"Plato's Statesman reconsiders many questions familiar to readers of the Republic: questions in political theory - such as the qualifications for the leadership of a state and the best from of constitution (politeia) - as well as questions of philosophical methodology and epistemology. Instead of the theory of Forms that is the centrepiece of the epistemology of the Republic, the emphasis here is on the dialectical practice of collection and division (diairesis), in whose service the interlocutors also deploy the (...) ancillary methods of myth and of models (paradeigmata). Plato here introduces the doctrine of due measure (to metrion) and a conception of statecraft (politikē) as an architectonic expertise that governs subordinate disciplines such as rhetoric and the military - doctrines later developed by Aristotle. Readers will find a sustained defence of the importance of expertise (technē or epistēmē) in the conduct of affairs of state, a robust (although not unqualified) defence of the rule of law, and an unsparing but nuanced critique of democratic government. The chapters in this volume provide a comprehensive and detailed philosophical engagement with the entirety of Plato's wide-ranging dialogue, with successive chapters devoted to the sections of the dialogue as it unfolds, and an introduction that places the dialogue in the context of Plato's philosophy as a whole. While not a commentary in the traditional sense, the volume engages with Plato's Statesman in its entirety" -- Publisher's description. (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)

In lieu of an abstract, here is a brief excerpt of the content:Measurement, Pleasure, and Practical Science in Plato's Protagoras HENRY S. RICHARDSON 1. INTRODUCTION TOWARDS THE END OF THE PROTAGORAS Socrates suggests that the "salvation of our life" depends upon applying to pleasures and pains a science of measurement (metr$tik~techn~).Whether Plato intended to portray Socrates as putting forward sincerely the form of hedonism that makes these pleasures and pains relevant has been the subject of a detailed and probably (...) interminable debate, to which this paper will not directly contribute. By contrast, it seems to be supposed by almost all who have written on the topic that this hedonism, whoever is espousing it, puts forward pleasure as a single, homogeneous yardstick of value to serve as the basis of a supremely simple standard of choice. This standard simply directs one to seek the maximal amount of pleasure. The underlying supposition is that the hedonism put forward in the Protagorasallows one to define a maximum because all goods are commensurable. But, as I shall emphasize in the sequel, hedonism does not imply commensurability, nor does commensurability imply hedonism. The interpretive thesis of this essay is that the common presumption that the dialogue's hedonism carries commensurability with it has impeded our ability to understand the Protagor~'s relation to the other dialogues, and has distorted the fundamental purpose of Socrates's practical science. These matters are of more than textual interest. My reasons for trying to remain neutral as to the longstanding debate about attributing the dialogue's hedonism are not limited to wanting to avoid quagmires and remove confusions that have resulted from unwarranted interpretive assumptions. To many, the Protagorasis of tremendous importance as an early articulation of a calculative ideal for ethical or practical decisionmaking, whether or not Plato or Socrates was committed to that ideal. Looking [7] 8 JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY x99 o back at the Protagorasfrom our twentieth-century perspective encourages the expectation that we might find there some argument for the crucial features of such a calculative ideal, as we have come to understand it. One such feature, prominent especially in the classical utilitarians, is that of the commensurability of goods, which in turn allows the precise definition of a maximizing rule. If the Protagoraspresented a calculative conception involving commensurability, then we might expect to find in the dialogue some argumentfor the rational necessity of commensurability. My claim will be that since there is no compelling evidence that the idea of commensurability is found in the dialogue, there is'hardly likely to be an argument for it there. In fact, it is of philosophical interest to see how far the arguments against weakness of will and for the unity of virtue (whoever is making them) can proceed without relying upon commensurability; This way of putting the philosophical points at issue here underlines the relative modesty of what I am claiming about commensurability. I argue that there is nothing in the dialogue that requires us to see commensurability as part of its hedonism, that the arguments proceed without relying upon commensurability, and that in some respects the problem of understanding the relationship of the Protagorasto Plato's other dialogues is eased if we refrain from attributing any commensurability here. I will show that a clearer picture of what is doing the argumentative work in the last secdon of the dialogue will result if we thus separate commensurability from hedonism, and that an illuminatingly different way of understanding the role of the science of measurement is thereby suggested. None of this amounts to a compelling argument that the idea of commensurability is not to be found in the dialogue. Rather, my case simply undermines the positive reasons for finding the idea there. Apart from the greater clarity which separating hedonism and commensurability allows, this modest negative case links up with the deeper philosophical moti,~ation I have mentioned by casting cold water on any hopes that the Protagorascould be made to yield an argument specifically linking commensurability to rationality. In one respect, my interpretive strategy is akin to that of commentators who have attempted to ease the tension between the Protagorasand the Gorgias by arguing that the form of hedonism... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Measurement, Pleasure, and Practical Science in Plato's Protagoras HENRY S. RICHARDSON 1. INTRODUCTION TOWARDS THE END OF THE PROTAGORAS Socrates suggests that the "salvation of our life" depends upon applying to pleasures and pains a science of measurement (metr$tik~techn~).Whether Plato intended to portray Socrates as putting forward sincerely the form of hedonism that makes these pleasures and pains relevant has been the subject of a detailed and probably (...) interminable debate, to which this paper will not directly contribute. By contrast, it seems to be supposed by almost all who have written on the topic that this hedonism, whoever is espousing it, puts forward pleasure as a single, homogeneous yardstick of value to serve as the basis of a supremely simple standard of choice. This standard simply directs one to seek the maximal amount of pleasure. The underlying supposition is that the hedonism put forward in the Protagorasallows one to define a maximum because all goods are commensurable. But, as I shall emphasize in the sequel, hedonism does not imply commensurability, nor does commensurability imply hedonism. The interpretive thesis of this essay is that the common presumption that the dialogue's hedonism carries commensurability with it has impeded our ability to understand the Protagor~'s relation to the other dialogues, and has distorted the fundamental purpose of Socrates's practical science. These matters are of more than textual interest. My reasons for trying to remain neutral as to the longstanding debate about attributing the dialogue's hedonism are not limited to wanting to avoid quagmires and remove confusions that have resulted from unwarranted interpretive assumptions. To many, the Protagorasis of tremendous importance as an early articulation of a calculative ideal for ethical or practical decisionmaking, whether or not Plato or Socrates was committed to that ideal. Looking [7] 8 JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY x99 o back at the Protagorasfrom our twentieth-century perspective encourages the expectation that we might find there some argument for the crucial features of such a calculative ideal, as we have come to understand it. One such feature, prominent especially in the classical utilitarians, is that of the commensurability of goods, which in turn allows the precise definition of a maximizing rule. If the Protagoraspresented a calculative conception involving commensurability, then we might expect to find in the dialogue some argumentfor the rational necessity of commensurability. My claim will be that since there is no compelling evidence that the idea of commensurability is found in the dialogue, there is'hardly likely to be an argument for it there. In fact, it is of philosophical interest to see how far the arguments against weakness of will and for the unity of virtue (whoever is making them) can proceed without relying upon commensurability; This way of putting the philosophical points at issue here underlines the relative modesty of what I am claiming about commensurability. I argue that there is nothing in the dialogue that requires us to see commensurability as part of its hedonism, that the arguments proceed without relying upon commensurability, and that in some respects the problem of understanding the relationship of the Protagorasto Plato's other dialogues is eased if we refrain from attributing any commensurability here. I will show that a clearer picture of what is doing the argumentative work in the last secdon of the dialogue will result if we thus separate commensurability from hedonism, and that an illuminatingly different way of understanding the role of the science of measurement is thereby suggested. None of this amounts to a compelling argument that the idea of commensurability is not to be found in the dialogue. Rather, my case simply undermines the positive reasons for finding the idea there. Apart from the greater clarity which separating hedonism and commensurability allows, this modest negative case links up with the deeper philosophical moti,~ation I have mentioned by casting cold water on any hopes that the Protagorascould be made to yield an argument specifically linking commensurability to rationality. In one respect, my interpretive strategy is akin to that of commentators who have attempted to ease the tension between the Protagorasand the Gorgias by arguing that the form of hedonism... (shrink)

