Sonja Madeleine Tanner

I know of nothing that has caused me to dream more on Plato’s secrecy and his sphinx nature than the happily preserved petit fait that under the pillow of his deathbed there was found no “Bible,” nothing Egyptian, Pythagorean, or Platonic—but a volume of Aristophanes. How could even a Plato have endured life—a Greek life to which he said No—without an Aristophanes? Diogenes Laertius reports that Plato was reputed to have been so “well regulated”(kosmiois) as never once to have been seen to “laugh excessively” (gelôn huperagan . . . kômikôn).1 Nietzsche describes Plato as so humorless as to be positively “boring” (1968, 117). John Sallis not only ascribes to this notoriously solemn philosopher a sense of ..

For well over a thousand years, countless audiences have taken pleasure in watching unfold the following fearful event:Filled with dread, desperately tossing unchewed grass from its mouth, looking back at the hunting king, a beautiful deer springs into flight to escape a fast-approaching chariot from which repeated arrows fly — one of which will inevitably lodge in the deer’s defenseless body. This is not a scene from “National Geographic” or an episode from some sadly popular TV hunting show. Indeed, this scene has been played out far longer than any current program on America’s “Outdoor Channel,” and it comes to most Westerners from half a world away. Kālidāsa’s The Signet-Ring of Śakuntalā, the most famous poem..

Comedy and philosophy have too often been thought immiscible, a tradition supported by a solemn reading of philosophers such as Plato. A closer look at Plato – and specifically at what may be his most familiar dialogue – the Republic, suggests just the contrary. Far from immiscible, comedy and philosophy are entwined in ways that are mutually illuminating. I argue that a joke in Book V reveals the self-forgetting involved in founding the city in speech, and so illustrates the vitality of self-knowledge to political ventures. Glaucon criticizes the first city in speech as akin to one “of sows”, prompting a new city altogether, and yet the city that he helps to create not only eradicates distinctions between animals and humans but is founded on principles of animal husbandry and described overwhelmingly in animalistic terms. Justice in this city is defined as a minding of one’s own business, but what exactly “one’s own” is expands to accommodate Glaucon’s pleonexia and accompanying tyrannical allowances. Glaucon has forgotten himself. Without a limit – without a restriction on what one’s own is – the city degenerates into a tyranny. Glaucon’s self-forgetting may be a minor, comical incident, but it has significant philosophical consequences, including a radical undercutting of the city in question as well as the distinction between humans and animals. The comical mode employed here suggests that it may be a comical understanding of the self that best supersedes the forgotten self.

Counters the long-standing, solemn interpretation of Plato’s dialogues with one centered on the philosophical and pedagogical significance of Socrates as a comic figure. Plato was described as a boor and it was said that he never laughed out loud. Yet his dialogues abound with puns, jokes, and humor. Sonja Madeleine Tanner argues that in Plato’s dialogues Socrates plays a comical hero who draws heavily from the tradition of comedy in ancient Greece, but also reforms laughter to be applicable to all persons and truly shaming to none. Socrates introduces a form of self-reflective laughter that encourages, rather than stifles, philosophical inquiry. Laughter in the dialogues—both explicit and implied—suggests a view of human nature as incongruous with ourselves, simultaneously falling short of, and superseding, our own capacities. What emerges is a picture of human nature that bears a striking resemblance to Socrates’ own, laughable depiction, one inspired by Dionysus, but one that remains ultimately intractable. The book analyzes specific instances of laughter and the comical from the Apology, Laches, Charmides, Cratylus, Euthydemus, and the Symposium to support this, and to further elucidate the philosophical consequences of recognizing Plato’s laughter. Sonja Madeleine Tanner is Associate Professor of Philosophy at the University of Colorado, Colorado Springs, and the author of In Praise of Plato’s Poetic Imagination.