Many assume that Plato's Form of the Good is a final cause. This might be true if one assumes an Aristotelian definition of final cause; however, I argue that if one adopts Plato's conception of final causation as evidenced in the Phaedo and Timaeus, the claim that the Form of the Good is a final cause for Plato is untenable.

The purpose of this paper is to provide evidence that the Form of the Good is still present in the Timaeus and is ontologically independent from the Demiurge and his Paradigm. This claim is supported by selected passages from Timaeus’ text, but it is also based on Phaedo’s theory of causation and on the simile of the sun in Republic. It is also highlighted after a detailed comparison between the philosopher-kings and the Demiurge, and after the emergence of their (...) striking similarities. (shrink)

In Republic VI 508e-9b Plato has Socrates claim that the Good is the cause (αίτίαν) of truth and knowledge as well as the very being of the Forms. Consequently, as causes must be distinct from and superior to their effects, the Good is neither truth nor knowledge nor even being, but exceeds them all in beauty (509a), as well as in honour and power (509b). No other passage in Plato has had a more intoxicating effect on its readers. (...) To take just one example, James Adam was moved to quote St. Paul when he remarked about this passage that, 'it is highly characteristic of Plato's whole attitude that he finds the true keystone of the Universe — the ultimate fountain from which both Knowledge and Existence flow — in no cold and colourless ontological abstraction, like Being, but in that for which "all creation groans and labours". (shrink)

The Intelligible Living Thing, posited as the model of our visible and tangible universe in Plato’s Timaeus, is often taken for a richly structured whole, which is not a simple sum of its four major parts. This assumption seems unwarranted – most specifically, the dialogue contains no hint at any complex intelligible blue print of the world as a teleologically arranged whole, whose goodness is irreducible to the well-being and individual perfection of its parts. To construe the rich structure (...) of the world is necessary insofar as the Demiurge creates material likenesses of the austere immaterial species. While the life forms included in our universe conform to their intelligible paradigms, this is not, strictly speaking, true about the considerations guiding the Demiurgic activity which gives rise to the universe itself, whose goodness is also to be measured by comparing it to the disordered pre-cosmic matter. The paper discusses several implications of this austere interpretation of the model and its role in creation. It suggests that the Forms that compose the model should be understood as abstract particulars rather than universals, and critically discusses the relation of Timaeus’ account to the so-called Principle of Plenitude. (shrink)

Can Plato’s ethical theory account for the goodness of actions? Plato’s Form of the Good is regarded as the ultimate explanatory principle of all good things, which presumably includes good actions. And this is indeed a standard view. However, in this paper I argue that the theory of the Form of the Good cannot explain the goodness of actions. This is a highly contested claim because, if it is accurate, it suggests that there is a significant (...) deficit in Plato’s theory of the Form of the Good - the transcendent principle of all goodness. The success of this thesis may seem to be bad news for Plato, for if the transcendent principle of all goodness fails to account for the goodness of actions, something seems to be awry in Plato’s ethical theory. However, not all is lost. In the second part of this paper, I argue that Plato’s ethical theory is nonetheless viable, because Plato has another, distinct type of explanation that does the explanatory work that the Form of the Good cannot do. This is what I call the Platonic Teleological Explanation, Plato’s own version of a teleological explanation. The Platonic Teleological Explanation is not reducible to an explanation in terms of the Form of the Good; it is an independent and non-dispensable type of explanation. Ultimately, I shall argue that only the Platonic Teleological Explanation can account for the goodness of actions. (shrink)

The form of the Good in Plato’s Phaedo and Republic seems, by our standards, to do too much: it is presented as the metaphysical princi­ple, the epistemological principle and the principle of ethics. Yet this seemingly chimerical object makes good sense in the broader context of Plato’s philosophical project. He sought certain knowledge of neces­sary truths (in sharp contrast to the contingent truth of modern science). Thus, to be knowable the cosmos must be informed by timeless princi­ples; (...) and this leads to teleology and the Good. The form of the Good, it is argued, is what makes the world knowable insofar as it is knowable. This interpretation plugs a significant gap in the scholarship on the Good and draws attention to a deep connection between Plato’s episte­mology and his teleological understanding of the cosmos. (shrink)