A comprehensive discussion of Plato's treatment of techne, which shows that the final goal of Platonic philosophy is nontechnical wisdom. The Greek word "techne," typically translated as "art," but also as "craft," "skill," "expertise," "technical knowledge," and even "science," has been decisive in shaping our "technological" culture. Here David Roochnik comprehensively analyzes Plato's treatment of this crucial word. Roochnik maintains that Plato's understanding of both the goodness of techne, as well as its severe limitations and consequent (...) need to be supplemented by "nontechnical" wisdom, can speak directly to our own concerns about the troubling impact technology has had on contemporary life. For most commentators, techne functions as a positive, theoretical model through which Plato attempts to articulate the nature of moral knowledge. Scholars such as Terence Irwin and Martha Nussbaum argue that Plato’s version of moral knowledge is structurally similar to techne. In arguing thus, they attribute to Plato what Nietzsche called "theoretical optimism," the view that technical knowledge can become an efficient panacea for the dilemmas and painful contingencies of human life. Conventional wisdom has it, in short, that for Plato technical, moral knowledge can solve life's problems. By systematically analyzing Socrates’ analogical arguments, Roochnik shows the weakness of the conventional view. The basic pattern of these arguments is this: if moral knowledge is analogous to techne, then insurmountable difficulties arise, and moral knowledge becomes impossible. Since moral knowledge is not impossible, it cannot be analogous to techne. In other words, the purpose of Socrates' analogical arguments is to reveal the limitations of techne as a model for the wisdom Socrates so ardently seeks. For all the reasons Plato is so careful to present in his dialogues, wisdom cannot be rendered technical; it cannot become techne. Thus, Roochnik concludes, Plato wrote dialogues instead of technical treatises, as they are the appropriate vehicle for his expression of nontechnical wisdom. (shrink)

A lively dialogue between a foreign philosopher and a powerful statesman, Plato's Laws reflects the essence of the philosopher's reasoning on political theory and practice. It also embodies his mature and more practical ideas about a utopian republic. Plato's discourse ranges from everyday issues of criminal and matrimonial law to wider considerations involving the existence of the gods, the nature of the soul, and the problem of evil. Translated by the distinguished scholar Benjamin Jowett, this edition is (...) an authoritative choice for students of philosophy, political science, and literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:460 HISTORY OF PHILOSOPHY accurate understanding of the mind of Aristotle. Nifo's shift on the question of Aristotle and immortality thus represents a noteworthy chapter in the history of Renaissance Aristotelianism.6x EDWAKDP. MAHONEY Duke University 6x I should like to thank the United States Government for a Fulbright fellowship during 1962-1963; the National Foundation for the Humanities for a fellowship during 1968-1969; and the Duke UniversityResearch Council for grants (...) for microfilms. BIBLIOGRAPHY OF THE WRITINGS OF JACOB LOEWENBERG Compiled by Edwin S. Budge It is hoped that all of Professor Loewenberg's published writings, exclusive of his many book reviews, are listed herein. His unpublished doctoral dissertation, "The Genesis of Hegel's Dialectical Method" (1911), is available on loan from Harvard University, although the "gist" of this, as Dr. Loewenberg has indicated, may be found in the introduction to the first item cited in the bibliography. Dr. Loewenberg, it might be added, also translated a short work by Gilbert Chinard, France for the Soldier (Berkeley: University of California, 1918), and quite likely was consulted by his wife Kate in the course of her translation of Emile Meyerson's Identity and Reality (New York: Macmillan Company, 1930; reprinted by Dover, 1962, and Peter Smith, 1963). Jacob Loewenberg's personal papers are in the possession of his daughter, Mrs. Jeannot Nyles, of Berkeley, California. 1912 1916 BIBLIOGRAPHYOF THE WRITINGSOF JACOBLOEWENBERG "Vorwort," pp. v-vi; "Einleitung: 'Die jugendlichen Denkversuche Hegels'," pp. vii-xxii; in Hegels Entwiir/e zur Enzyklopiidie und Propiideutik nach den Handschri/ten der Harvard-Universitiit. Mit einer Handschri[tprobe. By Georg Wilhelm Friedrich Hegel. Herausgegeben yon Dr. J. Ltwenberg. Leipzig: Verlag von Felix Meiner, I912. xxiv, 59 pp. (Hegel-Archiv. Herausgegeben von Georg Lasson. Band I, Heft 1.) "Interpretation as a Self-Representative Process," The Philosophical Review, Vol. XXV, No. 3 (May, 1916), 420-423. "Mysticism and Idealism," University o/ California Chronicle, Vol. XVIII, No. 1 (January, 1916), 72-91. "An address before the Philosophical Union of the University of California, December 10, 1915." 1917 1918 1919 1920 1921 1922 1923 NOTES AND DISCUSSIONS 461 "The Spirit of Hegel's Philosophy," University of California Chronicle, Vol. XVIII, No. 3 (July, 1916), 373-393. "The Teachings of Royce," The California Alumni Fortnightly, Vol. IX, No. 14 (September 30, 1916), 216-217. "Classic and Romantic Trends in Plato," The Harvard Theological Review, Vol. X, No. 3 (July, 1917), 215-236. "An address before the Philosophical Union of the University of California, February 23, 1917." "Josiah Royce: Interpreter of American Problems," University of California Chronicle, Vol. XIX, No. 1 (January, 1917), 39-47. "The Prophetic Songs of Swinburne," University of California Chronicle, Vol. XX, No. 10anuary, 1918), 106-115. "Preface," pp. vii-xii in Lectures on Modern Idealism. By Josiah Royce. New Haven: Yale University Press, 1919. Pp. 259. (Semicentennial Publications of the University of California, 1868-1918.) "Ethics and the War," Mills Quarterly, Vol. I, No. 4 0anuary, 1919), 6-9. "An address delivered at Mills College, October 18, 1918." "Multiplicity and the Social Order," The Harvard Theological Review, Vol. XII, No. 2 (April, 1919), 137-164. "President Wilson's Americanism," University of California Chronicle, Vol. XXI, No. 1 (January, 1919), 1-15. "Introduction," pp. 3-37 in Fugitive Essays; with an Introduction by Dr. J. Loewenberg. By Josiah Royce. Cambridge: Harvard University Press, 1920. Pp. 429. (Semicentennial Publications of the University of California, 1868-1918.) "Philosophy and Humanism," University of California Chronicle, Vol. XXIH, No. 3 (July, 1921), 298-318. "Read before the Kosmos Club of the University of California, April 4, 1921." "The Apotheosis of Mind in Modern Idealism," The Philosophical Reviewj Vol. XXXI, No. 3 (May, 1922), 215-236. "A fragment of a larger essay." "The Idea of Mutability in Literature," University of California Chronicle, Vol. XXIV, No. 2 (April, 1922), 129-151. "The Metaphysics of Critical Realism," pp. 167-194 in Issues and Tendencies in Contemporary Philosophy. Edited by George P. Adams and J. Loewenberg. 462 HISTORY OF PHILOSOPHY Berkeley: University of California, 1923, Pp. 224. (University of California Publieations in Philosophy, VoL IV.) Read before the Philosophical Union of the University of California, March 30, 1923. "'The Metaphysics of Modern Scepticism," The Philosophical... (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)

