Mitchell Miller

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.

At Republic 435c-d and again at 504b-e, Plato has Socrates object to the city/soul analogy and declare that a “longer way” is necessary for gaining a more “exact grasp” of the soul. I argue that it is in the Philebus, in Socrates’ presentation of the “god-given” method of dialectic and in his distinctions of the kinds of pleasure and knowledge, that Plato offers the resources for reaching this alternative account. To show this, I explore (1) the limitations of the tripartition of the soul that Socrates’ own objections in the Republic suggest, (2) the route of the “longer way” through the Eleatic dialogues to the Philebus, (3) the procedures that constitute the “god-given” method and the structure of the eidetic field it discloses, and (4) the resources that, considered in light of the method, Socrates’ distinctions of the kinds of pleasure and knowledge provide for the more “exact grasp” of the soul.

In the Statesman , Plato brings together--only to challenge and displace--his own crowning contributions to philosophical method, political theory, and drama. In his 1980 study, reprinted here, Mitchell Miller employs literary theory and conceptual analysis to expose the philosophical, political, and pedagogical conflict that is the underlying context of the dialogue, revealing that its chaotic variety of movements is actually a carefully harmonized act of realizing the mean. The original study left one question outstanding: what specifically, in the metaphysical order of things, motivated the nameless Visitor from Elea to abandon bifurcation for his consummating non-bifurcatory division of fifteen kinds at the end of the dialogue? Miller addressed in a separate essay, first published in 1999 and reprinted here. In it, he opens the horizon of interpretation to include the new metaphysics of the Parmenides , the Philebus , and the "unwritten teachings." "This study demonstrates how the Statesman is the culminating expression of Plato's lifelong effort, both in Athens and in the Academy, to bring metaphysical insight to the unending political crisis of his times."The Philosopher in Plato's Statesman a trail-blazing work. While not every reader will agree with the lessons Miller himself draws from this approach, none should fail to be impressed by its interpretive power. All this is exciting stuff. The interpretive pathway on which Miller has embarked has the potential for changing the face of scholarship on the late Platonic dialogues. Parmenides [Publishing] is to be commended for making these two important contributions available under a single cover." -- Kenneth Sayre, Professor of Philosophy, University of Notre Dame "Miller casts considerable light on virtually every aspect of the dialogue. . . . All in all, this book is an outstanding contribution to our understanding of the Statesman." -- Stanley Rosen, Borden Parker Bowne Professor of Philosophy, Boston University MITCHELL MILLER is Professor of Philosophy at Vassar College. He is the author of Plato's Parmenides.

At Apology 33c Socrates explains that "some people enjoy … my company" because "they … enjoy hearing those questioned who think they are wise but are not." At Philebus 48a-50b he makes central to his account of the pleasure of laughing at comedy the exposé of the self-ignorance of those who presume themselves wise. Does the latter passage explain the pleasure of watching Socrates at work? I explore this by tracing the admixture of pain, the causes, and the "natural harmony" that Socrates' general account of pleasure implies for laughing at comedy. These reflections precipitate an aporia about the moral effect of Socrates' elenchtic practice. I suggest a path through the aporia that keys from Socrates' notion of "human wisdom" and the distinctive structure Plato gives the dialogues.

At 287c of the Statesman the Eleatic Visitor — or, more deeply, Plato — faces a daunting task. Because statesmanship has been shown to collaborate with “countless” other arts that share with it the work of “caring” for the city, to understand statesmanship requires distinguishing these arts into an intelligible set of kinds and recognizing how these might go together. Accordingly, the Visitor abandons the mode of division he has practiced without exception up until this moment, bifurcation or “halving,” and offers, instead, a sorting of the arts into fifteen kinds of work. How was Plato able to get his bearings towards the heterogeneous multiplicity of the arts in order to do this sorting? In this paper I suggest that he may have found a paradigm in the double octave matrix of notes from which, according to contemporary musical theory, the seven musical “modes” are drawn. To show the plausibility of this suggestion, I first reconstruct the double octave matrix, which was later to be called the Greater Perfect System, and then show a striking series of points of substantive and structural analogy that hold between this matrix and the Visitor’s division of the arts into fifteen kinds.