Mateo Duque

This essential reference text on the life, thought and writings of Plato uses over 160 short, accessible articles to cover a complete range of topics for both the first-time student and seasoned scholar of Plato and ancient philosophy. It is organized into five parts illuminating Plato's life, the whole of the Dialogues attributed to him, the Dialogues' literary features, the concepts and themes explored within them and Plato's reception via his influence on subsequent philosophers and the various interpretations of his work. This fully updated 2nd edition includes 19 newly commissioned entries on topics ranging across comedy, tragedy, Xenophon, metatheatre, gender, musical theory, animals, Orphism, political theory, religion, time, Hellenistic philosophy and post-Platonic ancient commentaries. It also features revisions to the majority of articles from the 1st edition, including 8 which have been completely re-written, and 12 which have had the references substantially revised. Reflecting the growing diversity of Plato scholarship across the world, this edition includes contributions from a wide range of scholars who enrich the field and provide students and scholars with a vital resource for study and reference.

In order to fully understand Plato's "Menexenus" one must contend with Socrates' attribution of the funeral oration he recites to Aspasia (236b). One possibility is the reductionist approach, which asserts that Socrates just is the internal author. A second possibility is that internal responsibility for the speech should be directly assigned to Aspasia. In this case, Aspasia would be imagining a possible world—one completely different from the actual world—where she could speak at a funeral oration as the official speaker. One last possibility is that Aspasia was speaking in the voice of an imagined, indefinite, Athenian orator. I call this position, "An Athenian Orator". However, if Aspasia is donning the disguise of this character, then we can ask: what kind of mask is it? Is Aspasia's disguise like the ones found in Old Greek comedy? Or is her disguise like the serious metamorphoses of the Olympian gods in tragedy and epic? Perhaps, there could even be a mixture of the two, the tragicomic. Looking into when the dramatic action of the "Menexenus" takes place can also help us with these questions. For Plato, 'Aspasia' in the "Menexenus" is meant to refer not only to the historical personage of Aspasia the woman who was the wife and confidant of Pericles and mother to his child, but to a whole nexus of associations that Aspasia represents. Lastly, Plato criticizes what I called "the Cloak of Patriotism". This is the idea that death in battle can somehow cover up an individual's personal ethical wrongdoings.

In the "Philebus" Socrates describes what we might call ‘internal representation’ with the metaphor of two craftspeople: inside of us there is a scribe that writes words on our souls as if in a book and a painter who paints images in our soul. These words and images can be true or false. I show that Plato is both characterzing and exemplifying the concept of ekphrasis. I complicate an implication of the analogy that we think primarily in words first and then images. I argue that interpretation is necessary for imaging words, and I use the reading of the phrase “chruson gignomenon aphthonon” at 40a10, which I contend is a written riddle, as an example. 40a10, I suggest, has traditionally been read as if the good person will come to have a lot of money; instead, I read it as the good person will come to have goods without envy—the literal meaning of aphthonon. Someone morally good will possess an abundance, especially virtue, without feeling envy or ill-will toward others.

There is another Socratic method, Socratic mimēsis, and an instance of this is when Plato has Socrates play ‘the annoying questioner’ in the Hippias Major. Other interpreters have suggested that the reasons for Socrates’s dramatic play are depersonalization and distance. I argue for viewing Socrates’s role-playing as a way to dramatize the inner dialogue that happens inside one’s mind in what we may call conscience. Hippias the sophist lacks a conscience: his focus is acquisitive as opposed to inquisitive. Plato has staged a pedagogical theater of Hippias’s failed lesson for the benefit of Plato’s audience, the listeners/readers of the dialogue.

This article will contrast two portrayals of Protagoras: one in the "Theaetetus," where Socrates discusses Protagorean theory and even comes to his defense by imitating the deceased sophist; and another in the "Protagoras," where Socrates recounts his encounter with the sophist. I suggest that Plato wants listeners and readers of the dialogues to hear the dissonance between the two portraits and to wonder why Socrates so distorts Protagoras in the "Theaetetus." Protagoras in the "Protagoras" behaves and speaks in ways that are incompatible with the Protagorean position presented in the "Theaetetus.".