The present paper is the first Polish translation of the following excerpts from the Author’s original and innovative book entitled Platon : IV 4. a) Kritik der Schriftlichkeit; b) Hören des Richtiges, Verfehlen der Wahrheit: Platons Kritik der Mündlichkeit; IX 1. Schriftlicher Dialog und mündliches Prinziepiendenken; 2. Einheit und Vielheit: Ein Rekonstruktionsversuch; 3. Mündliche Lehre als Ergänzung des schriftlichen Dialogs. The book represents a new paradigm in research on Plato and the topics developed in it constitute a concise and coherent (...) account of Plato’s critique of writing and orality as well as the related theory of principles. While these issues continue to be an area of scholarly debate, the authors groundbreaking proposals provide an invaluable point of reference for anyone truly interested in Plato’s philosophy. We are extremely grateful to the Author as well as the Publisher for their permission to publish a Polish translation of the aforementioned parts of this excellent book. (shrink)

This edition replaces the earlier translation by Walter Lowrie that appeared under the title The Concept of Dread. Along with The Sickness unto Death, the work reflects from a psychological point of view Søren Kierkegaard's longstanding concern with the Socratic maxim, "Know yourself." His ontological view of the self as a synthesis of body, soul, and spirit has influenced philosophers such as Heidegger and Sartre, theologians such as Jaspers and Tillich, and psychologists such as Rollo May. In The Concept of (...) Anxiety, Kierkegaard describes the nature and forms of anxiety, placing the domain of anxiety within the mental-emotional states of human existence that precede the qualitative leap of faith to the spiritual state of Christianity. It is through anxiety that the self becomes aware of its dialectical relation between the finite and the infinite, the temporal and the eternal. (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)

When I was asked to contribute an issue to the Literature and Aesthetics series on great thinkers in aesthetics, I did not appreciate how difficult it might be to put together a volume on Plato. Originally my plan was simply to call the volume Plato’s Aesthetics, or Plato on Art and Beauty. I came to realise, however, that Plato was not driven to write about art from an interest in aesthetics (at least not aesthetics as we know it), and that (...) the terms ‘art’ and ‘beauty’ are very inaccurate descriptors for what Plato was “on about”, as they say here in Australia. The fact is that Plato is concerned with all sorts of matters that walk under the umbrella of literature and aesthetics—poetry, drama, myth, music, painting, perspective, attractiveness, organicity, creativity, criticism, truth, and philosophy—and the terms ‘aesthetics’, ‘art’, and ‘beauty’ convey only a small portion of them. What was needed was a more comprehensive conception of Plato’s interest. (shrink)

The pervasive tendency to characterize Plato and Aristotle as philosophers who are fundamentally in opposition blocks an adequate contemporary reception of their writings. This tendency results in superficial presentations of the philosophical concerns of both thinkers and obscures the historical affinity between their global projects. This article provides an example of a reading that respects the accord between Plato and Aristotle on one crucial issue: the foundation of a good life. With respect to Plato’s Republic, I demonstrate that the (...) harmonization of the soul is the principal goal guiding the construction of the city in speech. Following this brief reading of the Republic, I turn to Aristotle’s Nicomachean Ethics and argue that once one understands the parameters of the inquiry, one can see that the programmatic foundation hinges on the possibility of harmonizing the multifarious capacities and faculties of the soul. In the final section of the article I suggest that this harmonic reading of Plato and Aristotle has implications for the teaching of philosophical texts generally. (shrink)

Gentzen writes in the published version of his doctoral thesis Untersuchungen über das logische Schliessen that he was able to prove the normalization theorem only for intuitionistic natural deduction, but not for classical. To cover the latter, he developed classical sequent calculus and proved a corresponding theorem, the famous cut elimination result. Its proof was organized so that a cut elimination result for an intuitionistic sequent calculus came out as a special case, namely the one in which the sequents have (...) at most one formula in the right, succedent part. Thus, there was no need for a direct proof of normalization for intuitionistic natural deduction. The only traces of such a proof in the published thesis are some convertibilities, such as when an implication introduction is followed by an implication elimination [1934–35, II.5.13]. It remained to Dag Prawitz in 1965 to work out a proof of normalization. Another, less known proof was given also in 1965 by Andres Raggio.We found in February 2005 an early handwritten version of Gentzen's thesis, with exactly the above title, but with rather different contents: Most remarkably, it contains a detailed proof of normalization for what became the standard system of natural deduction. The manuscript is located in the Paul Bernays collection at the ETH-Zurichwith the signum Hs. 974: 271. Bernays must have gotten it well before the time of his being expelled from Göttingen on the basis of the racial laws in April 1933. (shrink)

