Ostensibly a discussion about love, the debate in the Phaedrus also encompasses the art of rhetoric and how it should be practised. This new edition contains an introductory essay outlining the argument of the dialogue as a whole and Plato's arguments about rhetoric and eros in particular. The Introduction also considers Plato's style and offers an account of the reception of the dialogue from its composition to the twentieth century. A new Greek text of the dialogue is accompanied by (...) a select textual apparatus. The greater part of the book consists of a Commentary, which elucidates the text and makes clear how Plato achieves his philosophical and literary objectives. Primarily intended for advanced undergraduates and graduate students of ancient Greek literature and philosophy, it will also benefit scholars who want an up-to-date account of how to understand the text, argument, style and background of the work. (shrink)

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Translation and commentary on the only surviving sustained work on Plato's Phaedrus from antiquity.

This pioneering translation of Plato's Phaedrus, with detailed summary and full philological and exegetical notes taking into consideration all commentaries since Hermias, followed by a painstaking dialogical analysis of the text that shows what we must think at every moment in order to understand the thinking that brings the Greek text to life. In Kenneth Quandt's treatment, Plato's seminal work is allowed to create its own horizon and a new and profoundly unified interpretation emerges: Socrates's conversation with Phaedrus (...) reaches a vision of eros that explains the paradoxes of human nature, explodes the zero-sum game of master and slave, exposes the crabbed fetishism of the written word, and releases the mind to a life of contemplation fixed in a cloudless noon. (shrink)

Phaedrus is widely recognized as one of Plato's most profound and beautiful works. It takes the form of a dialogue between Socrates and Phaedrus and its ostensible subject is love, especially homoerotic love. This new translation is accompanied by an introduction and full notes that discuss the structure of the dialogue and elucidate issues that might puzzle the modern reader.

The influence of Phaedrus the fabulist on Martial the epigrammatist has long been neglected by scholarship. Quite recently scholars have started to pay more attention to Phaedrus’ literary techniques and allusive art, thus also paving the way for a reassessment of the role which Phaedrus played as a model for Martial. This paper examines the question to what extent the Flavian epigrammatist was inspired by Phaedrus’ literary techniques and argues that Phaedrus served as an important (...) link in the process of the reception of Neoteric and Augustan poetry. Although there are not many thematic parallels between Phaedrus and Martial, the later poet seems to have been inspired considerably by Phaedrus’ metapoetic techniques. Furthermore, the paper also investigates the epigrammatic potential of Phaedrus’ own poems, a potential which seems to have made the fabulist especially attractive as a model for Martial. (shrink)

This is an English translation of one of Plato's least political dialogues of Socrates and Phaedrus discussing many themes: the art and practice of rhetoric, love, reincarnation, and the soul. It includes an introduction, notes, glossary, appendices, and an interpretive essay and introduction. Also included are rarely seen illustrations, stone carvings, and vase paintings. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a glossary intending to provide the reader with (...) some sense of the terms and the concepts as they were understood by Plato’s immediate audience. (shrink)

Drawing on his extensive classroom experience and linguistic expertise, Paul Ryan offers a commentary that is both rich in detail and—in contrast to earlier, more austere commentaries on the Phaedrus—fully engaging. Line by line, he explains subtle points of language, explicates difficulties of syntax, and brings out nuances of tone and meaning that students might not otherwise notice or understand.

At Plato’s Phaedrus 270c, Socrates asks whether one can know souls without knowing ‘the whole.’ Phaedrus answers that ‘according to Hippocrates’ the same demand on knowing the whole applies to bodies. What parallel is intended between soul-knowledge and body-knowledge and which medical passages illustrate the analogy have been much debated. Three dominant interpretations read ‘the whole’ as respectively (1) environment, (2) kosmos, and (3) individual soul or body; and adduce supporting Hippocratic passages. But none of these interpretations accounts (...) for the Phaedrus’ rhetorical method. A better reading sees the whole as the genos ‘soul,’ as the Phaedrus’ taxonomies divide that genus. (shrink)

