El artículo sostiene que la caverna de Platón es fundamentalmente una alegoría política, no epistemológica, y que solo así podremos apreciar la relación que guarda con las imágenes del sol y de la línea. Sobre la base de evidencia textual, se ponen en duda las dos hipótesis principales sobre las que se funda el esfuerzo por encontrar un paralelo epistemológico entre la caverna y la línea: que los prisioneros representan a la humanidad en general, y que la caverna simboliza el (...) mundo visible de la experi-encia corriente, mientras el mundo fuera de esta representa el reino de las ideas. La suspensión de estos supuestos posibilita una lectura que resalta los temas culturales y políticos que están en juego en esta famosa alegoría. (shrink)

Abstract: In this paper I claim that Plato’s Cave is fundamentally a political, not an epistemological image, and that only by treating it as such can we appreciate correctly its relation to the images of the Sun and the Line. On the basis of textual evidence, I question the two main assumptions that support (in my view, mistakenly) the effort to find an epistemological parallel between the Cave and the Line: first, that the prisoners represent humankind in general, and, second, (...) that the cave itself represents the visible world of ordinary experience while the world outside the cave represents the realm of the Forms. Disrupting these assumptions opens up a reading that highlights the cultural and political themes at play in this famous allegory and allows us to make better sense of it. -/- Keywords: Plato, Cave, Politics, Culture -/- Resumen: En este ensayo sostengo que la Caverna de Platón es fundamentalmente una alegoría política, no epistemológica, y que solo tratándola como tal, podremos apreciar correctamente la relación que guarda con las imágenes del Sol y de la Línea. Sobre la base de evidencia textual, pongo en duda las dos hipótesis principales sobres las que se funda (a mi parecer, equivocadamente) el esfuerzo por encontrar un paralelo epistemológico entre la Caverna y la Línea: la primera, que los prisioneros representan a la humanidad en general, y la segunda, que la propia caverna representa el mundo visible de la experiencia corriente, mientras que el mundo fuera de la caverna representa el reino de las Ideas. La suspensión de estos supuestos posibilita una lectura que pone de relieve los temas culturales y políticos que están en juego en esta famosa alegoría y nos permite así entenderla mejor. -/- Palabras Clave: Platón, Caverna, Política, Cultura . (shrink)

The article refers to the issue of freedom from a philosophical perspective. First of all, it discusses Plato’s metaphor of the cave in Politeia, in which the philosopher writes of freedom in its individual and collective forms. Then the article indicates how the metaphor was read by such contemporary philosophers as Martin Heidegger and Hannah Arendt, who interpret Plato’s metaphor from existential-phenomenological and political perspectives. Heidegger stresses the freedom of a human being, who in the light of the subjective existential (...) experience begins to live objectively in an authentic way. He frees himself up from the impersonal-I. A person, who experienced the truth as un-concealment, is not enslaved anymore to the impersonality of the crowd. He is able to face his own mortality and to take responsibility for his own fate. A special expression of freedom is shown in his care for others, even if it means risking one’s life. Hannah Arendt interprets Plato’s metaphor from the perspective of political philosophy. Her assessment becomes some kind of memento. What if the prisoners of the cave simply do not want to leave their place? Does the philosopher have a right forcefully to pull them out of the cavern? What is better, the attitude of Socrates, who dialogues with people or the attitude of Plato, who simply lectures the mob? In this way Arendt refers to the concept of freedom, as it is sketched in Plato’s cave. At the same time, she argues with Heidegger’s interpretation of the Platonic metaphor. Heidegger stresses the freedom of a human being, who in the light of the subjective existential experience begins to live objectively in an authentic way. He frees himself up from the impersonal-I. Human, who experienced the truth as un-concealment and freedom, is not enslaved anymore with the impersonality of the crowd, which reject individualism and authenticity. He is able to face his own mortality and to take responsibility for his own fate. A special expression of so understood freedom is shown in his care for others, even if this way he risks his own life. Hannah Arendt interprets Plato’s metaphor rather from the perspective of political philosophy. Her assessment, rooted in the very foundation of the political-philosophical thought becomes some kind of memento. What if the prisoners of the cave, simply do not want to leave their place? Does the philosopher have a right to forcefully pull them out of the cave of shadows? What is better, the attitude of Socrates, who dialogues with people and treats them as equal partners or the attitude of Plato, who simply lectures the mob? (shrink)

Current interpretations of Plato’s cave are obviously incorrect because they do not explain how what we hear does not come from what we see. I argue that Plato is saying that the colors we receive from our faculty of vision do not cause the sounds that we receive from our faculty of hearing. I also show how we do not see ourselves or one other, how the shadows on the wall of the cave are images of that which casts them (...) and therefore have less reality than them, and how the cave illustrates the divided line’s concern for the relationship between Forms and visible reality. The paper is structured around the two great riddles of the divided line: how Forms can be more real than everyday objects, and how one can know the unhypothesized beginning with complete certainty. I further argue that the puppets that cast shadows stand for the immanent Forms of the Phaedo and also for the moving Forms of the Timaeus. That of which these puppets are themselves images would thus stand for the Forms as they are in themselves of the Phaedo or the indestructible Forms of the Timaeus. ‘Plato used to ask whether the discussion was proceeding from or leading up to fundamental principles, just as in a race course there is a difference between running from the judges to the far end of the track and running back again.’ – Aristotle, Nicomachean Ethics 1095. (shrink)

This essay aims to shed new light on the stages of moral enlightenment in the Allegory of the Cave, of which there are three. I focus on the two stages within the cave, represented by eikasia and pistis, and provide a phenomenological description of these two mental states. The second part of the essay argues that there is a structural parallelism between the Allegory of the Cave and the ending of the Republic. The parallelism can be convincingly demonstrated by a (...) purely formal analysis, but additionally it complements and reinforces the original interpretation of the Cave, insofar as the ending of the Republic also mirrors, on the level of content, the previously adduced stages of moral enlightenment. (shrink)