The study of Plato has become involved in so many entanglements of higher criticism that it is difficult even to approach the interpretation of any particular dialogue without bias or preconceptions. A swarm of problems starts up for settlement as a preliminary consideration to the correct understanding of Plato’s aims in writing the dialogue, and there is a danger lest its precise issue and philosophical value may be obscured by discussions about its place in the chronological order of the dialogues, (...) as to whether it expresses the views of Socrates or of Plato, or represents a particular stage in the development of Plato's own thought, and so on. That this danger is real is forcibly suggested by a remark of Professor Taylor: “To understand a great thinker is, of course, impossible, unless we know something of the relative order of his works and of the actual period of his life to which they belong....We cannot, then, even make a beginning with the study of Plato until we have found some trustworthy indication of the order in which his works, or at least the most significant of them, were written.”. (shrink)

THE CENTRALITY OF "SYMPATHY" to Adam Smith's Theory of Moral Sentiments points to the centrality of love in the book. While Smith delineates a somewhat unusual, technical sense of "sympathy", his actual use of the term frequently slips into its more ordinary sense of "compassion" or affectionate fellow feeling. This no doubt intentional equivocation on Smith's part helps suffuse the book with these themes, to the point that, without much exaggeration, one could say that the Theory of Moral Sentiments is (...) generally about love: our need for love and sympathy, love as friendship, self-love, the love of praise and praiseworthiness, the love of beauty. Even in the Wealth of Nations, our loves are thought to be very important in explaining our behavior. Smith is unusual among modern moral philosophers in according so central a place to love in this broad sense, although of course Christianity made love a central theme in reflection on ethical life, and philosophers such as Hutcheson made benevolence a key virtue in their ethical systems. However, it is not our purpose to examine Smith's critique of Hutcheson or indeed of any of his predecessors. Rather we aim in this paper to reflect on his treatment of this topic. We shall do so in part by means of comparisons with Aristotle and Plato, first with respect to friendship and then with respect to love generally. Smith's writing is replete with classical references, raising the issue of the degree to which his thought is "ancient" or "modern." Friendship is arguably the pinnacle of social relations for the ancients, and thus it provides us with a useful device for determining the degree to which Smith's thought embodies classical moral and philosophical principles. The subtlety of Smith's interweaving of traditions will become visible as we reflect not just on the ways Smith's thought exhibits classical conceptions of friendship and love, but also on the ways he departs from them. For in at least one important respect, love is a closed book from Smith's standpoint, and thus, as it turns out, also at odds with classical friendship. (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)

This chapter contains sections titled: Introduction The Politics of the 350s and 340s The Emergence of the Culture War, or the Man with the Good Memory.

R.E. Allen's superb new translations of four Socratic dialogues—_Ion_, _Hippias Minor_, _Laches_, and _Protagoras_—bring these classic texts to life for modern readers. Allen introduces and comments on the dialogues in an accessible way, inviting the reader to reexamine the issues continually raised in Plato's works. In his detailed commentary, Allen closely examines the major themes and central arguments of each dialogue, with particular emphasis on _Protagoras_. He clarifies each of Plato's arguments and its refutation; places the themes (...) in historical perspective; ties each theme to interpretations of rival translations; and links the philosopher's thought to trends in late modern philosophy. Topics discussed include: whether virtue is an art, whether wisdom and courage are logically equivalent, whether virtue is knowledge, and whether to know the good is to do it. Allen connects his discussion of these issues to the Benthamite tradition of hedonism and utilitarianism and to the ethical theories of Mill, Sidgwick, Moore, and Freud. (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)

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)

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.

Gentzen writes in the published version of his doctoral thesis Untersuchungen über das logische Schliessen that he was able to prove the normalization theorem only for intuitionistic natural deduction, but not for classical. To cover the latter, he developed classical sequent calculus and proved a corresponding theorem, the famous cut elimination result. Its proof was organized so that a cut elimination result for an intuitionistic sequent calculus came out as a special case, namely the one in which the sequents have (...) at most one formula in the right, succedent part. Thus, there was no need for a direct proof of normalization for intuitionistic natural deduction. The only traces of such a proof in the published thesis are some convertibilities, such as when an implication introduction is followed by an implication elimination [1934–35, II.5.13]. It remained to Dag Prawitz in 1965 to work out a proof of normalization. Another, less known proof was given also in 1965 by Andres Raggio.We found in February 2005 an early handwritten version of Gentzen's thesis, with exactly the above title, but with rather different contents: Most remarkably, it contains a detailed proof of normalization for what became the standard system of natural deduction. The manuscript is located in the Paul Bernays collection at the ETH-Zurichwith the signum Hs. 974: 271. Bernays must have gotten it well before the time of his being expelled from Göttingen on the basis of the racial laws in April 1933. (shrink)

