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

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.

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.

Plotinus’s theory of dual selfhood has ethical norms built into it, all of which derive from the ontological superiority of the higher (or undescended) soul in us overthe body-soul compound. The moral life, as it is presented in the Enneads, is a life of self-perfection, devoted to the care of the higher self. Such a conception of morality is prone to strike modern readers as either ‘egoistic’ or unduly austere. If there is no doubt that Plotinus’s ethics is exceptionally austere, it will be argued below that it is not ‘egoistic.’ To that effect, the following questions will be addressed: Are the virtues, civic as well as purificatory, mere means to Plotinus’s metaphysically conceived ethical goal? To what extent must the lower self abnegate itself so as to enable the higher self to ascend to Intellect and beyond? And if self-perfection lies at the centre of the Plotinian moral life, is there any conceptual room left in it for other-regarding norms of conduct? A close reading of selected passages from Plotinus’s tractate I.2[19] On Virtues and tractate VI.8[39] On Free Will and the Will of the One will, it is claimed, bring elements of answer to these questions.

Ever since classical times, both Greek and Roman, friendship as a philosophical topic has been on the wane. The only notable exception is Montaigne's essay which, however, owes much to classical treatments. This decline of philosophical interest in friendship is not easy to account for. Alasdair McIntyre's overall thesis in After Virtue seemingly affords him with a ready interpretation. The progressive atomization of society, together with the concurrent growth of individualism that characterizes the modern era, claims McIntyre, are responsible for the demotion of friendship from the public to the private sphere.

The paper, although polemical for the most part, also presents a substantive thesis. The polemical part is directed at the claim that the Platonic Socrates held that philosophy as a practice is to be devoted to the care of self and others, and that the expression of emotion is an important aspect of the philosophic life. To undermine that claim, counter-examples from the autobiographical narrative in the Phaedo and the speeches of Diotima and Alcibiades in the Symposium are brought in. Once analysed at the required depth, those passages show that, on the contrary, Plato's Socrates remains consistently dispassionate both in his life, as he narrates it, and in the views he is made to express in the two dialogues. Rather than promoting self-expression, Socrates never ceased to warn us against misology.

Is scientific reasoning the standard of rationality? Can historical explanation be reduced to the scientific mode of reasoning? R.G. Collingwood answered both questions negatively. He further attempted to show that the types of justification used to account for moral actions are closely similar to historical explanations. His ethics has thus a strong historicist and relativistio flavour. Hie aim of my paper is to state Collingwood's ethical views and to show that the "ethical judgment", which inevitably relies on rules, cannot be equated with the "historical judgment".

The paper, although polemical for the most part, also presents a substantive thesis. The polemical part is directed at the claim that the Platonic Socrates held that philosophy as a practice is to be devoted to the care of self and others, and that the expression of emotion is an important aspect of the philosophic life. To undermine that claim, counter-examples from the autobiographical narrative in the Phaedo and the speeches of Diotima and Alcibiades in the Symposium are brought in. Once analysed at the required depth, those passages show that, on the contrary, Plato’s Socrates remains consistently dispassionate both in his life, as he narrates it, and in the views he is made to express in the two dialogues. Rather than promoting self-expression, Socrates never ceased to warn us against misology.

The personality and the writings of Marsilio Ficino mark the turning point from the middleages to the Renaissance. In John Marenbon’s apt description, medieval philosophy is ‘the story of a complex tradition founded in Neoplatonism, but not simply as a continuation or development of Neoplatonism itself’. ‘Not simply’ because the Enneads, the first and finest flowering of that tradition, testify to Plotinus’ deep engagement, not only with the thought of Plato, Aristotle, the Stoics and the Middle Platonists, but also with a variety of theologico-mystical writings of diverse middleeastern provenances, from Egypt to Persia. This complex tradition, Ficino transmitted to the West in the form of translations from Greek into Latin of the dialogues of Plato and the Enneads of Plotinus as well as of several commentaries on those texts by later thinkers. In addition to such exegetical works, Ficino wrote several philosophical treatises of his own. Finally, as an ordained priest, he was also well acquainted with the writings of the Church Fathers, all of which had contributed to his belief that religion should not be separated from philosophy. To the completion of this ambitious scholarly programme and the fulfilment of his commitment to the Church, he brought the resources of his powerfully syncretistic mind. Rather than merely combining various texts and traditions, he made them speak to each other and, in the process, evolved a system that was both sui generis and attuned to the new ways of thinking that were then emerging in quattrocento Florence. His in-depth understanding of all these texts, together with his ability to spot similarities, analogies and correspondences between them, enabled him to fuse into a coherent system various elements which a modern historian of philosophy would regard as dissimilar if not incompatible. His philosophical acumen enabled him, when he thought it appropriate, to improve on the views of those he regarded as his masters and to fill whatever gaps he found in their arguments. The present essay is an attempt to unravel the nature of Ficino’s syncretism, in which three levels of widening scope will be distinguished: authorial, trans-authorial and trans-doctrinal. To achieve a desirable level of both precision and concision, a short text will then be analysed, namely Speech Five of his most widely read treatise, a Latin commentary on Plato’s Symposium, entitled Commentarium in Convivium Platonis De Amore. It will be shown how, through the fictional speech that he put in the mouth of Marsuppini, his chosen spokesperson of the Platonic Agathon, Ficino succeeded, not only in blending Platonic, Plotinian and Christian elements in the reconstruction of an argument that Plato had meant us to regard as flawed to the core, but he also composed an elegant and original speech that continues to intrigue and enchant its readers after a gap of over six centuries.