Donald J. Zeyl begins the historical section of the book by tracing divine causation throughout classical Greek philosophy. Some of the Pre-Socratics held to a single god as the source of rational order or change. These views suggested that the cosmos may be explained teleologically. Plato takes up that suggested promise in his Phaedo and finds it wanting. Instead, he looks to Forms as (formal) causes of natural processes. This direction of inquiry leads him to postulate, in the Republic, (...) the Form of the Good as the “unhypothetical (causal) first principle.” In Plato’s later writings, most notably in the Timaeus, Plato presents a full-blown teleological account of both the universe at large and the varieties of living things that inhabit the earth. The agent that brings about the conformity of the world to the Forms is the divine Demiurge. -/- Aristotle inherits from Plato the belief that processes in the natural world are to be understood teleologically. These processes are explained by the nature (or form) of the organism itself. Aristotle’s world has no beginning and thus has no place for an original efficient cause to get the world started. Aristotle’s “Unmoved Mover” plays no causal role in the processes of the natural world, all of which are exhaustively explained in terms of Aristotle’s well-known theory of the “four causes.” Nevertheless, the Unmoved Mover is a final cause. -/- After Aristotle, only the Stoics offered an account of divine causal agency. As pantheists, the Stoics identified the world with a divine rational principle they named the Logos. All events, natural and social, are completely determined by Reason, so the Stoics were strict determinists, both in their natural philosophy and in their social and ethical thought. (shrink)

Let me begin with some of the background worries that motivate the paper. First, for years I have been working on the relation of the Timaeus to the Republic guided by this triple analogy: as the demiurge is to the cosmos, so the philosopher-ruler is to the polis, so reason is to the soul or individual. The key claim is Tim. 29e: the demiurge is good and so wants to make everything it makes like it itself is, i.e., good, as (...) good as possible. I take the demiurge to be reason idealized, so I infer reason wants to make everything it makes as good as possible. This sets the stage: how is reason related to the good? (shrink)

Plato's dialogue the Timaeus-Critias presents two connected accounts, that of the story of Atlantis and its defeat by ancient Athens and that of the creation of the cosmos by a divine craftsman. This book offers a unified reading of the dialogue. It tackles a wide range of interpretative and philosophical issues. Topics discussed include the function of the famous Atlantis story, the notion of cosmology as 'myth' and as 'likely', and the role of God in Platonic cosmology. Other areas (...) commented upon are Plato's concepts of 'necessity' and 'teleology', the nature of the 'receptacle', the relationship between the soul and the body, the use of perception in cosmology, and the work's peculiar monologue form. The unifying theme is teleology: Plato's attempt to show the cosmos to be organised for the good. A central lesson which emerges is that the Timaeus is closer to Aristotle's physics than previously thought. (shrink)

Plato gradually reaches the concept of the “Good itself” in the most extensive dialogue (apart from The Laws). The dramaturgy of Republic was included in the pedagogical idea. Plato’s own brothers, Glaucon and Adeimantus, representatives of the aristoia, want to hear from Socrates logically based instruction on what is really good and why, regardless of the prevailing public opinion in Athenian society. They both know that the most valued asset is the wealth and political influence that the use (...) of force provides. Thanks to this, you can effectively appear to be the fairest among citizens, despite the fact that you are extremely unjust. Appearances are highly valued in social life. Only minds exceptionally open to dialectics seek the truth, not content with appearances. Socrates introduces listeners to the knowledge of “the Good itself”, the “form of the Good”, as the most perfect object of knowledge and at the same time the highest principle. The Good, identical with the “One”, “is” above substance (509b). (shrink)

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)

What is it for a judgement, action, or character state to be itself a good thing, so genuinely worth pursuing? Readers of Plato's Republic discover that that it is by standing in the right relation to the Form of the Good that other things are, or become, good. In her recent monograph, Plato's Sun-Like Good, Sarah Broadie inverts the standard interpretive strategy by focusing primarily on the role of the Good in dialectic, and drawing conclusions about its (...) metaphysical status on that basis. In this paper, I argue that the metaphysically radical features of the Good on her reading – that it is undefinable and not an object of knowledge for the guardians – are ultimately undermined by her full account of the Form, in particular of the way that it endows ‘the things known’ with their reality, as well as relating to its participants as participand. I also argue that her preferred interpretation of the guardians' objects of knowledge in the sun-analogy as action-types is conceptually and textually problematic, and should be rejected in favour of her dispreferred - yet ultimately deeply insightful - interpretation of these objects as Forms that the Good makes known and fully real. (shrink)