Set in the idyllic countryside outside Athens, the Phraedrusis a dialogue between the philosopher Socrates and his friend Phaedrus, inspired by their reading of a clumsy speech by the writer Lysias on the nature of love. Their conversation develops into a wide-ranging discussion on such subjects as the pursuit of beauty, the immortality of the soul and the attainment of truth, and ends with an in-depth consideration of the principles of rhetoric. Probably a work of Plato's maturity, the Phaedrusrepresents (...) a high point in his achievement as a writer. This volume also contains two of his letters, which discuss his involvement in politics, in particular his role as adviser to Dionysius II of Syracuse, which are crucial documents for our understanding of Plato's life and career. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The following article investigates how Phaedrus' Latin verse fables engage standard Callimachean topoi. When Phaedrus imitates the Hymn to Apollo he fails to banish Envy and when he adopts Callimachus' own polemical allusions to Aesop he turns them upside down. Such texts are essentially Callimachean in spirit and technique and constitute a recusatio: by “mishandling” or “abusing” and thus “rejecting” various Callimachean topoi and the role of the “successful” Callimachean poet, the fabulist demonstrates his skill and versatility within (...) the Callimachean tradition. This sort of recusatio satirizes those poets who unimaginatively rehash Callimachean staples and represents a strategy that gains momentum in the first century AD. It thereby provides a literary context for understanding Phaedrus' engagement with the evolving traditions of Roman Callimacheanism. (shrink)

Plato’s Phaedrus is a dialogue of journeys, a tale of transitions. It begins with Socrates’ question, ‘Where to and from whence, my dear Phaedrus?’ and concludes with the Socrates’ decision, ‘Let’s go’ (sc. back into the city from whence they’ve come). In the speech that forms its centre-piece Socrates narrates another famous journey—the descent of the soul into the body and its reascent to the realm of Forms through erotic madness. It is not too implausible to suppose that (...) Plato himself saw fit to relate his powerful images of the human soul’s fall and re-ascent by dramatic means that highlight the movement from one place to another. This explains how Hermias of Alexandria -- author of the longest sustained work on the Phaedrus to survive from antiquity related the physical journey to the Ilissus to the soul's descent and ascent. This seemingly implausible allegorising gains a certain kind of sense when we consider that the Neoplatonic commentary tradition formed part of a philosophic way of life with an ethical telos. (shrink)

The Symposium and the Phaedrus are combined here because of their shared theme: a reflection on the nature of erotic love, the love that begins with sexual desire but can transcend that origin and reach even the heights of religious ecstasy. This reflection is carried out explicitly in the speeches and conversations in the dialogues, and implicitly in the dramatic depiction of actions and characters. Thus, the two dialogues deal with a theme of enduring interest and are interesting for (...) both their literary and their philosophical character. In addition to the introduction, the book contains substantial commentaries and thorough endnotes. Key Greek terms are discussed for readers who are unfamiliar with the language. A special feature is a discussion on the importance of the dramatic and literary aspects of the dialogues for interpreting their philosophical content. The introductions deal with the nature of the dialogues themselves as philosophical texts and with Plato’s philosophical assumptions and key concepts, as well as with the necessary background of Athenian society. The endnotes clarify any ambiguities and obscurities in the original text, identifying all references to people, places, gods, et cetera. The commentaries are designed to open up the dialogues for the reader, showing the issues that have been debated by commentators and considering some of the responses to them. They are designed to stimulate further reflection. (shrink)

