The centrepiece of Cicero's De re publica is a discussion of justice. This discussion, which evokes the theme of the Platonic dialogue after which it was named, consists of a set of three speeches. It begins with a speech opposing justice, placed in the mouth of L. Furius Philus and alleged by him to be modelled on the second of a pair of speeches for and against justice delivered in Rome in 155 B.C. by the Greek Academic philosopher Carneades. (...) Philus' speech lays the dialectical foundation for the two subsequent speeches, a defence of justice as the prerequisite for government by C. Laelius, and an explanation of its role in various forms of government by Scipio Aemilianus. (shrink)

Cet article propose une interprétation de la philosophie de la Nouvelle Académie différente de celle qui a été défendue par J. Annas. Il nous semble que la prise en compte de l'ensemble des témoignages concernant cette école suggère une réalité plus complexe que celle que recouvre le concept de scepticisme, au moins dans sa version néopyrrhonienne. Nous croyons qu'Arcésilas et Carnéade n'ont pas délimité un Platon sceptique, mais qu'ils ont accepté à leur manière l'ensemble de l'héritage platonicien. La force de (...) la tradition apparaît donc plus forte dans l'histoire de l'Académie que ne l'admettent généralement les interprètes. The purpose of this article is to give an interpretation of the New Academy's philosophy quite different from the one defended by J. Annas. In our opinion the reading of the whole testimonies relating to this school suggests a greater complexity than what is embraced by the concept of skepticism, at least in its neopyrrhonian version. We believe that Arcesilas and Carneades, instead of confining Plato whithin the limits of skepticism, have accepted - in their own way - the whole Platonician legacy. Thus the burden of tradition seems more important in the history of the Academy than it is generally admitted. (shrink)

Scholars of Greek and Roman antiquity advance a variety of reasons to explain why the study of Hellenistic philosophy remains dependent on fragments and testimonies. Mansfeld observes such dependence in his use of the premise that philosophers of late antiquity based philosophical instruction and school curricula on a core set of writings from the classical period. On this basis, Mansfeld infers that schools of late antiquity continually transcribed and preserved writings of instructional significance. The schools routinely excluded other classical and (...) Hellenistic writings from the curricula, thus ensuring that a sizable body of literature deemed less pedagogically significant would perish, along with the original material on which the inscriptions had been made. The main problem with this standard survey of reasons is that it fails to explain why we remain extraordinarily dependent on peripheral sources and later testimonies in studying the Hellenistic Academy. (shrink)

The fundamental issue regarding Arcesilaus’ skepticism is whether it should be understood as a philosophical position or as a strictly dialectical practice with no doctrinal content. In this paper I argue that it is both by providing an account of the epistemic principles informing his practice along with a positive doxastic attitude that he may consistently take towards those principles. I further show how Arcesilaus may have reasonably derived his Socratic project, including the epistemic principles and his distinctive cognitive attitude, (...) from his reading of Plato’s dialogues, and that this approach enables us to better understand the function of his practical criterion, the reasonable (to eulogon). And finally, I note that since Arcesilaus’ great successor Carneades confronts the same problem regarding the coherence of his Socratic project, a similar interpretative approach may be taken to his practical criterion, the persuasive (to pithanon). (shrink)

