences of pleasure bear out this claim. Second, Ionescu’s interpretation makes the Philebus’s concept of a “false pleasure” difficult to understand. I suggest further consideration of whether the difference between the mixed and unlimited is better located in different objects or in different experiences of pleasure.

Plato’s Protagoras plays off the genre of Greek comedy in its expression of its philosophical meaning. This dialogue at points invites us to re-envision Socrates against the backdrop of Aristophanes’ criticisms of Socrates and the sophists. The Protagoras follows some of the conventions of Greek comedy but interrupts its form with moments of lengthier rational discussion absent in Greek comedy. The dialogue’s logos and antilogos lead to aporia, but this aporia shows a limit to reason that recognizes human incompleteness without leading to misology. In contrast to performed drama, the written form of the dialogue both engages its audience’s emotions while allowing the reader to return to the text and to continue their rational assessment of the arguments.