With a masterful sense of the place of rhetoric in both thought and practice and an ear attuned to the clarity, natural simplicity, and charm of Plato's Greek prose, James H. Nichols Jr., offers precise yet unusually readable translations of two great Platonic dialogues on rhetoric. The Gorgias presents an intransigent argument that justice is superior to injustice: To the extent that suffering an injustice is preferable to committing an unjust act. The dialogue contains some of Plato's most significant and (...) famous discussions of major political themes, and focuses dramatically and with unrivaled intensity on Socrates as a political thinker and actor. Featuring some of Plato's most soaringly lyrical passages, the Phaedrus investigates the soul's erotic longing and its relationship to the whole cosmos, as well as inquiring into the nature of rhetoric and the problem of writing. Nichols's attention to dramatic detail brings the dialogues to life. Plato's striking variety in conversational address is carefully reproduced, as is alteration in tone and implication even in the short responses. The translations render references to the gods accurately and non-monotheistically for the first time, and include a fascinating variety of oaths and invocations. A general introduction on rhetoric from the Greeks to the present shows the problematic relation of rhetoric to philosophy and politics, states the themes that unite the two dialogues, and outlines interpretive suggestions that are then developed more fully for each dialogue. The twin dialogues reveal both the private and the political rhetoric emphatic in Plato's philosophy, yet often ignored in commentaries on it. Nichols believes that Plato's thought on rhetoric has been largely misunderstood, and he uses his translations as an opportunity to reconstruct the classical position on right relations between thought and public activity. (shrink)

Οκον τν μέλλοντα τέχνην ητορικν μετιέναι πρτον μέν δε τατα δ διρσθαι, κα εληέναι τιν χαρακτρα κατέρου το εδουδ, ν ᾧ τε νγκη τ πλθος πλανσθαι Kα ν ᾧ μή . To the best of my knowledge the soundness of the first six words of this sentence has never been questioned, yet to accept them as they are in the manuscripts means to close one's eyes to the direction of the argument. At 260d5–9 rhetoric personified and allowed to plead its (...) case makes the ‘big’ statement that anyone learning how to speak would do well to know the truth about his subject but that even if he knows it he would not be able νεν μο, i.e. without the aid of rhetoric, πείθειν τέχν. From that point on the issues are whether rhetoric justly claims to be a τέχν, what territory it covers and how the procedure of someone practising it τέχν may differ from that of one for whom it is an τεχνος τριβή . Even if rhetoric engages in πάτη and proves e.g. one and the same thing to be both just and unjust , success will be with τέχν τοτο δρν ; witness Zeno of Elea, a master in such arguments λέγοντα τέχν when he makes the same things appear like and unlike or one and many . To judge shrewdly what kind of subjects deceive people more easily the rhetorician himself must have a firm grasp of the truth: λόγων ρα τέχνην, ταρε, τν λήθειαν μ εδώς, δόξας δ τεθηρευκώς, γελοίαν τινά, ς οικε, κα τεχνον παρέξεται. (shrink)

Οκον τν μέλλοντα τέχνην ητορικν μετιέναι πρτον μέν δε τατα δ διρσθαι, κα εληέναι τιν χαρακτρα κατέρου το εδουδ, ν ᾧ τε νγκη τ πλθος πλανσθαι Kα ν ᾧ μή. To the best of my knowledge the soundness of the first six words of this sentence has never been questioned, yet to accept them as they are in the manuscripts means to close one's eyes to the direction of the argument. At 260d5–9 rhetoric personified and allowed to plead its case (...) makes the ‘big’ statement that anyone learning how to speak would do well to know the truth about his subject but that even if he knows it he would not be able νεν μο, i.e. without the aid of rhetoric, πείθειν τέχν. From that point on the issues are whether rhetoric justly claims to be a τέχν, what territory it covers and how the procedure of someone practising it τέχν may differ from that of one for whom it is an τεχνος τριβή. Even if rhetoric engages in πάτη and proves e.g. one and the same thing to be both just and unjust, success will be with τέχν τοτο δρν ; witness Zeno of Elea, a master in such arguments λέγοντα τέχν when he makes the same things appear like and unlike or one and many. To judge shrewdly what kind of subjects deceive people more easily the rhetorician himself must have a firm grasp of the truth: λόγων ρα τέχνην, ταρε, τν λήθειαν μ εδώς, δόξας δ τεθηρευκώς, γελοίαν τινά, ς οικε, κα τεχνον παρέξεται. (shrink)