A fairly long (~15,000 word) overview of ancient theories of freedom and determinism. It covers the supposed threat of causal determinism to "free will," i.e., the sort of control we need to have in order to be rightly held responsible for our actions. But it also discusses fatalistic arguments that proceed from the Principle of Bivalence, what responsibility we have for our own characters, and god and fate. Philosophers discussed include Aristotle, Epicurus, the Stoics, Carneades, Alexander of Aphrodisias, and (...) Plotinus. Plato is mentioned in passing a few times in connection with other philosophers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Who was Socrates? CORNELIA DE VOGEL I CONSIDERIT TO BE quite a privilege to be invited to speak of Socrates,1 not only because of the wonderful picture drawn by Plato of his master in what we call the Socratic dialogues, but perhaps mostly because there is a real challenge in the difference of opinion among modern scholars on the question of "Who was Socrates?" I have solid grounds (...) for being convinced that we can answer that question in a positive manner; that is, I think I can explain, first, that it is not true (as some modern scholars hold) that we are unable to grasp the historical reality that stands behind the name of Socrates; second, that there are a few modern interpretations of Socrates which are suggestive but false; third, that one and only one interpretation is well founded and correct. I think it is worthwhile to spend an hour considering these points. Socrates is one of those four famous Greek philosophers who did not leave any written works. The other three are: Pythagoras, who in Aristotle's day already seemed to disappear in the haze of a remote past; Pyrrho, the founder of the Sceptic School, and Carneades, that famous dialectician who was the head of the New Academy in the second century. On none of these so much as on Socrates have modern critics endeavored to demonstrate that he never existed? The most refined representative of the nineteenth-century style of criticism is O. Gigon, who modified Dupr6el's thesis insofar as he does not deny explicitly that there existed an Athenian called Socrates, and even that he may have been an important personality. But he does hold that we cannot know of what importance was Socrates. To prove his thesis Gigon deals first with the tradition about the indictment, the litigation and condemnation of Socrates; next with the story about the Delphic oracle and Socrates' calling to philosophy; then with his marriage and family life, and last, with his relation to the city of Athens. It is not too difficult to cite divergent and even contradictory information on all these points. As to Plato's dialogues, in which the philosopher Socrates is pictured--to the life, as it might seem to us--according to Gigon the historical value of t Lecture at the University of California, Berkeley, May 25, 1962. ~E. Dupr6el, La ldgende de Socrate et les sources de Platon (Brux., 1921); O. Gigon, Sokrates (Bern, 1947; Samml. Dalp). (See my review in Mnemosyne [1950]; see also Phronesis [1955], I.) A. H. Chroust, Socrates, Man and Myth (London, 1957), adopts essentially Gigon's thesis. [14s] 144 HISTORY OF PHILOSOPHY these writings is by no means greater than that of any other of our sources. Why should they be more trustworthy? Because the image they present is beautiful? That would be a deceptive ground, for Plato may have invented freely, and we have good reason to believe he did. In fact, if anybody holds that we do not know anything for certain about Socrates, he must begin by disparaging Plato's testimony altogether. Next, he must deny that Aristotle said a word of truth about what was the proprium of Socrates as a philosopher, and in what Plato differed from him. Third, he must assert that there is a complete disagreement between Plato and Xenophon as to the personality of Socrates, not to mention the fifthcentury comedian Aristophanes (who, as a matter of fact, drew a fairly strange portrait of the philosopher). After having thus rejected the testimony of contemporaries and their direct successors, he may turn to the gossip of those later authors who have no authority at all: Aristoxenus, a furious anti-Socratic, who is cited by Plutarch as a classical instance of malignity; Diogenes Laertius, that late writer (3rd century A.D.) who tells us the strangest stories about all Greek philosophers; Athenaeus, Herodicus, Aelianus, and so on--and find there divergent and contradictory information about Socrates' life and behavior. Let us begin by stating that we must not follow this procedure. Moreover, let us state that it is not interesting to us that, while Plato and Xenophon say Socrates was married... (shrink)

This collection illustrates the centrality of skill within ancient ethics, including ancient Chinese ethics, showing how skill or techne has been a touchstone from the beginning of philosophical thought. Covering Socrates' search for expertise in virtue, the Republic's 'craft of justice', Aristotle's delineation of the politike techne and the Stoics' 'art of life'. Divided into four sections on Plato, Aristotle, the Stoics and Chinese ethics, it brings together world-leading philosophers working across this broad topic. Yet it is not limited (...) to traditional figures and traditions, featuring essays on the importance of skill in lesser-known philosophers, such as Carneades and Antipater, and texts, such as the Zhuangzi. In doing so, it illustrates how skill, expertise and 'know how' are important in ethics, epistemology, philosophy of mind, philosophy of action and cognitive science. This collection of specially-commissioned chapters is the first to foreground skill as central to Ancient and Chinese ethics specifically making it an essential for anyone interested in the value of cross-cultural philosophy today. (shrink)

