Hallvard Fossheim

How should I live? How can I be happy? What is happiness, really? These are perennial questions, which in recent times have become the subject of diverse kinds of academic research. Ancient philosophers placed happiness at the centre of their thought, and we can trace the topic through nearly a millennium. While the centrality of the notion of happiness in ancient ethics is well known, this book is unique in that it focuses directly on this notion, as it appears in the ancient texts. Fourteen papers by an international team of scholars map the various approaches and conceptions found from the Presocratics through Plato, Aristotle, and Hellenistic philosophy, to the Neoplatonists and Augustine in late antiquity. They address questions raised by ancient thinkers that are still of deep concern today.

Plato's philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato's time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues. The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato's dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus.

I show that Aristotle’s psychological hierarchy of vegetal, animal, and rational existence is not an exclusion of plants but a highlighting of their status as definitive of life. To the objector who replies that life is cheap in ancient thought, it will be demonstrated that plants are not just alive according to Aristotle, but exemplify completeness (in a way not available to, e.g., basic beings like grubs and certain insects). In fact, in us too it is the vegetative soul principle that ensures our participation in a crucial form of divinity.

This essay poses the question of how many rulers are envisaged in Plato’s Statesman. After pointing out that this is a crucial question for issues concerning non-ideal as well as ideal approaches to political rule, the essay focuses on three relevant aspects of rule in the Statesman: the notion of kingly rule, the limitations posed by human nature, and the importance of self-rule. It is shown how each of these dimensions of Plato’s discussion demonstrates the complexity of the question. Particular attention is then given to features inherent to political rule: the need for subordinate functions and a distribution of offices, seen in light of the ends of political rule as helping citizens obtain their potential. It is argued that while the Statesman does not lead to any certain conclusion concerning the number of rulers, and some of its considerations conflict with each other, the text as a whole allows for a fairly broad basis of political rule.

The Protagoras, one of Plato’s most entertaining and beloved works, is also among his most perplexing. Along with one or two other Platonic dialogues, the Protagoras has defied a unified reading—a reading that makes sense of the dialogue’s various parts as belonging to one whole. It is my aim with this article to suggest a new reading that allows us to see the unifying theme of the Protagoras. In doing this, I will identify a crucial asset of philosophical methodology when this is contrasted with what Plato seems to have taken to be among its main competitors, the persuasive speech-making of the sophists.