There was once a man in a certain village in the mountains, who made his living by making up stories, which he used to tell to the people of his village to while away their evenings. One day he went on a journey to a strange village far away in the plains, and there he saw a group of men sitting round another story-teller. Being curious to learn whether his rival was as good a story-teller as he was, he joined (...) the group and listened. He was astonished to find that the story being told was one he had made up himself. So when the story-teller had finished, the man took him aside and said, ‘That was a good story, but it is my story, which I made up, and you must pay me money for it.’ ‘You are wrong,’ said his rival. ‘It is my story, for I made it up myself this morning’. (shrink)

There was once a man in a certain village in the mountains, who made his living by making up stories, which he used to tell to the people of his village to while away their evenings. One day he went on a journey to a strange village far away in the plains, and there he saw a group of men sitting round another story-teller. Being curious to learn whether his rival was as good a story-teller as he was, he joined (...) the group and listened. He was astonished to find that the story being told was one he had made up himself. So when the story-teller had finished, the man took him aside and said, ‘That was a good story, but it is my story, which I made up, and you must pay me money for it.’ ‘You are wrong,’ said his rival. ‘It is my story, for I made it up myself this morning’. (shrink)

When thinking of Plato’s discussions of virtue, many dialogues come to mind, but, assuredly, the Phaedrus does not. The word ἀρετή is used only six times in the dialogue. Unlike other dialogues, the Phaedrus thematizes neither the general concept of virtue nor any of the particular virtues. Given the centrality of virtue to Plato’s ethics and politics, it is surprising to see little reference to virtue in a dialogue devoted to love and to rhetoric, topics that have deep (...) ethical and political significance. -/- I argue that the Phaedrus makes important contributions to our understanding of virtue in Plato despite the infrequency of references. First, the dialogue juxtaposes competing conceptions of virtue: the “urbane” (cf. 227d) capacity to make things conform to one’s happenstance desires, championed by Lysias, and the “manic” capacity to conform oneself to reality, championed by Socrates. After clarifying that enslavement to pleasure-lust is the underlying condition of soul for Lysianic virtue, Socrates reveals that the non-lover’s “virtue” is, in truth, virtue in name only. Rather, true virtue emerges only when the soul becomes harmoniously ordered under reason’s guidance, a condition which is achieved through the soul’s encounter with beauty. Second, in the process of articulating how true virtue comes to be in the soul, Socrates gives grounds for distinguishing it from “self-restraint” (ἐγκράτεια), a condition of soul whose outward aspect may be indistinguishable from that of virtue. While a soul in which reason does not take the reins may act from self-restraint, it does not yet act from virtue. Third, the dialogue gives us resources for seeing how other people, such as artful rhetoricians, can influence one’s cultivation of virtue. At first glance, Socrates’s claim that artful rhetoricians can “hand over” virtue (270b) seems incompatible with his claim that virtue is unteachable (cf. Meno 86d-99e). However, the dialogue offers some resources for seeing that the unteachability of virtue and the capacity for rhetoricians to “hand over” virtue are not, in fact, incompatible. From these three points, we will see that the Phaedrus offers an intellectualist account of virtue reminiscent of what we see in other dialogues. The intellectualist vision here, however, is one that includes a positive role for the subrational elements of the soul rather than one that excludes them from relevance or actively seeks to suppress them. (shrink)

The article interprets Franz Caucig’s Socrates with a Disciple and Diotima?, one of several paintings commissioned for Palais Auersperg in Vienna, now housed at the Slovenian National Gallery. Socrates and a young man are in a pastoral setting beneath a plane tree near a river. They are addressed by a woman, and a chariot with maidens can be seen in the background. The scene is from Plato’s Phaedrus, since Socrates never leaves Athens, except for military service and in this (...) scene from the Phaedrus. The woman addressing Socrates and Phaedrus in the painting cannot be Diotima because her chariot has two white horses, indicating a goddess. The most likely goddess would be the goddess in the poem of Parmenides of Elea, the source of the soul-chariot analogy in the Phaedrus. The setting of Caucig’s Socrates painting bears a remarkable similarity to his Amnytus painting, which features political references to Napoleon’s subjection of Gorizia, Caucig’s homeland. Caucig’s Phaedrus remarks upon Napoleon’s conquests, Hegel’s lectures on Parmenides, and David’s idealized painting of Napoleon crossing the Alps. (shrink)