This is a commentary on selected texts of Plato concerned with poetry: the Ion and relevant sections of the Republic. It is the first commentary to present these texts together in one volume, and the first in English on Republic 2 and 3 and Ion for nearly 100 years. The introduction sets Plato's views in their Greek context and outlines their influence on later aesthetic thought. An important feature of the commentary is its exploration of the ambivalence of (...) Plato's pronouncements through an analysis of his own skill as a writer. (shrink)

The second edition of _Five Dialogues_ presents G. M. A. Grube's distinguished translations, as revised by John Cooper for Plato, _Complete Works_. A number of new or expanded footnotes are also included along with an updated bibliography.

Both an ideal entrée for beginning readers and a solid text for scholars, the second edition of Peter Kalkavage's acclaimed translation of Plato's _Timaeus_ brings enhanced accessibility to a rendering well known for its faithfulness to the original text. An extensive essay offers insights into the reading of the work, the nature of Platonic dialogue, and the cultural background of the _Timaeus_. Appendices on music, astronomy, and geometry provide additional guidance. A brief outline of the themes of the work, (...) a detailed glossary, and a selected bibliography are also included. (shrink)

In Plato's Gorgias, Gorgias of Leontini, a famous teacher of rhetoric, has come to Athens to recruit students, promising to teach them how to become leaders in politics and business. A group has gathered at Callicles' house to hear Gorgias demonstrate the power of his art. This dialogue blends comic and serious discussion of the best human life, providing a penetrating examination of ethics, the foundations of knowledge, and the nature of the good.

Plato's dialogues frequently treat several topics and show their connection to each other. The Phaedrus is a model of that skill because of its seamless progression from examples of speeches about the nature of love to mythical visions of human nature and destiny to the essence of beauty and, finally, to a penetrating discussion of speaking and writing. It ends with an examination of the love of wisdom as a dialectical activity in the human mind. Phaedrus lures Socrates outside (...) the walls of Athens, where he seldom goes, by promising to share a new work by his friend and mentor Lysias, a famous writer of speeches. This dialogue provides a powerful example of the dialectical writing that Plato uses to manifest ideas that are essential to human existence and to living a good life. The Phaedrus shows how oral and written forms of language relate to each other and to philosophy. It simultaneously embodies the entire process in some of the greatest poetry ever written. (shrink)

A model for the ideal state includes discussions of the nature and application of justice, the role of the philosopher in society, the goals of education, and the effects of art upon character.

Plato's Phaedo, written by legendary author Plato, is widely considered to be one of the greatest classic texts of all time. This great classic will surely attract a whole new generation of readers. For many, Plato's Phaedo is required reading for various courses and curriculums. And for others who simply enjoy reading timeless pieces of classic literature, this gem by Plato is highly recommended. Published by Classic Books International and beautifully produced, Plato's Phaedo would make (...) an ideal gift and it should be a part of everyone's personal library. (shrink)

This translation of four of Plato's dialogues brings these classic texts alive for modern readers. Allen introduces and comments on the dialogues in an accessible way, inviting the reader to re-examine the issues Plato continually raises.

This edition of Martin Ostwald's revised version of J. B. Skemp's 1952 translation of _Statesman_ includes a new selected bibliography, as well as Ostwald's interpretive introduction, which traces the evolution in Plato's political philosophy from _Republic_ to _Statesman to Laws_--from philosopher-king to royal statesman.