Plato’s demiurge makes a series of questionable decisions in creating the world. Most notoriously, he endeavors to replicate, to the extent possible, some of the features that his model possesses just insofar as it is a Form. This has provoked the colorful complaint that the demiurge is as raving mad as a general contractor who constructs a house of vellum to better realize the architect’s vellum plans (Keyt 1971). The present paper considers the sanity of the demiurge’s reasoning (...) in light of Timaeus 32c5-33b1, where he invokes considerations of wholeness, completeness, uniqueness, and eternality in deciding to build the body of the world from all of each of the simple bodies. Since the passage makes no appeal to the demiurge’s intelligible model, one can mine it for indications of the value that the demiurge takes those features to have independent of mimetic goals. I argue that, for Plato, those features are intrinsically good-making and, thus, that it is not only appropriate for them to characterize Forms qua Forms but also that it is appropriate for the demiurge to aim at replicating them, to the extent possible, in his creation. In particular, I argue that the demiurge’s success in instilling a circumscribed version of each feature in his creation helps to qualify it as a genuine being despite the fact that it comes to be. (shrink)

Payne's commentary on Republic I–VII is not advanced as a sustained argument for the new type of teleology he finds there but is structured by themes in the text. It engages with selected previous scholarship on the Republic and is written with care and deliberation. Payne begins with an overview of the types of teleology, or end-directed action, found in Plato's corpus, but does not address contemporary philosophy of action. Payne's own "functional teleology of action" accounts for how agents (...) act for the sake of ends of which they are unaware, as when mathematical study is directed to the Form of the Good... (shrink)

This volume, the fourth in the Edinburgh Leventis Studies series, comprises a selection of papers from the conference held in Edinburgh March 2005 in conjunction with Professor Terry Penner's tenure of the A. G. Leventis Visiting Research Chair in Greek. It brings together contributions from leading Plato scholars from Britain, Europe and North America on a closely defined topic central to Plato's thought and to Ancient Philosophy--Plato's Form of the Good. The importance of the collection lies (...) in the combination and presentation in one place of a range of different approaches to the good in Plato's Republic, and different solutions to the problems posed and proposed by these approaches. The two central issues, which form an underlying thread throughout the collection, are: first whether Plato's Republic is centred on what is good for individual humans, or on some quasi-moral good; and secondly, what the Form of the Good is. Pursuing the Good goes beyond recent studies in the field, and will appeal to classicists and philosophers alike. To the advanced student, it represents a wide-ranging introduction to central issues of Plato's philosophy; for the academic it will provide stimulus through antithetical and controversial solutions to questions old and new. (shrink)