While it is generally accepted that we need to use our intelligence in order to get what we want, it is thought to be a cardinal error to imagine that by reasoning we can discover what we ought to want. Reason can in no way constrain the choice of ends, it can only constrain the choice of means once an end has been adopted. In Plato's philosophy we find a view strongly opposed to this attitude towards reason. It is (...) widely held, however, that to arrive at a position which is plainly opposed to common sense, Plato must have grossly confused reasoning about means with reasoning about ends. Evidence of this confusion is found in Plato's use of analogies between statecraft and navigation, and between virtue and skill. But the diagnosis of confusion rests on a misunderstanding of how Plato wanted to use the word translated ‘skill’, i.e. ‘ technē ’, and this misunderstanding is shared even by those who see Plato as rejecting the virtue/skill analogy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato’s CratylusRosamond Kent SpragueDavid Sedley. Plato’s Cratylus. New York: Cambridge University Press, 2003. Pp. xi + 190. Cloth, $60.00Discussion of Plato's Cratylus, to which this book is a notable contribution, must straightway come to terms with the question of Plato's seriousness (or lack thereof) in the etymology sections of the dialogue. Professor Sedley is a strong advocate of the seriousness of the etymologies, a position which, (...) he remarks, will not surprise most classicists, although it "may cause apoplexy among many of Plato's philosophical admirers" (23). More colloquially he writes, "if Plato was joking, the joke flopped" (39).But need we assume that Plato was either serious or joking? His sense of humor was peculiar, and seems to me nicely characterized by Guthrie when, in commenting on the present dialogue, he speaks of Plato as "tumbling together with an equally straight face absurdities and deeply held convictions" (History V, 25). I also incline more than Sedley to the frequent topicality of Plato's work.Nevertheless, the Sedley thesis may be seen to pay rich rewards. Perhaps most notable is the perception that the etymologies constitute a philosophical curriculum, moving along a well-defined trace from cosmology to the consideration (a watershed here) of ethical terms. This progression is especially significant in marking the emancipation of Plato from his early association with Cratylus and his subsequent allegiance to Socrates.Another mandatory topic is, of course, chronology. The Cratylus is seen to be unusual here in that what we have is most probably a reedited version. (A substantive point is at issue because the earlier version fails to distinguish clearly between the lawmaker and the [End Page 490] dialectician.) Thus to the question, where does the Cratylus fit in the traditional chronology, Sedley's answer is, "not in any one place" (7). As to the projected time of the revision, proximity to the Sophist is most likely.Sedley's general approach to the etymologies is hierarchical (here he identifies two important principles, Uniformity and Groundedness) rather than one of mutual support. He writes that the "'imitation' relation between sounds and things will be found [at] not just the primary level, but all the way up the chain" (126). Similarly with Socrates' painting analogy: "the primary pigments which the painter uses already imitate the simplest objects of vision" (128). In both cases the principles of Uniformity and Groundedness "are to some extent permitted to merge" (127).The business of name-making is of course a techne, as is that of painting. That both of these arts are approximate in nature is not an "ad hoc postulate [but] lies at the heart of Platonic metaphysics," since "any craftsman's embodiment of a Form in matter is necessarily less than perfect" (45). (As Sedley tellingly points out, "it is the Sophist Thrasymachus, and not Socrates, who proposes that a craftsman, qua craftsman, never gets anything wrong" [44].) As for Socrates' final position, it is "not the reversion to conventionalism that it has so often been taken to be" (145). Convention does play some part in signification, but it is also the case that names are some kind of vocal imitations, "a thesis, massively documented in the etymological section, from which Socrates never retreats" (145).One point on which I would like to have had Sedley's comments is the following: what does he think of Diogenes Laertius's remark (III, 6) that not only did Plato, after the death of Socrates, "attach himself to Cratylus the Heraclitean," but also to Hermogenes "who professed the philosophy of Parmenides"? Now the only real Parmenideanism in the dialogue (the position that a name is either a true name or not a name at all) is attributed not to Hermogenes but to Cratylus! (Is Descartes an empiricist? Is Hume a rationalist?) Furthermore, even though Cratylus adopts this position on a variety of occasions (429d, 432a, 433c, 436c, and 438c), he is too flighty (or, one might say, too fluxy) to stick with it, and continually relapses (431a, 432d, 433b, 435e, for instance). At the risk of being categorized as a non-serious reader of the Cratylus (which I am not... (shrink)

Gentzen writes in the published version of his doctoral thesis Untersuchungen über das logische Schliessen that he was able to prove the normalization theorem only for intuitionistic natural deduction, but not for classical. To cover the latter, he developed classical sequent calculus and proved a corresponding theorem, the famous cut elimination result. Its proof was organized so that a cut elimination result for an intuitionistic sequent calculus came out as a special case, namely the one in which the sequents have (...) at most one formula in the right, succedent part. Thus, there was no need for a direct proof of normalization for intuitionistic natural deduction. The only traces of such a proof in the published thesis are some convertibilities, such as when an implication introduction is followed by an implication elimination [1934–35, II.5.13]. It remained to Dag Prawitz in 1965 to work out a proof of normalization. Another, less known proof was given also in 1965 by Andres Raggio.We found in February 2005 an early handwritten version of Gentzen's thesis, with exactly the above title, but with rather different contents: Most remarkably, it contains a detailed proof of normalization for what became the standard system of natural deduction. The manuscript is located in the Paul Bernays collection at the ETH-Zurichwith the signum Hs. 974: 271. Bernays must have gotten it well before the time of his being expelled from Göttingen on the basis of the racial laws in April 1933. (shrink)

With a masterful sense of the place of rhetoric in both thought and practice and an ear attuned to the clarity, natural simplicity, and charm of Plato's Greek prose, James H. Nichols Jr., offers precise yet unusually readable translations of two great Platonic dialogues on rhetoric. The Gorgias presents an intransigent argument that justice is superior to injustice: To the extent that suffering an injustice is preferable to committing an unjust act. The dialogue contains some of Plato's most (...) significant and famous discussions of major political themes, and focuses dramatically and with unrivaled intensity on Socrates as a political thinker and actor. Featuring some of Plato's most soaringly lyrical passages, the Phaedrus investigates the soul's erotic longing and its relationship to the whole cosmos, as well as inquiring into the nature of rhetoric and the problem of writing. Nichols's attention to dramatic detail brings the dialogues to life. Plato's striking variety in conversational address is carefully reproduced, as is alteration in tone and implication even in the short responses. The translations render references to the gods accurately and non-monotheistically for the first time, and include a fascinating variety of oaths and invocations. A general introduction on rhetoric from the Greeks to the present shows the problematic relation of rhetoric to philosophy and politics, states the themes that unite the two dialogues, and outlines interpretive suggestions that are then developed more fully for each dialogue. The twin dialogues reveal both the private and the political rhetoric emphatic in Plato's philosophy, yet often ignored in commentaries on it. Nichols believes that Plato's thought on rhetoric has been largely misunderstood, and he uses his translations as an opportunity to reconstruct the classical position on right relations between thought and public activity. (shrink)

ABSTRACTThough the perennial problem of consciousness has outlasted the idealists, the reductivist turn in contemporary naturalistic philosophy of mind and the non-reductivist reactions to it provoke us to re-think post-Kantian idealism. Fichte's Wissenschaftslehre makes for a classical case of non-reductivist approach to mind and his critique of ‘dogmatism’ is all the more relevant in this context. This article contains four sections. The first section is an introduction that explains why post-Kantian idealism is relevant to contemporary philosophy of mind. The second (...) section pinpoints the placement issue that confronts not only current philosophers but also partially motivated Fichte's own philosophy. The third section is a short but essential remark about the normative and practical valence of ‘knowledge’ and ‘science’ in Fichte's traditional understanding of them. In the fourth section, I provide a reconstructive analysis of Fichte's understanding and critique of physicalism. Fichte's argument can be analyzed into two horns with each targeting reductivism and epiphenomenalism respectively. The final section is a brief but positive exposition on a necessary feature, namely reflexivity, of mind and the first-person perspective. Fichte's appropriation of intellectual intuition exemplifies a non-representationalist picture that connects content transparency with the active nature of mind. (shrink)