Presents outstanding translations of the Greek philosopher's works by leading British and American scholars of the last century.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

v. 1. Charmides. Lysis. Laches. Protagoras. Euthydemus. Cratylus. Phaedrus. Ion. Symposium.--v. 2. Meno. Euthyphro. Apology. Crito. Phaedo. Georgias. Appendix I: Lesser Hippias. Alcibiades I. Menexenus. Appenddix II: Alcibiades II. Eryxias.--v. 3. Republic. Timaeus. Critias.--v. 4. Pharmenides. Theaetetus. Sophist. Statesman. Philebus.--v. 5 Laws. Index to the writings of Plato.

A dialogue between a foreign philosopher and a powerful statesman outline Plato's reflections on the family, the status of women, property rights, and criminal law.

Benjamin Jowett's translations of Plato have long been classics in their own right. In this volume, Professor Hayden Pelliccia has revised Jowett's renderings of five key dialogues, giving us a modern Plato faithful to both Jowett's best features and Plato's own masterly style. Gathered here are many of Plato's liveliest and richest texts. Ion takes up the question of poetry and introduces the Socratic method. Protagoras discusses poetic interpretation and shows why cross-examination is the best way (...) to get at the truth. Phaedrus takes on the nature of rhetoric, psychology, and love, as does the famous Symposium. Finally, Apology gives us Socrates' art of persuasion put to the ultimate test--defending his own life. Pelliccia's new Introduction to this volume clarifies its contents and addresses the challenges of translating Plato freshly and accurately. In its combination of accessibility and depth, Selected Dialogues of Plato is the ideal introduction to one of the key thinkers of all time. (shrink)

Given its brevity, Plato's Meno covers an astonishingly wide array of topics: politics, education, virtue, definition, philosophical method, mathematics, the nature and acquisition of knowledge and immortality. Its treatment of these, though profound, is tantalisingly short, leaving the reader with many unresolved questions. This book confronts the dialogue's many enigmas and attempts to solve them in a way that is both lucid and sympathetic to Plato's philosophy. Reading the dialogue as a whole, it explains how different arguments are (...) related to one another and how the interplay between characters is connected to the philosophical content of the work. In a new departure, this book's exploration focuses primarily on the content and coherence of the dialogue in its own right and not merely in the context of other dialogues, making it required reading for all students of Plato, be they from the world of classics or philosophy. (shrink)

Plato's Republic, one of the great works in the history of philosophy, is presented here as it was written - as a dramatic performance exploring various perspectives on justice, truth, knowledge, and the good. Plato wrote each book of The Republic to be performed by actors playing the characters of Socrates, Glaucon, Adeimantus, Thrasymachus, and the others. When Book One was performed, he then invited his students—the brightest and best young people in Athens—to respond to each and every (...) argument, issue, and question posed by the characters. Rather than passively listening, they were lured into the process and challenged to evaluate and improve on the ideas presented in the performance. Based on their responses, Plato then wrote Book Two. The same process was repeated, and Book Three was generated. In this way all ten books evolved as part of a dynamic and creative dialectic intended to take place in the souls of each and every participant—including Plato himself. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

Ion -- Meno (Menon) -- Symposium (The banquet) -- The republic -- The apology (The defence of Socrates) -- Crito (Criton) -- Phaedo (Phaidon) -- The Greek alphabet -- Pronouncing index.

In Plato's Ion & Meno, Socrates questions Ion, an actor who just won a major prize, about his ability to interpret the epic poetry of Homer. As the dialogue proceeds, the nature of human creativity emerges as a mysterious process and an unsolved puzzle. A similar discussion between Socrates and Meno probes the subject of ethics. Can goodness be taught? If it can, then we should be able to find teachers capable of instructing others about what is good and (...) bad, right and wrong, or just and unjust. Socrates and Meno are unable to identify teachers of ethics, and we are left wondering how such knowledge could be acquired. The text is presented in an updated version of the Jowett translation, which helps to bring the work to life for students and non-academic audiences. (shrink)