John Mackie famously dismissed the rational tenability of moral objectivism with two quick arguments. The second, the so-called “argument from queerness,” proceeds as follows. A commitment to moral objectivism brings with it a commitment to the existence of moral properties as “queer” as Platonic Forms that are apprehended only through occult faculties like so-called “moral intuition” (Mackie 1977, 38). Since we have no reason to believe that there is any faculty such as moral intuition that serves as a reliable (...) class='Hi'>Form detector, we equally have no reason to accept moral objectivism (1977, 23–24, 38–41). Recently, Julia Annas has observed that Mackie has offered us “a coarse and imperceptive interpretation of Plato,” in addition to a mistaken account of the epistemic requirements of moral objectivism (2001, 238). But one might worry that the case Annas makes for the homely nature of Platonic moral knowledge—it’s just like plumbing, only non-optional (2001, 246)—rests, as she admits, on her focus on dialogues like the Laches, in which the analogy between the moral virtues and crafts like flute-playing, shoe-making, and navigating is emphasized (2001, 244). Annas explicitly leaves open the question whether Mackie’s interpretation might capture Plato’s conception of moral knowledge in dialogues like the Republic, in which the analogy between moral and mathematical knowledge is emphasized (2001, 243). Yet it is clear from Mackie’s brief remarks about Plato that he has the Republic primarily in mind (Mackie 1977, 23–24). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato's Timaeus as Cultural IconGerard NaddafGretchen J. Reydams-Schils, editor. Plato's Timaeus as Cultural Icon. Notre Dame, IN.: University of Notre Dame Press, 2003. Pp. xiv + 334. Cloth, $59.95. Paper, $29.95.This volume emanates from an international conference entitled "Plato's Timaeus as Cultural Icon" held at the University of Notre Dame in 2000. In the introduction, the editor and organizer, Gretchen Reydams-Schils (GRS), contends that the (...) title is meant to communicate the considerable influence of Plato's Timaeus on so many different intellectual traditions and asks "What could account for this philosophical and cultural status?" (1).There are thirteen essays by distinguished specialists in the field. For some reason, a number of the essays do not focus on the general theme of the volume and the question GRS raises, "what could account for this philosophical and cultural status?" is never directly, or even indirectly, addressed. In this short review, I will examine the essays in their order of appearance and make some general comments at the end.Mitchell Miller, in the opening essay, argues that the Timaeus must be understood as addressed to a nonphilosophical audience, although he endeavors to show how the philosophically minded could interpret the Timaeus in light of the god-given method, the longer way, of the Philebus (16c-17a). With this in mind, Miller shows that the constitution of the elements and animals in the Timaeus was in fact determined in light of this method. From this perspective, the Timaeus is addressed not only to a nonphilosophical audience—albeit chiefly to these—but also to a philosophical audience.Kenneth Sayre discusses a number of inconsistencies and incoherences in Plato's description/analysis of the Receptacle and concludes that it is nothing short of a "failed experiment." Personally, I find Plato's analysis rather helpful in a manner analogous to the famous similes he employs in the Republic to help us grasp the Form of the Good. Meanwhile, there is nothing in the essay, as with Miller's essay, to indicate why the Timaeus would constitute a cultural icon (unless as a paradigm for opacity and thus as a catalyst for allegorical interpretation, but again this is not Sayre's intent). [End Page 335]John Dillon, with whom the notion of the Timaeus as a cultural icon begins to emerge, emphasizes that most of the members of the Old Academy, including Speusippus, Xenocrates, and Cantor, maintained (contra Aristotle) that Plato did not hold that the universe was created. While it is true, as he notes, that they were in a better position to interpret the master, the fact remains that they all had different interpretations. There is thus a sense in which Dillon's analysis confirms Miller's position that Plato meant the Timaeus for two very different audiences.Carlos Lévy focuses on the difficulty that Cicero had in translating the Timaeus without reverting to Stoic concepts. He argues that a Latin reader, unfamiliar with the Greek, would assume that transcendence is nonexistent and that mind and matter, as with the Stoics, are one. However, Lévy remains silent on why Cicero would not allow Plato to speak for himself, given that this appears to be the norm with many of his other interlocutors. Moreover, it is difficult again to see why the Timaeus would constitute a "cultural icon."Luc Brisson presents the Timaeus in a radical new light. He shows the extent to which the Timaeus, or more precisely the highly exegetical Middle Platonist interpretation of the work, was the primary reference text for the influential Chaldean Oracles. This is an excellent example of the iconic status of the Timaeus, but it is worth noting that the Chaldean Oracles themselves and their doctrine of salvation may have been historically more influential than the Timaeus itself.David Runia's essay is also an excellent example of the iconic influence of Plato's Timaeus, but unlike Brisson, he focuses on a particular feature of the cosmogonical account rather than the entire treatise: how the Timaeus influenced the debate, including with regard to the opening verses of Genesis, on first principles and the doctrine of creation. Runia... (shrink)

One of the most interesting passages in the Republic is the comparison of the Form of the Good with the Sun. Although this depiction of the Good was never repeated, many hold that the Good retained its privileged place in Plato’s metaphysics.I shall argue that there are good reasons for thinking that Plato, when writing the Sophist, no longer held his earlier view of the Good. Specifically, I shall contend that he ceased to believe that as the (...) Sun makes its objects visible, so the Good makes the Forms knowable. This being the case, it cannot also be said to iIluminate either the Forms or the order they exhibit.My procedure will be first to consider briefly how, in the Republic, the Good can be said to iIluminate the Forms. I shall then determine the extent to which, in the Sophist, this function can still be credited to the Good. (shrink)

One of the most interesting passages in the Republic is the comparison of the Form of the Good with the Sun. Although this depiction of the Good was never repeated, many hold that the Good retained its privileged place in Plato’s metaphysics.I shall argue that there are good reasons for thinking that Plato, when writing the Sophist, no longer held his earlier view of the Good. Specifically, I shall contend that he ceased to believe that as the (...) Sun makes its objects visible, so the Good makes the Forms knowable. This being the case, it cannot also be said to iIluminate either the Forms or the order they exhibit.My procedure will be first to consider briefly how, in the Republic, the Good can be said to iIluminate the Forms. I shall then determine the extent to which, in the Sophist, this function can still be credited to the Good. (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.