I argue that the opening line of the _Phaedrus_ proleptically encapsulates the major themes of the dialogue and that paying attention to the opening line enables us to strengthen the identification of psychagogy as the key unifying thread of the whole dialogue. In particular, I argue that the opening line foreshadows the quarrel between Lysias and Socrates over the practical guidance of Phaedrus’ soul; the prominence of friendship in the philosophical form of life; the pertinence of Socrates’ one-on-one, custom-built (...) speeches, vis-à-vis the later conceptualization of rhetoric; the definition of the soul as a source of never-ending movement; as well as the origin (_arché_) and destiny (_télos_) of human souls, following the lines of the Palinode. (shrink)

For this special issue, dedicated to the historical break in what one might call ‘the politics of feeling’ between ancient ‘passions’ (in the ‘soul’) and modern ‘emotions’ (in the ‘mind’), I will suggest that the pivotal difference might be located instead between ancient and modern conceptions of the passions. Through new interpretations of two exemplars of these conceptions, Plato’s Phaedrus and Descartes’ Passions of the Soul, I will suggest that our politics today need to return to what I term (...) Plato’s ‘psychological virtue’ (drawing on virtue’s dual senses as ‘goodness’ and ‘power’), defined as a dynamic tension among mindful desire (nous), carnal desire (epithumia) and societal desire (thumos) achieved through rational discourse (logos). The upshot of this concept of psychological virtue, is that mind, at least via discourse, is also a desiring force, and thus capable of helping create new actions for souls in the political world. (shrink)

This commentary records, through notes taken by Hermias, Syrianus' seminar on Plato's Phaedrus, one of the world's most influential celebrations of erotic beauty and love. It is the only Neoplatonic commentary on Plato's Phaedrus to have survived in its entirety. Further interest comes from the recorded interventions by Syrianus' pupils - including those by Proclus, his eventual successor as head of the Athenian school, who went on to teach Hermias' father, Ammonius. The second of two volumes of Hermias' (...) commentary, the chapters translated here begin with a discussion of how the discarnate soul is visualised as a winged chariot team whose charioteer may gain some glimpse of beauty itself, which can explain subsequent erotic longing. This volume provides a translation is accompanied by explanatory notes, an introduction detailing the significance and context of the treatise and a scholarly apparatus including multiple indexes, glossaries and a bibliography. (shrink)

This paper presents a political reading of the Phaedrus. It is argued that the dialogue’s speeches on love describe types of political leadership and that, using the Socratic account of the statesman as someone who promotes moral improvement, political relations are not bound by institutions. Political relations become those in which one person affects the moral development of another and, thus, political ‘space’ is between people, not in specific locations. As a result, this new kind of forum must affect (...) the way we think of critical Socratic citizenship. Specifically, it introduces a more extensive understanding of critical engagement and incorporates an imperative to be self-critical through interaction with others. (shrink)

The Phaedrus depicts the Platonic Socrates’ most explicit exhortation to ‘philosophy’. The dialogue thereby reveals something of his idea of its nature. Unfortunately, what it reveals has been obscured by two habits in the scholarship: to ignore the remarks Socrates makes about ‘philosophy’ that do not arise in the ‘Palinode’; and to treat many of those remarks as parodies of Isocrates’ competing definition of the term. I remove these obscurities by addressing all fourteen remarks about ‘philosophy’ and by showing (...) that for none do we have reason to attribute to them Isocratean meaning. We thereby learn that ‘philosophy’ does not refer essentially to contemplation of the forms but to conversation concerned with selfimprovement and the pursuit of truth. (shrink)