You'd never know Athens was locked in a life-or-death struggle from the tranquil and leisurely philosophical discussion that unfolds through the pages of the Republic...Plato's masterpiece continues to inform our questions and our thinking when it comes to being, truth, beauty, goodness, justice, community, the soul, and more." -From Dr. Littlejohn's Introduction. On the way back from a festival, Socrates is waylaid by some friends who compel him to go home with them. There he and his companions engage in (...) a long discussion about whether it is worse to suffer evil or to commit it. Far from being dry or abstract, Plato's dialogue is full of practical questions about the nature of justice, education, power, and virtue, and it ends with two of the most vivid myths ever devised by man. This Canon Classic is translated clearly by Benjamin Jowett, and unlike all other works of philosophy, it's actually fun to read. The Canon Classics series presents the most definitive works of Western literature in a colorful, well-crafted, and affordable way. Unlike many other thrift editions, our classics are printed on thicker text stock and feature individualized designs that prioritize readability by means of proper margins, leading, characters per line, font, trim size, etc. Each book's materials and layout combine to make the classics a simple and striking addition to classrooms and homes, ideal for introducing the best of literary culture and human experience to the next generation. This Worldview Edition features an introduction divided into sections on The World Around, About the Author, What Other Notables Said, Setting, Characters, & Plot Summary, Worldview Analysis, 21 Significant Questions & Answers, and Further Discussion & Review. (shrink)

Plato's First Alcibiades was the recognised introduction to the dialogues of Plato in late antiquity, because it addresses the important question of the nature of the self. Only by discovering this can we understand the perspective from which we view the rest of reality. It was also considered as a necessary first step in our pursuit of happiness, for unless we know what we are we cannot know what will bring about our fulfilment - and without the fulfilment (...) of our true nature we cannot be happy. As a key to human understanding and happiness, the dialogue is as important today as it was in antiquity. Approximate Stephanus pagination accompanies the text. Added to this dialogue, in the form of additional notes and an introduction, is much of Proclus' Commentary written on the understanding that "it will be found by those who are deeply skilled in the philosophy of Plato, that each of his dialogues contains that which the universe contains." The Commentary reveals to the thoughtful student the depths of this important dialogue, its universal form, and its living heart - which is the quickening of the soul by the touch of divine vision. Three modern essays, written with the newcomer in mind, accompany the text and commentary: A Survey of the Soul and Socrates as the Symbolic Daemon of the Alcibiades by Tim Addey, and Possibilities of Self by Guy Wyndham-Jones. (shrink)

These dramatized, unabridged versions of Plato's Euthyphro, Apology, Crito, and Phaedo present the trial, imprisonment, and execution of Socrates, who Phaedo said was the "wisest, best, and most righteous person I have ever known."In the Euthyphro Socrates approaches the court where he will be tried on charges of atheism and corrupting the young. On the way he meets Euthyphro, an expert in religious matters. Socrates challenges Euthyphro's claim that ethics should be based on religion.In the Apology Socrates presents his (...) own defense. He explains why he has devoted his life to challenging the most powerful and important people, a process that has generated great resentment and has led to his indictment. He insists that instead of being punished he should be rewarded for his services to his fellow citizens. Socrates fails in his attempt to avoid the death sentence, but his friend Crito has bribed the guards offers him a way to escape. In the third dialogue Crito tries to persuade Socrates that it is right to flee from the unjust sentence imposed on him. In the course of their conversations they probe the foundations of civil and moral law, and treat issues that are as relevant to our time as to theirs.The Phaedo presents Socrates' final conversation. What will become of him once he drinks the poison prescribed for his execution? Socrates and his friends examine several arguments to prove that the death of the body does not kill the soul. (shrink)

The dramatic nature of Plato’s dialogues is delightfully evident in the Symposium. The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love—from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as (...) class='Hi'>Plato concludes with one of his most skillful displays of dialectic. (shrink)

This translation with introduction and commentary of Plato's Philebus was originally issued under the title Plato's Examination of Pleasure and first reprinted as Plato's Philebus. This dialogue, generally agreed to be one of Plato's latest and most sophisticated, analyses in detail the nature of pleasure - its meaning, its varieties and importance. Professor Hackforth here translates the dialogue for the student and general reader. There is a running commentary on the course of the argument and the (...) meaning of key Greek terms and a full introduction to explain the philosophical background and the place of this work among Plato's writings. (shrink)

A new and accessible translation of Plato's Symposium with a substantial introduction.

