> καὶ πῶς τις ἀνάξει αὐτοὺς εἰς φῶς, ὥσπερ > > ἐξ Ἅιδου λέγονται δή τινες εἰς θεοὺς ἀνελθεῖν; > > Plato Republic 521c This study reconstructs Empedocles’ eschatology and cosmology, arguing that they presuppose one another. Part one surveys body and soul in Empedocles and argues that the transmigrating daimon is a long-lived compound made of the elements air and fire. Part two shows that Empedocles situates our current life in Hades, then considers the testimonies concerning different cosmic levels (...) in Empedocles and compares them with the afterlife schemes in Pindar’s Second Olympian Ode and Plato’s Phaedo myth. Part three offers a new edition of section d lines 5–10 of the Strasbourg papyrus of Empedocles that reinforces the connection between transmigration and different cosmic locations for souls. Part four reconstructs Empedocles’ cosmology, identifies three different levels or habitats of soul, and, more tentatively, suggests that Empedoclean “long-lived gods” are best understood as stars. (shrink)

Platón procura establecer en el Fedro una estrecha vinculación entre la poesía y el ámbito eidético propio del saber filosófico, o al que accede el filósofo mediante una ejercitada captación sinóptico-dialéctica. Tal tipo de poesía filosófica aparece ilustrada a la perfección en la propia palinodia socrática, la cual erige a Sócrates – y en última instancia a Platón – como paradigma de filósofo poeta, palinodia que ha sido obligada a pronunciarse “con ciertos términos poéticos”. Partiendo de esa palinodia como modelo, (...) Platón se propone abordar el tema del éros con discursos filosóficos que se nutran de términos poéticos, o sea, a través de una explícita mixtura de elementos filosóficos y poéticos, cuyo ejemplo más claro es el Fedro en su conjunto, o, en términos más generales, el género dialógico platónico en tanto este pone en escena una interacción entre los registros filosófico y poético. Teniendo en cuenta esta relación de compatibilidad que Platón establece en el Fedro entre su paradigma poético-filosófico y el de tipo tradicional – paradigmas que en los libros II, III y X de la República aparecían claramente en tensión –, en este artículo me interesa apoyar tal relación en la anécdota del sueño relatada por Sócrates al comienzo del Fedón, en la cual el filósofo confiesa ante Simmias y Cebes haber compuesto desde su encierro en la cárcel – ya que anteriormente jamás lo había hecho – poemas basados en la versificación o musicalización de las fábulas de Esopo y un himno a Apolo. (shrink)

While the aim of the present paper is to analyze Olympiodorus’ commentary to Plato’s Phaedo, particular attention will be paid here to the role of hēdonē. The first part of the text presents the four conceptions of the pleasure that can be found in Plato’s dialogue. Although pleasure does not play the most prominent role either in the Plato’s dialogue or in the Neoplatonic commentary, Olympiodorus’ attitude to this issue reveals an important change and difference between the philosophical views of (...) Plato and those of Olympiodorus. The latter does not seem to discern the possibility that pleasure can have its spiritual dimension. Thus, the experience of hēdonē is reduced solely to the sphere of the senses and even in this area its role needs to be minimized: in this form it has to be carefully measured and controled. Furthermore, Olympiodorus does not see that so-called hedonistic calculus: whilst it is not strictly speaking connected with virtuous actions, it still can have some significance for the the philosopher’s life. (shrink)

In the De Generatione et Corruptione II 9, Aristotle aims to achieve the confirmation of his theory of the necessity of the efficient cause. In this chapter he sets out his criticism on the one hand of those who wrongly attributed the efficient cause to other kinds of causality and on the other, of those who ignored the efficient cause. More specifically Aristotle divides all preceding theories which attempted to explain generation and corruption into two groups: i) those which offered (...) an explanation by using the formal cause ii) those which provided an explanation by using the material or the instrumental causes. According to Philopo­nus, when Aristotle reproaches the other philosophers for adducing no proper notion of the efficient cause he alludes to both Anaxagoras and Plato. Regarding Anaxagoras, in our view this cannot be confirmed by internal textual evidence. In terms of Plato, in this chapter we trace an explicit and an implicit criticism of the Platonic Forms as causes. Aris­totle’s implicit criticism is that the Forms are not at all active causes. We can understand better the grounds for this criticism if we also consider his relevant arguments in Book Lambda of his Metaphysics. His explicit criticism, articulated in two arguments, is formulated in GC 335b18–24. We examine the different lines of its interpretation in the second­ary literature, but primarily we focus on Philoponus’ exegesis, which contributes significantly, not only to the clarification of Aristotle’s thinking, but also to the manifestation of the arguments articulated in defence of the Platonic theory of the Forms. In this paper, through the analysis of Philoponus’ exegesis we set out to prove that Aristotle’s criticism of the Platonic causes can be construed from the perspective of either Aristo­telian theory or the Platonic and Neoplatonic influence. Finally, based on Philoponus’ exegesis, we examine Aristotle’s criticism of those who posited matter or instrumental causes as efficient causes. (shrink)