The study of Plato has become involved in so many entanglements of higher criticism that it is difficult even to approach the interpretation of any particular dialogue without bias or preconceptions. A swarm of problems starts up for settlement as a preliminary consideration to the correct understanding of Plato’s aims in writing the dialogue, and there is a danger lest its precise issue and philosophical value may be obscured by discussions about its place in the chronological order of the dialogues, (...) as to whether it expresses the views of Socrates or of Plato, or represents a particular stage in the development of Plato's own thought, and so on. That this danger is real is forcibly suggested by a remark of Professor Taylor: “To understand a great thinker is, of course, impossible, unless we know something of the relative order of his works and of the actual period of his life to which they belong....We cannot, then, even make a beginning with the study of Plato until we have found some trustworthy indication of the order in which his works, or at least the most significant of them, were written.”. (shrink)

'What exactly is knowledge?' The Theaetetus is a seminal text in the philosophy of knowledge, and is acknowledged as one of Plato's finest works. Cast as a conversation between Socrates and a clever but modest student, Theaetetus, it explores one of the key issues in philosophy: what is knowledge? Though no definite answer is reached, the discussion is penetrating and wide-ranging, covering the claims of perception to be knowledge, the theory that all is in motion, and the perennially (...) tempting idea that knowledge and truth are relative to different individuals or states. The inquirers go on to explore the connection between knowledge and true judgement, and the famous threefold definition of knowledge as justified true belief. Packed with subtle arguments, the dialogue is also a work of literary genius, with an unforgettable portrait of Socrates as a midwife of wisdom. This new edition uses the acclaimed translation by John McDowell. It includes a valuable introduction that locates the work in Plato's oeuvre, and explains some of the competing interpretations of its overall meaning. The notes elucidate Plato's arguments and draw connections within the work and with other philosophical discussions. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

This book examines the role of the female and the feminine in Plato's philosophy, and suggests that Plato's views on women are central to his political philosophy. Morag Buchan explores Plato's writings to argue his notions of the inferior female and the superior male. While Plato appears to allow women equal opportunity and participation of political life in the Ideal State in The Republic , his motivation rests on masculine ideals. Women in Plato's Political Theory (...) examines issues including women's relationship to men, to reproduction, to rational thought and politics in Plato's work, and addresses more generally the problem of sexual identity in philosophy. This book is an important contribution toward a wider interpretation of Platonic philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.1 (2003) 121-122 [Access article in PDF] Harold Tarrant. Plato's First Interpreters. Ithaca, NY: Cornell University Press, 2000. Pp. viii + 263. Cloth, $55.00. This is Tarrant's third book on the ancient Platonist tradition, following his Scepticism or Platonism? (1985) and Thrasyllan Platonism (1993). In those earlier volumes his focus was on the first centuries bc and ad. Here his scope is (...) much wider. Stating that "Platonic interpretation is today at a crossroads," he has written a book that explores "ancient attempts to wrestle with this corpus," with the ultimate objective "to encourage a fresh, almost primitive reading of Plato himself" (vii).He begins engagingly by confronting the ancients with questions any modern reader of Plato must ask: What kind of text is this? Are there doctrines here? Where do I look for Plato's doctrines? The second part of his book is a historical survey, taking us from Plato, the early Academy and Aristotle, through the Hellenistic and early Roman Imperial period, and concluding with the principal Neoplatonist interpreters. In the third and longest part, he focuses on the interpretation of specific dialogues, giving most space to the Gorgias and Theaetetus, but also dealing in particular detail with the Meno, Parmenides, and Philebus. Something is said about every dialogue, but Tarrant writes only briefly about such major works as the Republic and Timaeus. He explains his selectivity (not very convincingly) as due to his wish to "discuss issues of meta-interpretation, with emphasis on the period before Plotinus" (198).Taking his book as a whole, one realizes that few strands of modern interpretation were not prefigured to quite a large extent in antiquity. The two most obvious exceptions are the chronological and developmental approach (Early, Middle, and Late), at present under strong attack from some quarters, and the theological, numerological, and allegorical readings practiced by Neoplatonists. Plato's ancient interpreters were doctrinal unitarians, but they implicitly anticipated our tendency to distinguish "Socratic dialogues," which some of them called "gymnastic" and "inquisitive," from such "canonical" works as the Phaedo,Republic, Symposium, and Timaeus, to which they applied the labels "dogmatic" and "expository." And they recognized that both types of characteristics could be found in the same dialogue, as in the Meno and Theaetetus. Plato himself, they proposed, spoke primarily through the voices of Socrates, Timaeus, and the Eleatic and Athenian strangers; but other characters, such as Pausanias in the Symposium, or Protagoras in the dialogue of that name, utter thoughts with some philosophical value. In explaining difficult passages of one dialogue, they would typically refer to passages from other parts of the corpus. An especially intriguing instance is the strategy of the Anonymous Commentator on the Theaetetus, who reads the Meno into the dialogue on which he is officially commenting.Ancient scholars, just like ourselves, asked questions about the unifying themes of complex dialogues. Hence the sub-titles given to certain works: "On the soul" for the Phaedo, and "On justice" for the Republic, etc. For Olympiodorus (whose commentary on the Gorgias Tarrant has recently co-edited [Leiden, 1998]), earlier interpreters have seriously erred by giving too limited an account of that dialogue's scope. It is not, he says, simply about rhetoric, nor about justice and injustice; nor is its theme the divine demiurge (as some Neoplatonists had strangely proposed, on the basis of the concluding myth). Rather, the subject of the Gorgias is "the ethical principles that lead to constitutional well-being" (125). [End Page 121] However, Olympiodorus's eminently "sensible" reading (as Tarrant calls it) is deeply embedded in the Neoplatonic contrast between the "purificatory virtues" of the Phaedo and the "constitutional virtues" of Republic4.Strong or weak scepticism, esotericism, unwritten doctrines, spurious versus genuine, a canon of central dialogues, dramatic considerations, and the philosophical importance or non-importance of the dialogues' prologues—all of these are interpretive approaches that Tarrant surveys in this immensely learned book, and all of them continue to resonate for us. Modern scholars, who emphasize the literary and philosophical unity of each dialogue, are walking... (shrink)

