Abstract

François Renaud replies to the question of what principles one ought to employ in the study of Plato by arguing that, and demonstrating how, the argument and the drama operate together successfully in the Gorgias. In agreement with Renaud’s approach, I expose some historical roots with a review of Platonic interpretive strategies of the modern period in the context of history of philosophy more generally. I also try to show why argument and drama operate together, an insight I attribute to Plato’s genius in relation to music.