In this paper I present an original interpretation of the concept of separation in Plato. First, I argue that despite the fact that the ancient Greek word for “separation” almost never appears in the metaphysical discussions of Plato’s dialogues, the key role of the concept of separation in Plato’s metaphysics can be attested by the importance the platonic tradition gives to it. Therefore, understanding separation in Plato seems to be a problem we must face, but we do not have a (...) clear strategy to solve it. My strategy will be to tackle this problem by looking at a specific passage in which Plato distinguishes the ontological status of Forms and sensible things. Through the analysis of this passage and its relations to another metaphysical argument in Plato, I hope to show that Plato’s careful choice of words and syntactical structure of sentences aims to distinguish two ontologically different types of entities: the unrelational, separate Forms, and the relational sensible things. (shrink)

El Fedón es la estilización platónica de la figura de Sócrates como un philósophos pitagórico. Sin embargo, ¿puede deducirse de ello, como señalan las interpretaciones habituales de este diálogo, que ahí se albergue “el credo de la filosofía platónica”? Hay múltiples argumentos que impiden sostener esta tesis: por un lado, la caracterización pitagórica de Sócrates resulta ajena a las diversas fuentes que nos permiten reconstruir un Sócrates “histórico”; por otro lado, el Fedón contradice la actitud general del Sócrates del Corpus (...) Platonicum, que no parece ser la de un enemigo del “cuerpo” y sus placeres. En este artículo me propongo defender las siguientes tesis: 1) El Fedón y, en particular, el pasaje conocido como “La defensa de Sócrates” constituye el intento preliminar de esbozar algo así como los principios filosófico-religiosos del nuevo socratismo pitagórico; y 2) El diálogo no pretende sugerir ni que el Sócrates histórico sintiera alguna inclinación particular por estos principios ni que el propio Platón sostenga una posición de esa índole. (shrink)

This paper concerns Plato’s characterization of the body as the soul’s tool. I take perception as an example of the body’s usefulness. I explore the Timaeus’ view that perception provides us with models of orderliness. Then, I argue that perception of confusing sensible objects is necessary for our cognitive development too. Lastly, I consider the instrumentality relationship more generally and its place in Plato’s teleological worldview.

This book is a quest for the real Plato, forever hiding behind the veil of drama. The quest, as the subtitle indicates, is Cartesian in that it looks for Plato independently of the prevailing paradigms on where we are supposed to find him. The result of the quest is a complete pedagogical platform on Plato. This does not mean that the book leaves nothing out, covering all the dialogues and all the themes, but that it provides the full intellectual apparatus (...) for doing just that. It consists of two parts. The first is a general orientation in three chapters, one each pertaining to the life, thought, and works of Plato. The second is a dialogic companion covering the four dialogues built around the last days of Socrates, with a separate chapter devoted to each: Euthyphro, Apology, Crito, and Phaedo. (shrink)

One of the hardest questions to answer for a (Neo)platonist is to what extent and how the changing and unreliable world of sense perception can itself be an object of scientific knowledge. My dissertation is a study of the answer given to that question by the Neoplatonist Proclus (Athens, 411-485) in his Commentary on Plato’s Timaeus. I present a new explanation of Proclus’ concept of nature and show that philosophy of nature consists of several related subdisciplines matching the ontological stratification (...) of nature. Moreover, I demonstrate that for Proclus philosophy of nature is a science, albeit a hypothetical one, which takes geometry as its methodological paradigm. I also offer an explanation of Proclus’ view of what is later called the mathematization of physics, i.e. the role of the substance of mathematics, as opposed to its method, in explaining the natural world. Finally, I discuss Proclus’ views of the discourse of philosophy of nature and its iconic character. (shrink)

This article argues that the Phaedo is written as a new sort of story of how a hero faces death; this story provides an alternative to existing tragedy, as understood by Plato. The opening of the Phaedo makes clear that two features that Plato closely associates with tragedy, pity and lamentation, are inappropriate responses to Socrates’ impending death, and that tuchē (chance) did not affect his happiness. This is the first step in the dialogue’s sustained engagement with tragedy. Tragedy for (...) Plato falls under the category of stories about heroes and gods. Plato wrote the Phaedo so that we would see Socrates as a philosophical hero, a replacement for traditional heroes such as Theseus or Heracles. I argue that in fact the Phaedo meets every requirement in Republic Books 2–3 for how to tell stories about heroes and gods and so belongs to the same broad category as tragedy. Within this framework, it tells its new story of how the true hero faces death. (shrink)

This paper deals with the deuteros plous, literally ‘the second voyage’, proverbially ‘the next best way’, discussed in Plato’s Phaedo, the key passage being Phd. 99e4-100a3. I argue that (a) the ‘flight into the logoi’ can have two different interpretations, a standard one and a non-standard one. The issue is whether at 99e-100a Socrates means that both the student of erga and the student of logoi consider images (‘the standard interpretation’), or the student of logoi does not consider images but (...) that “consistency should suffice for truth” (‘the non-standard interpretation’); (b) the non-standard one implies the problem of the hypothesis, a problem analogous to the problem of the elenchus; (c) there is a structural analogy between Descartes’ ontological argument for the existence of God in his 5th Meditation and the final proof for the immortality of the soul in the Phaedo. (shrink)