The subject of the paper is Plotinus’ theory of the One. The motif to work on the issue was the need of a systematic treatment of this problem, still missing in the writings of Slovak historians of philosophy. The intention of the paper is the presentation, analysis and critical interpretation of the remarkable origins of Plotinus’ theory. The paper deals further with the question of the sources of Plotinus’ theory of the One in Plato. The introductory general theoretical reflections (...) on the origins of Plotinus’ theory is followed by a detailed text analysis of the books 6 and 7 of Plato’s Republic and by the analysis of the first and second hypotheses of the second part of the dialogue Parmenides. (shrink)

Among Plato's works, the Statesman is usually seen as transitional between the Republic and the Laws. This book argues that the dialogue deserves a special place of its own. Whereas Plato is usually thought of as defending unchanging knowledge, Dr Lane demonstrates how, by placing change at the heart of political affairs, Plato reconceives the link between knowledge and authority. The statesman is shown to master the timing of affairs of state, and to use this expertise in managing (...) the conflict of opposed civic factions. To this political argument corresponds a methodological approach which is seen to rely not only on the familiar method of 'division', but equally on the unfamiliar centrality of the use of 'example'. The demonstration that method and politics are interrelated transforms our understanding of the Statesman and its fellow dialogues. (shrink)

The _Symposium_ is one of Plato’s most accessible dialogues, an engrossing historical document as well as an entertaining literary masterpiece. By uncovering the structural design of the dialogue, _Plato’s Dialectic at Play _aims at revealing a Plato for whom the dialogical form was not merely ornamentation or philosophical methodology but the essence of philosophical exploration: his dialectic is not only argument, it is also play. Careful analysis of each layer of the text leads cumulatively to a picture of the dialogue’s (...) underlying structure, related to both argument and myth, and shows that a dynamic link exists between Diotima’s higher mysteries and the organization of the dialogue as a whole. On this basis the authors argue that the _Symposium_, with its positive theory of art contained in the ascent to the Beautiful, may be viewed as a companion piece to the Republic, with its negative critique of the role of art in the context of the Good. Following Nietzsche’s suggestion and applying criteria developed by Mikhail Bakhtin, they further argue for seeing the _Symposium_ as the first novel. The book concludes with a comprehensive reevaluation of the significance of the _Symposium_ and its place in Plato’s thought generally, touching on major issues in Platonic scholarship: the nature of art, the body-soul connection, the problem of identity, the relationship between _mythos_ and logos, Platonic love, and the question of authorial writing and the vanishing signature of the absent Plato himself. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

This volume contains a new translation, with a historical introduction by the translators, of two works written under the pseudonym Johannes Climacus. Through Climacus, Kierkegaard contrasts the paradoxes of Christianity with Greek and modern philosophical thinking. In Philosophical Fragments he begins with Greek Platonic philosophy, exploring the implications of venturing beyond the Socratic understanding of truth acquired through recollection to the Christian experience of acquiring truth through grace. Published in 1844 and not originally planned to appear under the pseudonym Climacus, (...) the book varies in tone and substance from the other works so attributed, but it is dialectically related to them, as well as to the other pseudonymous writings. The central issue of Johannes Climacus is doubt. Probably written between November 1842 and April 1843 but unfinished and published only posthumously, this book was described by Kierkegaard as an attack on modern speculative philosophy by "means of the melancholy irony, which did not consist in any single utterance on the part of Johannes Climacus but in his whole life.... Johannes does what we are told to do--he actually doubts everything--he suffers through all the pain of doing that, becomes cunning, almost acquires a bad conscience. When he has gone as far in that direction as he can go and wants to come back, he cannot do so.... Now he despairs, his life is wasted, his youth is spent in these deliberations. Life does not acquire any meaning for him, and all this is the fault of philosophy." A note by Kierkegaard suggests how he might have finished the work: "Doubt is conquered not by the system but by faith, just as it is faith that has brought doubt into the world!.". (shrink)

Crombie's second volume deals with Plato's epistemology, cosmology and theory of forms. The author attempts to fit Plato "more into the company of Aristotle, Hume, Kant or Russell." He distinguishes Plato the poet from Plato the philosopher, and suggests that it is the poetic aspect of Plato's writings which lend credence to the mystical Plato of Plotinus. The analysis is detailed, sometimes tedious, but also at times quite ingenious.--P. S.

