Mitchell Miller

A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional elicitative power.

In his “Noesis and Logos in the Eleatic Trilogy, with a Focus on the Visitor’s Jokes at Statesman 266a-d,” Mitchell Miller explores the interplay of intuition and discourse in the Statesman. He prepares by considering the orienting provocations provided by Socrates’ refutations of the proposed definition of knowledge — namely, “true judgment and a logos” — in the closing pages of the Theaetetus, by the Eleatic Visitor’s obscure schematization at Sophist 253d-e of the kinds of eidetic field discerned by dialectic, and by his discussion at Statesman 277a-278e of the use of paradigms. Miller then seeks to show how the Visitor’s odd medley of geometrical and Homeric jokes at Statesman 266a-d aims, in the language of the Seventh Letter, to “spark” an intuition of the nature of statesmanship, an intuition whose “self-nourishing” motivates the subsequent rejection of the initial definition of the statesman as shepherd of the human herd, the turn to the paradigm of the weaver, and the rejection of bifurcatory division in favor of the non-bifurcatory account of the kinds of art that function as the “limbs” of a well-formed city.

Sayre finds deep connections between collection and division, the two kinds of measure distinguished in the Statesman, the conceptions of Limit and Unlimited in the Philebus, and the Dyad that Aristotle reports was a key principle in the "unwritten teachings." The Stranger's dialectical account of statesmanship practices due measure; by "cutting down the middle," the Stranger shows how Forms — understood as Limits as, in turn, "numbers in the sense of measures" — "mark off a middle ground between [the] extremes [implied by] the Unlimited" and, thus, preserve the mean. I suggest a number of critical reconfigurations of these seminal insights.

At 435c-d and 504b ff., Socrates indicates that there is a "longer and fuller way" that one must take in order to get "the best possible view" of the soul and its virtues. But Plato does not have him take this "longer way." Instead Socrates restricts himself to an indirect indication of its goals by his images of sun, line, and cave and to a programmatic outline of its first phase, the five mathematical studies. Doesn't this pointed restraint function as a provocation, moving us to want to begin the "longer way" and to make use of its conceptual resources to rethink Socrates' images? I begin by finding a double movement in the complex trajectory of the five studies: they both guide the soul in the "turn away from what is coming to be ... [to] what is" (518c) and, at the same time, lead the soul back, albeit in the medium of pure intelligibility, to the sensible world; for the pure figures and ratios that they disclose constitute the core structures of sensible things. I then draw on what Socrates says about geometry and harmonics to address three fundamental questions that he leaves open: the nature of the Good in its responsibility for truth and for the being of the forms; the relations of forms, mathematicals, and sensibles as these are disclosed by dialectic; and the bearing of the philosopher's discovery of the Good on his disposition towards his community and the task of ruling. I close by marking six sets of further questions that these reflections bequeath for dialogues to come.