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)

In Plato's Phaedrus, Socrates offers two speeches, the first portraying madness as mere disease, the second celebrating madness as divine inspiration. Each speech is correct, says Socrates, though neither is complete. The two kinds of madness are like the left and right sides of a living body: no account that focuses on just one half can be adequate. In a recent paper, Hugh Benson gives a left-handed speech about a psychic condition endemic among mathematicians: dianoia. Benson acknowledges that his account (...) is one-sided, but only hints at the virtues of right-handed dianoia. This note sketches a somewhat fuller picture. (shrink)

In several dialogues Socrates criticizes negative comments made against a sophist or the sophists. I show that Socrates’ target really is the sophists’ detractor, not the sophists themselves. From these passages I draw two broader conclusions. First, Plato’s defence of Socrates’ memory sometimes relies on creating a parallel between sophists and Socrates, rather than distinguishing between them and him. Secondly, Socratic philosophical practice has a widely neglected feature: examining and correcting the criticism made by his interlocutors against others.

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)

In this paper I defend a reading of eikasia as the viewing of an image as an image; this condition need not involve any confusion of image and original. The “standard reading” of eikasia, on which experiencing this state involves mistaking images for originals, is unsatisfactory, despite the fact that it offers an attractive account of the relation of the line and the cave. The initial description of eikasia makes the suggestion that Socrates believes that anyone consistently mistakes images for (...) originals implausible. Furthermore, the similarity later described between eikasia and dianoia, the third highest state on the line, supports the claim that eikasia can sometimes involve the successful study of an object through its image. After outlining my view of eikasia and explaining these arguments against the “standard” view, I return to the cave and attempt a pairing of the line and the cave that accords with my account of eikasia. (shrink)

A generally ignored feature of Plato’s celebrated image of the cave in Republic VII is that the ascent from the cave is, in its initial stages, said to be brought about by force. What kind of ‘force’ is this, and why is it necessary? This paper considers three possible interpretations, and argues that each may have a role to play.

This paper defends a reading of eikasia—the lowest kind of cognition in the Divided Line—as a kind of empirical cognition that Plato appeals to when explaining, among other things, the origin of ethical error. The paper has two central claims. First, eikasia with respect to, for example, goodness or justice is not different in kind to eikasia with respect to purely sensory images like shadows and reflections: the only difference is that in the first case the sensory images include representations (...) of value properties. Second, eikasia is not the bare awareness of images or simply a label for an error (mistaking image for original) but a kind of empirical, image-confined cognition, and one that has an important part to play in characterising the cognitive abilities of the non-rational parts of the soul. (shrink)