Suzanne Stern-Gillet

Plotinus's theory of dual selfhood is one of the best-known and most puzzling aspects of his philosophy. Each human being, he held, is both a compound of body and soul and a discarnate member of the hypostasis Intellect. He built evaluative norms into this duality, all of which derive from what he argued to be the ontological superiority of the discarnate element in us over the body-soul compound. This led him, in turn, to claim that the best and happiest human life is a life of self-purification, mostly devoted to the care of the higher self.Until fairly recently, scholarly consensus had been that, in so centering his "ethics" around the higher self, Plotinus had downplayed what we moderns take to be the very core of the moral life, namely, concern for the needs and entitlements of other agents . It was also generally agreed that, in his description of the ethical life, Plotinus had done no more than develop a claim that is prevalent in ancient theories of ethics, most of which present the life of rational self-fulfillment as the best life for a human being to lead. Ancient ethics, it was then concluded, crucially differs from its modern, post-Kantian, counterpart.This interpretation is now under attack. While some historians of ethics have for some time argued that it is exegetically misleading to set up a sharp dichotomy between ancient and

The status of beauty in Plotinus' metaphysics is unclear: is it a Form in Intellect, the Intelligible Principle itself, or the One? Basing themselves on a number of well-known passages in the "Enneads," and assuming that Plotinus' Forms are similar in function and status to Plato's, many scholars hold that Plotinus theorized beauty as a determinate entity in Intellect. Such assumptions, it is here argued, lead to difficulties over self-predication, the interpretation of Plotinus's rich and varied aesthetic terminology and, most of all, the puzzling dearth of references, in the whole of the "Enneads," to a Form of Beauty. A detailed reading of VI.7.32 and 33 reveals that, in these two crucial passages at least, Plotinus adopts an aesthetic approach to the One and that, far from confining Beauty to Intellect, he equates the One, the Good and the Beautiful. This reading is here supported not only by an analysis of the text but also by a consideration of the semantic differences between μορφή and ε[unrepresentable symbol]δος, the inter-relatedness, in Plotinus' philosophy, of the concepts of love and value, and the exclusion of beauty from the πρ[unrepresentable symbol]τα γένη. In turn, the exegesis of VI.7.32 and 33 raises the issue of the significance for aesthetics understood in the narrow sense of the word, of Plotinus's ontology of beauty. It is here claimed that in so far as sensible beauty, both artistic and natural, can be nothing else than an effect of the shaping action of the Forms and a reflection of their radiance, singular or global, it should not be held that Plotinus had an aesthetics in the modern sense of this term.

Plato's "Ion," despite its frail frame and traditionally modest status in the corpus, has given rise to large exegetical claims. Thus some historians of aesthetics, reading it alongside page 205 of the Symposium, have sought to identify in it the seeds of the post-Kantian notion of 'art' as non-technical making, and to trace to it the Romantic conception of the poet as a creative genius. Others have argued that, in the "Ion," Plato has Socrates assume the existence of a technē of poetry. In this article, these claims are challenged on exegetical and philosophical grounds. To this effect, Plato's use of poiētēs and poiēsis in the Symposium is analysed, the defining criteria of technē in the "Ion" and other dialogues are identified and discussed, and the 'Romantic' interpretation of the dialogue is traced to Shelley's tendentious translation of it. These critical developments lead to what is presented as a more faithful reading of the dialogue. In the "Ion," it is claimed, Plato seeks to subvert the traditional status of poetry by having Socrates argue that poetry is both non-rational and non-cognitive in nature. In the third part of the article, suggestions are offered as to the contribution made by the "Ion" to the evolution of Plato's reflections on poetic composition, and particularly as to the reasons which later induced Plato to substitute the concept of mimesis for that of inspiration in his account of poetry.