Allegorical interpretation of the ancient Greek myths began not with the grammarians, but with the philosophers. As speculative thought developed, there grew up also the belief that in mystical and symbolic terms the ancient poets had expressed profound truths which were difficult to define in scientifically exact language. Assuming that the myth-makers were concerned to edify and to instruct, the philosophers found in apparent immoralities and impieties a warning that both in offensive and in inoffensive passages one must look beneath (...) the surface for the true significance of the tales. Thus allegory was originally positive, not negative, in its aim; its purpose was not so much to defend the poetic traditions against charges of immorality as to make fully explicit the wealth of doctrine which ex hypothesi the myths contained. Those who wrote to defend the poets could, if they chose, make some use of the results of the allegorical method; passages to which exception had been taken could be shown by allegorical treatment to be quite consistent with the view that the poets were wise and divinely inspired. But the first dim beginnings of allegory can be traced to another and a weightier motive—namely, the desire of speculative thinkers to appropriate for their own use some at least of the mythical traditions. Nor is there any reason to doubt that the same motive was the main driving force in the later history of allegorical interpretation. Objectionable passages were, indeed, regarded as among the richest in deeper meaning; but the leading allegorists applied their method to offensive and inoffensive passages alike. (shrink)

The author believes that plato's view of the nature of philosophical activity can be seen in plato's paradoxical attitude toward the relationship between the written and spoken word. The "phaedrus" is examined from this perspective, And the author concludes that the varied wing symbols used by plato here indicate that although written words "have no wings," the words of philosophy do. Written words have some effectiveness for persuasion, But a philosopher needs more spirited interaction than this; only the spoken word (...) can supply this. (staff). (shrink)

Plato (c. 427-347 BC) was born into a wealthy and aristocratic Athenian family. He cherished the ambition of entering politics when he came of age, but was disillusioned first by the injustices of the oligarchic government in which his relatives Charmides and Critias were involved, and later by the action of the democracy which succeeded it, particularly the trial and execution of Socrates in 399 BC. In his best-known dialogue, The Republic, he sought to provide a theoretical foundation for a (...) government which would embody the justice he had found to be lacking in the actual governments of his day. His only active intervention in politics, in the intended role of adviser, was an unsuccessful one in Syracuse, Sicily. Details of it are given in his Seventh Letter. Some time before his second visit to Sicily, in 367 BC, he founded the school known as ‘the Academy’. His career as a writer of dialogues may have begun before this. In his early dialogues, he memorialized Socrates and his method of philosophizing by making him chief participant and questioner. His teaching in the Academy was interrupted for a third visit to Sicily in 361-360 BC, when he was nearly seventy. He survived an illness caused by the hardships of the journey, and died aged about eighty-one. (shrink)

At 435c-d and 504b ff., Socrates indicates that there is a "longer and fuller way" that one must take in order to get "the best possible view" of the soul and its virtues. But Plato does not have him take this "longer way." Instead Socrates restricts himself to an indirect indication of its goals by his images of sun, line, and cave and to a programmatic outline of its first phase, the five mathematical studies. Doesn't this pointed restraint function as (...) a provocation, moving us to want to begin the "longer way" and to make use of its conceptual resources to rethink Socrates' images? I begin by finding a double movement in the complex trajectory of the five studies: they both guide the soul in the "turn away from what is coming to be ... [to] what is" (518c) and, at the same time, lead the soul back, albeit in the medium of pure intelligibility, to the sensible world; for the pure figures and ratios that they disclose constitute the core structures of sensible things. I then draw on what Socrates says about geometry and harmonics to address three fundamental questions that he leaves open: the nature of the Good in its responsibility for truth and for the being of the forms; the relations of forms, mathematicals, and sensibles as these are disclosed by dialectic; and the bearing of the philosopher's discovery of the Good on his disposition towards his community and the task of ruling. I close by marking six sets of further questions that these reflections bequeath for dialogues to come. (shrink)