A new translation of Plato's Laws into accessible English, with essential introductory and other explanatory material.

Plato, the great philosopher of Athens, was born in 427 BCE. In early manhood an admirer of Socrates, he later founded the famous school of philosophy in the grove Academus. Much else recorded of his life is uncertain; that he left Athens for a time after Socrates' execution is probable; that later he went to Cyrene, Egypt, and Sicily is possible; that he was wealthy is likely; that he was critical of 'advanced' democracy is obvious. He lived to be (...) 80 years old. Linguistic tests including those of computer science still try to establish the order of his extant philosophical dialogues, written in splendid prose and revealing Socrates' mind fused with Plato's thought. In Laches, Charmides, and Lysis, Socrates and others discuss separate ethical conceptions. Protagoras, Ion, and Meno discuss whether righteousness can be taught. In Gorgias, Socrates is estranged from his city's thought, and his fate is impending. The Apology, Crito, Euthyphro, and the unforgettable Phaedo relate the trial and death of Socrates and propound the immortality of the soul. In the famous Symposium and Phaedrus, written when Socrates was still alive, we find the origin and meaning of love. Cratylus discusses the nature of language. The great masterpiece in ten books, the Republic, concerns righteousness. Of the six so-called dialectical dialogues Euthydemus deals with philosophy; metaphysical Parmenides is about general concepts and absolute being; Theaetetus reasons about the theory of knowledge. Of its sequels, Sophist deals with not-being; Politicus with good and bad statesmanship and governments; Philebus with what is good. The Timaeus seeks the origin of the visible universe out of abstract geometrical elements. The unfinished Critias treats of lost Atlantis. Unfinished also is Plato's last work of the twelve books of Laws, a critical discussion of principles of law which Plato thought the Greeks might accept. The Loeb Classical Library edition of Plato is in twelve volumes. (shrink)

“Beauty is truth, truth beauty, –that is allYe know on earth, and all ye need to know”.Hippias of Elis travels throughout the Greek world practicing and teaching the art of making beautiful speeches. On a rare visit to Athens, he meets Socrates who questions him about the nature of his art. Socrates is especially curious about how Hippias would define beauty. They agree that "beauty makes all beautiful things beautiful," but when Socrates presses him to say precisely what he means, (...) Hippias is unable to deliver such a definition. The more Socrates probes, the more absurd the responses from Hippias become. This is one of Plato's best comedies and one of his finest efforts at posing the difference between particular things and universals.Aristotle's Poetics is best known for its definition and analysis of tragedy, but it also applies to truth and beauty as they are manifested in the other arts. In our age when the natural and social sciences have dominated the quest for truth, it is helpful to consider why Aristotle claimed "poetry is more philosophical and more significant than history." In this postmodern era when the arts have been separated from ethics, it is worthwhile to consider Aristotle's way of connecting goodness and beauty. (shrink)

Plato of Athens, who laid the foundations of the Western philosophical tradition and in range and depth ranks among its greatest practitioners, was born to a prosperous and politically active family circa 427 BC. In early life an admirer of Socrates, Plato later founded the first institution of higher learning in the West, the Academy, among whose many notable alumni was Aristotle. Traditionally ascribed to Plato are thirty-five dialogues developing Socrates' dialectic method and composed with great stylistic (...) virtuosity, together with the Apology and thirteen letters. The four works in this volume recount the circumstances of Socrates' trial and execution in 399 BC. In Euthyphro, set in the weeks before the trial, Socrates and Euthyphro attempt to define holiness. In Apology, Socrates answers his accusers at trial and unapologetically defends his philosophical career. In Crito, a discussion of justice and injustice explains Socrates' refusal of Crito's offer to finance his escape from prison. And in Phaedo, Socrates discusses the concept of an afterlife and offers arguments for the immortality of the soul. This edition, which replaces the original Loeb edition by Harold North Fowler, offers text, translation, and annotation that are fully current with modern scholarship." -- Publisher's description. (shrink)

