Panos Eliopoulos

Epicurean physics elaborates on a system of universal kinetics as regards the creation of the world. One of the main principles is that there is no genesis without motion. The human being, as all other beings, is the product of the motion of atoms within the cosmic void. Due to a sudden swerve in the motion of some atoms, it can be upheld, according to the Epicureans and Lucretius, that there is no determinism in the universe and the human being is capable of free will. The atomic motions and the swerves also take place in the space of the human soul. Lucretius, in the De Rerum Natura, follows with precision the content of the Epicurean dogmas, and divides the soul into an irrational part, which he calls anima, and a rational one, animus, according to the distinction between ψυχή and διάνοια.

Even though Heimarmene is the natural order of things, as it is claimed in the Laws; and although the human being has to participate in that order, as it is written in Timaeus; Plato, at times, tends to be willing to rupture that circle of necessity, that the "naturality" of Heimarmene enforces on man, by finding a potential escape. The human soul is the unambiguous vehicle of this effort. In the writings of the Stoic Seneca, the transcendence of Fate is a matter correlated with the human life and with moral responsibility. His philosophical aim is focused on overcoming the existential conditions which render man a subjugated as well as a non eudaimonistic being. In both philosophers we diagnose a common theoretical orientation: to break through the limitations that Fate imposes on man's freedom in the material world. Certainly there is a difference in the degree, frequency and depth that this is critically established in their thought. In our paper, we mean to: a) ascertain this, b) examine the role of the soul, and c) to recognize the ground where "Paideia" may initiate the transcendence of Fate by human means solely

In Charles Baudelaire’s poetry there is only one direct reference to Plato. The French poet juxtaposes the joy of the senses to the ascetic, as he perceives it, pursuit of the Platonic Good. This juxtaposition is taking place not only with the aid of ethical terms, but principally through their transformation into aesthetic ones. For Baudelaire, the absence of the metaphysical or symbolical light is tautological to beauty, but also a firm ground where the poet stands upon for his artistic creation. Human existence without light, although bordering to the cold safety of death, is also an affirmation of its emptiness when without pleasure and passion.