Plato's 'Euthyphro' is important because it gives an excellent example of Socratic dialogue in operation and of the connection of that dialectic with Plato's earlier 'Theory of Forms'. This edition of the dialogue provides a translation with interspersed commentary.

Censure and exclusion of The Republic are characteristics of many utopias, which become dystopias precisely because of turning to them. Plato´s reasons to censure certain types of poetry are ethical and political ones, although his arguments are epistemological . This paper proposes reading these two aspects of the platonic proposal in the light of three specific points of the Timaeus: 1) the theory of discourse about the concept of verisimilar , 2) its relation to the question of whether we (...) can represent objects we do not know, and 3) the demiurge model proposed by Plato in this dialogue. The aim is to show that two of the most problematic aspects of The Republic, are dissolved today in the Timaeus. (shrink)

In a number of passages of the Timaeus Plato states that the world is generated in such a way as to effectively reproduce the intelligible paradigm. The aim of this chapter is to understand in which sense the world is indeed a likeness of the paradigm, especially with regard to three aspects: its unicity, its completeness/perfection (i.e., its being τέλειον), its (a)temporality. My overall claim is that the key feature of the paradigm that the world is meant to reproduce (...) is not its simplicity or stability, but its dynamic and holistic structure. More specifically, I shall argue that: the world is unique because the intelligible structure of the paradigm is holistic in a qualified way; the world is complete/perfect not in the sense that it encompasses the reproduction of all forms, but since it reproduces at the best possible level the rational motion and life of the intelligible world, and this is what Plato actually means by his definition of “time”. This will effectively explain why it is really good for the demiurge to take the intelligible realm as a paradigm, and why Plato can effectively state that the generated world is not a shadowy half-being, but a venerable god. (shrink)

The main aim of this study is to explain passage 35b4-37a2 of Plato’s Timaeus which deals with three main topics: the mathematization of the world’s soul, its movement, and its binding to the world’s body. First, it is argued that the mathematical structure of the world-soul allows it to participate in and be sensitive to harmony, which is essential for the correct workings of its cognitive capacities. Second, the division of the world-soul to the circle of the same and (...) the circles of the different and its self-motion comes in. This allows it to ‘touch’ and cognize the forms and the material things, as well as rule the movement of the corporeal world and care for it. In this aspect, the world-soul continues the process that started with the original creative act of the demiurge. Third, it is argued that the description of the world-soul’s binding to the world-body entails its conception as a spatially extended entity, which, in turn, explains of the possibility of an interaction between the corporeal world and its soul. (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 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)

The aim of this long essay is to explain why the philosopher-ruler of Plato's Republic descends “with regret” or having been “compelled” from his contemplation of the Forms to rule the state. It offers a new, optimistic interpretation of his goal in so descending, namely to try to make everyone into a philosopher. After a brief introductory section, I turn to the argument of the Republic to show both that the philosopher's understanding of the Good causes him to try (...) to maximize the amount of good in the cosmos, and that, since every rational person is capable, in virtue of his rational soul, of becoming a philosopher, this amounts to adopting the aforementioned goal. In the third section, I argue that the source of his regret cannot be that he sacrifices his own happiness in descending. Here the vehicle is a consideration of the “Plotinian” reading of the Republic, whose conclusion is that once he has achieved knowledge of the Forms, the philosopher can neither increase his happiness by further study, nor lose his happiness. Hence, if he is true to his goal, he has to try to improve the lot of others. In the next section, I argue that the Timaeus' account of the Demiurge's construction of the cosmos helps us to understand both the nature of the ruler's attempts to make everyone a philosopher and why he also understands that he will inevitably fail. Here the key idea is to link the Timaeus' account of Necessity or the Wandering Cause with the circumstances facing the philosopher in ruling the state. In the conclusion, I sketch how this account of the philosopher's reason for descending suggests that the best or ideal city in the Republic is not the tripartite kallipolis, but is rather a version of the City of Pigs. Footnotesa Parts of this paper have been presented to audiences at Princeton, UCLA, the Australian Association of Philosophy, Monash University, Kansas, and Berkeley. I am indebted to those in the audiences on all those occasions. Special thanks are owed to Chris Bobonich, David Keyt, Fred Miller, and the other contributors to this volume. (shrink)

This chapter contains sections titled: The Laws Conclusion Bibliography.