Book Seven of The Republic begins with the famous Allegory of the Cave, an exploration of the natural process of being educated. Socrates and Glaucon probe the meaning of this story both as it relates to the discussion of knowledge and reality developed earlier and to the concept of dialectic, the over-all method of Plato's dialogues. In Book Eight, Socrates and Plato's brothers explore five different kinds of republic and five different kinds of individual, showing how aristocracy becomes (...) timocracy and how oligarchy spawns democracy, ending with the evolution of tyranny. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

“As one would expect from the team of Brann, Kalkavage and Salem, their edition of Plato's _Meno_ is a fine one. The translation meets their stated goal of remaining 'as faithful as possible to the Greek, while using lively, colloquial English.' Their notes are consistently helpful and will be particularly useful to those readers willing to explore the nuances of Plato's extraordinary prose. Their introduction is clear and compact, and it highlights the most philosophically important themes of the (...) dialogue. One particularly useful feature of this edition is the manner in which it displays the diagrams Socrates draws in order to illustrate his famous 'square within a square.' Instead of relegating them to the notes, it integrates them into the text of the dialogue itself. Readers are able to follow along, and 'watch' Socrates actually construct them." _—David Roochnik, Boston University_. (shrink)

This chapter presents an excerpt from the The Republic with Socrates conversing with Glaucon. Socrates shows Glaucon the figure of a cave to explain how far our nature is enlightened or unenlightened. He shows prisoners in an underground den facing a wall and shackled in such a way that they cannot move, and can only see before them. Men walk behind the prisoners, they and the objects they carry cast shadows on the cave wall. Knowing nothing of the real causes (...) of the shadows, the prisoners naturally mistake these shadows for the real nature of things. Plato asks whether this is analogous to our own understanding of reality; that is, is the human condition such that our grasp of reality is only partial, catching only the slightest glimpse into the true nature of things, like the prisoners’ world of shadows?. (shrink)

This is an English translation of one of the more challenging and enigmatic of Plato's dialogues between Socrates and Parmenides and Zeno of Elea, that begins with Zeno defending his treatise of Parmenidean monism against those partisans of plurality. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a glossary intending to provide the reader with some sense of the terms and the concepts as they were understood by Plato's (...) immediate audience. (shrink)

Contains Plato's famous philosophic dialogues with an introduction on their contemporary implications.

In Plato's Gorgias, Gorgias of Leontini, a famous teacher of rhetoric, has come to Athens to recruit students, promising to teach them how to become leaders in politics and business. A group has gathered at Callicles' house to hear Gorgias demonstrate the power of his art. This dialogue blends comic and serious discussion of the best human life, providing a penetrating examination of ethics, the foundations of knowledge, and the nature of the good.

Ostensibly a discussion about love, the debate in the Phaedrus also encompasses the art of rhetoric and how it should be practised. This new edition contains an introductory essay outlining the argument of the dialogue as a whole and Plato's arguments about rhetoric and eros in particular. The Introduction also considers Plato's style and offers an account of the reception of the dialogue from its composition to the twentieth century. A new Greek text of the dialogue is accompanied (...) by a select textual apparatus. The greater part of the book consists of a Commentary, which elucidates the text and makes clear how Plato achieves his philosophical and literary objectives. Primarily intended for advanced undergraduates and graduate students of ancient Greek literature and philosophy, it will also benefit scholars who want an up-to-date account of how to understand the text, argument, style and background of the work. (shrink)