A standard interpretation of Plato’s metaphysics holds that sensible particulars are images of Forms. Such particulars are fairly independent, like Aristotelian substances. I argue that this is incorrect: Platonic particulars are not Form images but aggregates of Form images, which are property-instances. Timaeus 49e-50a focuses on “this-suches” and even goes so far as to claim that they compose other things. I argue that Form images are this-suches, which are tropes. I also examine the geometrical account, showing that the geometrical constituents (...) of the elements are also Form images. Thus everything in the sensible world is composed of tropes. (shrink)

The ‘traditional’ interpretation of the Receptacle in Plato’s Timaeus maintains that its parts act as substrata to ordinary particulars such as dogs and tables: particulars are form-matter compounds to which Forms supply properties and the Receptacle supplies a substratum, as well as a space in which these compounds come to be. I argue, against this view, that parts of the Receptacle cannot act as substrata for those particulars. I also argue, making use of contemporary discussions of supersubstantivalism, against a substratum (...) interpretation that separates substratum and space in the Timaeus. (shrink)

In a 1985 article entitled “The Art of Glaukos,” Diskin Clay suggested that the enigmatic passage at the beginning of the geological myth in Phaedoreferred toRepublic10, where the soul is likened to the sea-creature Glaucus whose true nature, like the soul’s, is obscured by the distortions imposed by underwater life. Starting with a defense of Clay’s ingenious suggestion, my purpose is to compare Phaedoto Glaucus, with its true nature obscured by traditional assumptions about the order in which Plato composed his (...) dialogues, and thus how they should be read. At least part of the reason that Clay’s thesis has not been embraced is because it clashes with the dogma that Phaedocannot refer back to Republic; I want to challenge that dogma. Borrowing from Catherine Zuckert the notion that, since Phaedocomes at the end of Socrates’ story, it can usefully be read as the culmination of the Platonic dialogues, I will show how a “late” Phaedo—i.e., a reading of the dialogue that is open to the possibility that it refers to more than one dialogue generally considered to be later than it with respect to composition—recovers its true nature, presently encrusted with the oysters and seaweed of an outdated developmentalism that has obscured this culminating masterpiece of Plato’s dramatic and philosophical art. (shrink)

This is a study of the correspondence between Forms and particulars in Plato. The aim is to determine whether they exhibit an ontological symmetry, in other words, whether there is always one where there is the other. This points to two questions, one on the existence of things that do not have corresponding Forms, the other on the existence of Forms that do not have corresponding things. Both questions have come up before. But the answers have not been sufficiently sensitive (...) to the intricacies of the questions. Nor have they been adequately resourceful with what little evidence there is in the original sources. The intention here is to make up for that deficiency, not just with better answers but also with better insight into the questions. (shrink)

The paper argues that Plato’s dialogue form creates a Quinean “opaque context” that segregates the assertions by Plato’s characters in the dialogues from both Plato and the real world with the result that the dialogues require a hermeneutical interpretation. Sec. I argues that since the assertions in the dialogues are located inside an opaque context, the forms of life of the characters in the dialogues acquires primary philosophical importance for Plato. The second section argues that the thesis of Sec. I (...) coheres with the claim in Plato’s Seventh Letter that since philosophical truth is incommunicable by means of language it is of primary importance for philosophers to develop proper “schemes of living”. Sec. III argues since the forms of life of the characters portrayed in the dialogues is of primary philosophical importance for Plato, and since hermeneutical methods are required to interpret emerging forms of life, Plato’s dialogues are positively crafted to be read hermeneutically. Sec IV argues that Heidegger, who is famous for seeing Plato’s views as antithetical to his own hermeneutical approach, is mistaken, and that Plato’s real views are, in principle, more akin to Heidegger’s views than he thinks. (shrink)