In this paper, drawing on evidence internal to the Platonic dialogues (supplemented with some ancient testimonia), I answer the question, “How did Plato teach in the Academy?” My reconstruction of Plato’s pedagogy in the Academy is that there was a single person who read the dialogue aloud like a rhapsode (this is in contrast to the dramatic theatrical hypothesis, in which several speakers function as actors in the performance of a dialogue). After the rhapsodic reading, students were allowed to ask that portions of the text to be re-read, to ask a question about the text, and were encouraged to enter into a broader conversation about the topic and themes brought out by the text. This later pedagogical method of interrogating and investigating a dialogue is of more importance than the mere reading of a dialogue. I contend that Plato’s experiences teaching were woven into some of the dialogues, and that Plato’s pedagogy reflects some of the ways that he taught in the Academy. I propose that excellent points made by students may have been written into revised forms of the dialogue. And not only good points, but also mistakes in reasoning may have been added into the dialogues. I suggest that the way certain dialogues are organized with “guest lecturers” and “tag-team” philosophical debates reflect Plato’s pedagogy in the Academy. Plato’s broadmindedness, his openness to various and opposing viewpoints, is also evident from both outside and inside of the dialogue. Lastly, drawing on the idea of Socratic mimēsis, I give a plausible curriculum for how Plato may have used the dialogues to teach them: he had his students “play” with them. Plato may have asked his students to enter into the roles of the characters in the dialogues to better understand them and the type of person they represent. Plato may have also asked students to take over from the position of the character in the dialogue and to suggest a better, truer account of things than what the characters said or did.

At the end of the first hypothesis, Parmenides gets Aristotle to agree that being [οὐσίας] must be in time; that is, that being must partake in at least one of the temporal modes: either to have been in the past, to be in the present, or it will be in the future (140e-142a). If this is true, then “the one does not partake in being” (141e7-8), meaning temporal being—to which Aristotle agrees, saying “Apparently not” (141e9). Parmenides then gets Aristotle to agree that “Therefore, ‘the one’ in no way is” (141e9-10). This, however, contradicts the very first premise that begins Parmenides’ entire gymnastic exercise, “if one is” (137c4). The problem with the previous conclusion—that to be is to be in time—is that in professing his assent to it, Aristotle, in fact, gainsays it. He performatively contradicts the very thing he wants to assert. Aristotle answers Parmenides question, “Therefore could something partake of being in any way other than in one of those ways?” (141e7-8) with a two-word answer in Greek: “οὐκ ἔστιν [It’s not possible].” We can, therefore, ask of the very claim Aristotle is making—that it is impossible for something to be and not be in time—when in time does it hold true? At what time is it “not possible [οὐκ ἔστιν]” for something to not partake of temporal being? Is it not possible only in the present moment, in the past, or in the future? If Aristotle’s assertion is to have any force it must hold always. It has the same tenselessness as mathematical propositions, like ‘1+1=2.’ Forms, like mathematical entities, must necessarily have atemporal existence. Accordingly, in atemporally maintaining that anything that is must be in time, Aristotle undermines his own assertion. He performatively contradicts the very thing that he wants to affirm.

This essential reference text on the life, thought and writings of Plato uses over 160 short, accessible articles to cover a complete range of topics for both the first-time student and seasoned scholar of Plato and ancient philosophy. It is organized into five parts illuminating Plato’s life, the whole of the Dialogues attributed to him, the Dialogues’ literary features, the concepts and themes explored within them and Plato’s reception via his influence on subsequent philosophers and the various interpretations of his work. This fully updated 2nd edition includes 19 newly commissioned entries on topics ranging across comedy, tragedy, Xenophon, metatheatre, gender, musical theory, animals, Orphism, political theory, religion, time, Hellenistic philosophy and post-Platonic ancient commentaries. It also features revisions to the majority of articles from the 1st edition, including 8 which have been completely re-written, and 12 which have had the references substantially revised. Reflecting the growing diversity of Plato scholarship across the world, this edition includes contributions from a wide range of scholars who enrich the field and provide students and scholars with a vital resource for study and reference.

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling.

In this essay, I propose a reading of two contrasting passions, two kinds of erōs, in the "Symposium." On the one hand, there is the imperialistic desire for conquering and possessing that Alcibiades represents; and on the other hand, there is the productive love of immortal wisdom that Diotima represents. It’s not just what Alcibiades says in the Symposium, but also what he symbolizes. Alcibiades gives a speech in honor of Socrates and of his unrequited love for him, but even here Alcibiades recounts his attempted seduction of Socrates as a failed conquest, as an unsuccessful attempt to violently take possession of something that Socrates has within him. Even more importantly, in 416 BCE (the dramatic date of Agathon’s symposium) Alcibiades was soon to encourage his fellow countrymen to set off on the ruinous Sicilian expedition. Alcibiades’s actions behind-the-scenes of the "Symposium" reveal the clearest manifestation of his imperialistic erōs (for political power in Athens). They also constitute some necessary background to the dialogue, which Plato’s Athenian readers would have had in mind. Where else can we catch a glimpse of this disastrous desire? It is best illustrated in Thucydides’s "History." I show that the beginnings of this political passion can already be seen in Pericles’s funeral oration (2.35-46, specifically 2.43.1) and that after Pericles’s death, Alcibiades stokes this erōs to such a fevered pitch that the Athenians agree to launch the tragic venture against Sicily. Opposed to this political passion, is Diotima’s. She tries to reorient this misguided erōs and presents an alternative form of desire for everlasting wisdom (philosophia).