This book tells a compelling story about love, friendship, and the Divine that took over a thousand years to unfold. It argues that mind and feeling are intrinsically connected in the thought of Plato, Aristotle, and Plotinus; that Aristotle developed his theology and physics primarily from Plato’s Symposium (from the “Greater” and “Lesser Mysteries” of Diotima-Socrates’ speech); and that the Beautiful and the Good are not coincident classes, but irreducible Forms, and the loving ascent of the Symposium must (...) be interpreted in the light of the Republic, as the later tradition up to Ficino saw. Against the view that Platonism is an escape from the ambiguities of ordinary experience or opposed to loving individuals for their own sakes, this book argues that Plato dramatizes the ambiguities of ordinary experience, confronts the possibility of failure, and bequeaths erotic models for the loving of individuals to later thought. Finally, it examines the Platonic-Aristotelian heritage on the Divine to discover whether God can love us back, and situates the dramatic development of this legacy in Plotinus, Iamblichus, Proclus, and Dionysius the Areopagite. (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)

The concluding books of Plato's Republic reveal the entire dialogue in a new perspective. In Book Nine the nature and goodness of the soul and its true relationship to public life are considered. Socrates returns to Glaucon's earlier challenge to justify the claim that a just life is superior to an unjust life. He does that by showing the life of tyrants compared to a life devoted to the love of wisdom. In Book Ten the role of poetry and (...) the other arts are examined and placed in the overall context of the best human life. The dialogue concludes with the Myth of Er, a story about a warrior who is killed in battle, travels to another world, and returns to tell a wonderful tale about life and death. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

Ostensibly a discussion of the nature of justice, The Republic presents Plato's vision of the ideal state, covering a wide range of topics: social, educational, psychological, moral, and philosophical. It also includes some of Plato's most important writing on the nature of reality and the theory of the "forms." Translated with an Introduction by Desmond Lee.

In Books Five and Six of The Republic, the quest for justice that has guided the dialogue from the beginning now shifts to the search for an even more encompassing quality—goodness. But what is the nature of goodness? Can human beings know it and teach it to others? How can it be manifested in the republic? To answer such questions requires a genuine lover of wisdom. How can such people be distinguished from those who simply pretend to know? This dramatized (...) version is an adaptation of the Benjamin Jowett translation. (shrink)

In Books Five and Six of The Republic, the quest for justice that has guided the dialogue from the beginning now shifts to the search for an even more encompassing quality—goodness. But what is the nature of goodness? Can human beings know it and teach it to others? How can it be manifested in the republic? To answer such questions requires a genuine lover of wisdom. How can such people be distinguished from those who simply pretend to know? This dramatized (...) version is an adaptation of the Benjamin Jowett translation. (shrink)

'The god wanted everything to be good, marred by as little imperfection as possible.'Timaeus, one of Plato's acknowledged masterpieces, is an attempt to construct the universe and explain its contents by means of as few axioms as possible. The result is a brilliant, bizarre, and surreal cosmos - the product of the rational thinking of a creator god and his astral assistants, and of purely mechanistic causes based on the behaviour of the four elements. At times dazzlingly clear, at (...) times intriguingly opaque, this was state-of-the-art science in the middle of the fourth century BC. The world is presented as a battlefield of forces that are unified only by the will of God, who had to do the best he could with recalcitrant building materials.The unfinished companion piece, Critias, is the foundational text for the story of Atlantis. It tells how a model society became corrupt, and how a lost race of Athenians defeated the aggression of the invading Atlanteans. This new edition combines the clearest translation yet of these crucial ancient texts with an illuminating introduction and diagrams. (shrink)

Books five & six: "The quest for justice that has guided the dialogue in Plato's Republic from the beginning now shifts to the search for an even more encompassing quality--goodness. But what is the nature of goodness? Can human beings know it and teach it to others? How can it be manifested in the republic? To answer such questions requires a genuine lover of wisdom. How can such people be distinguished from those who simply pretend to know?".

Plato’s teaching about the Good is sometimes blamed for denigrating particular goods. By contrast, this article argues that for Plato pleonexia is at the heart of disordered relationships to particular goods. In turn, the psychic root of pleonexia is spiritedness, the aspect of the soul that enables it to love what is “one’s own.” Plato employs Kallipolis as a heuristic device to diagnose these psychic roots of our attraction to pleonexia. Kallipolis’ reforms are ascetic practices that seek (...) to transform his interlocutors’ spiritedness by reorienting the soul’s love away from pleonexia to the good. This love for the good turns out to be the condition for a renewed and healthy devotion to particular goods, rather than the cause of their denigration. (shrink)

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)