In lieu of an abstract, here is a brief excerpt of the content:Socrates' Trial and Conviction of the Jurors in Plato's ApologyDougal BlythI am going to argue in this paper that, in the three speeches constituting his Apology of Socrates, Plato presents the judicial proceedings that led to Socrates' execution as having precisely the opposite significance to their superficial legal meaning. This re-evaluation will lead to some reflections on the politics of Socrates' defence, and, similarly, on Plato's own (...) aims in writing the Apology. I want to show not only that the trial as portrayed demonstrates an inevitable dereliction of duty by the democratic jury, but also, more interestingly, that throughout the proceedings Socrates understands the meaning of the trial precisely in terms of his anticipation of the jurors' judicial incapacity.In the prooimion to his defence speech, Socrates requests that the jurors ignore his manner of speaking and concentrate on whether his case is just, "since this is a judge's virtue (), while that of a rhêtôr is to speak the truth" (18a5-6, cf. 35c2-5). We can gloss the expression "a judge's aretê" in this context as his function, or responsibility.1 Socrates claims that he, himself, fulfills his own responsibility as a defendant to tell the truth (17b4-c4, 33c1-2, cf. 34b5, 35b9-c2) in a speech that asserts his exemplary piety in Apollo's service and his beneficial influence on the Athenian youth. But if, in claiming that he is innocent of the charge, Socrates does tell the truth, then those jurors who thereupon convict him of impiety and corruption, and subsequently sentence him to death, have failed in their duty to judge rightly.My claim is that Socrates sees the trial as a test of the jurors' abilities. It is characteristic of Socrates to test people regarding their concern for virtue and justice, a habit to which he devotes extended discussion during his defence, even dramatising it provocatively in a central passage (29d7-e5) that I aim shortly to analyse in detail. Moreover, Socrates specifically withholds from the jury the title of dikastai or judges; he does finally award the title in his address following the sentence, but only to those who have voted [End Page 1] to acquit him (40a2-3).2 The possibility thus emerges that Socrates has treated the legal proceedings all along as a moral (and intellectual) test, or trial, of the empanelled jurors themselves, to see whether they are capable of the legal function to which they have been allotted. In that case, Socrates is putting on trial, not just those individual citizens, but the very legal system of democratic Athens.Socratic irony and truthfulnessBefore considering Socrates' own explicit judgement during those final remarks on the jurors' moral offence and punishment, I should first address briefly the issue of Socrates' irony. In the past, some writers have asserted that this irony involves him in not telling the truth about himself during his defence, in which case the jury might well have been justified in convicting him. Actually, there does seem to be a consensus among the more extended treatments of the Apology that have emerged during the last decade, at least on the point that Plato presents Socrates as committed to making as sincere an attempt at a defence of his case as is consistent with his philosophical commitment to virtue, and so to telling the truth.3I shall not re-argue this point in detail, but shall take it to be secured by two basic considerations: consistency with the Crito would require Socrates to recognise a legal obligation to make a sincere attempt at defence while his obligation to Apollo to continue his mission in Athens if possible would motivate that attempt with the goal of acquittal.4 Instead, I want to show what role irony does have in Socrates' defence, given that his principled law-abidingness requires him to attempt to persuade the jury, in accordance with truth and justice, that he is innocent (cf. 19a6-7, 18a7-b1, 18e5).Where Socrates acknowledges the obligation to defend himself, he remarks on the difficulty he faces, a difficulty that has resulted from the slander to which he has long... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Socrates' Trial and Conviction of the Jurors in Plato's ApologyDougal BlythI am going to argue in this paper that, in the three speeches constituting his Apology of Socrates, Plato presents the judicial proceedings that led to Socrates' execution as having precisely the opposite significance to their superficial legal meaning. This re-evaluation will lead to some reflections on the politics of Socrates' defence, and, similarly, on Plato's own (...) aims in writing the Apology. I want to show not only that the trial as portrayed demonstrates an inevitable dereliction of duty by the democratic jury, but also, more interestingly, that throughout the proceedings Socrates understands the meaning of the trial precisely in terms of his anticipation of the jurors' judicial incapacity.In the prooimion to his defence speech, Socrates requests that the jurors ignore his manner of speaking and concentrate on whether his case is just, "since this is a judge's virtue (), while that of a rhêtôr is to speak the truth" (18a5-6, cf. 35c2-5). We can gloss the expression "a judge's aretê" in this context as his function, or responsibility.1 Socrates claims that he, himself, fulfills his own responsibility as a defendant to tell the truth (17b4-c4, 33c1-2, cf. 34b5, 35b9-c2) in a speech that asserts his exemplary piety in Apollo's service and his beneficial influence on the Athenian youth. But if, in claiming that he is innocent of the charge, Socrates does tell the truth, then those jurors who thereupon convict him of impiety and corruption, and subsequently sentence him to death, have failed in their duty to judge rightly.My claim is that Socrates sees the trial as a test of the jurors' abilities. It is characteristic of Socrates to test people regarding their concern for virtue and justice, a habit to which he devotes extended discussion during his defence, even dramatising it provocatively in a central passage (29d7-e5) that I aim shortly to analyse in detail. Moreover, Socrates specifically withholds from the jury the title of dikastai or judges; he does finally award the title in his address following the sentence, but only to those who have voted [End Page 1] to acquit him (40a2-3).2 The possibility thus emerges that Socrates has treated the legal proceedings all along as a moral (and intellectual) test, or trial, of the empanelled jurors themselves, to see whether they are capable of the legal function to which they have been allotted. In that case, Socrates is putting on trial, not just those individual citizens, but the very legal system of democratic Athens.Socratic irony and truthfulnessBefore considering Socrates' own explicit judgement during those final remarks on the jurors' moral offence and punishment, I should first address briefly the issue of Socrates' irony. In the past, some writers have asserted that this irony involves him in not telling the truth about himself during his defence, in which case the jury might well have been justified in convicting him. Actually, there does seem to be a consensus among the more extended treatments of the Apology that have emerged during the last decade, at least on the point that Plato presents Socrates as committed to making as sincere an attempt at a defence of his case as is consistent with his philosophical commitment to virtue, and so to telling the truth.3I shall not re-argue this point in detail, but shall take it to be secured by two basic considerations: consistency with the Crito would require Socrates to recognise a legal obligation to make a sincere attempt at defence while his obligation to Apollo to continue his mission in Athens if possible would motivate that attempt with the goal of acquittal.4 Instead, I want to show what role irony does have in Socrates' defence, given that his principled law-abidingness requires him to attempt to persuade the jury, in accordance with truth and justice, that he is innocent (cf. 19a6-7, 18a7-b1, 18e5).Where Socrates acknowledges the obligation to defend himself, he remarks on the difficulty he faces, a difficulty that has resulted from the slander to which he has long... (shrink)

Most readers of Plato’s dialogues would probably think of him as likely to approve more of the old masters than of new art. The old masters were on the whole far more realistic than modern painters—compare, say, Velázquez Innocent X (1650) with Matisse The Snail (1953)2—and Plato often seems to take issue with an artist if he departs even slightly from realism. A long section of the Ion, for example, is dedicated to showing that experts in charioteering, medicine, and other (...) areas make the best judges about what poets say on those subjects, ostensibly because only experts can tell how realistically the poet represents chariots, medical treatments and the like.3 Even more telling is the view, famously expressed in the Republic, which suggests that painters should paint things according to what they actually look like:. (shrink)

This excellent book consists of a translation of Plato's Euthyphro, plus "interspersed comment" intended "partly as a help to the Greekless reader in finding his way, and partly as a means of embedding the discussion of the earlier theory of Forms which follows it." That subsequent discussion is a series of sections aimed at establishing "that there is an earlier theory of Forms, found in the Euthyphro and other early dialogues as an essential adjunct of Socratic dialect" and that (...) it is not the same as the theory of Forms found in the Phaedo, Republic and other middle dialogues. In the Euthyphro Socrates' question of what holiness is assumes that there is a Form of holiness, "that this Form is a universal, the same in all holy things;... that that Form may be used as a standard, by which to judge what things are holy and what are not...; that it is an essence, by which or in virtue of which holy things are holy." As essences Forms are causes--formal, not efficient. They are "causes in the sense that they are that by which things are what they are. They therefore affect the career of the world, in that if they did not exist, the world would not be what it is." They "are not identical with their instances and [are] prior to their instances" and, hence, they are not in their instances. In fact, "Forms are as 'separate' from their instances in the early dialogues as they are" in the later ones. Do they not differ, then, from these latter Forms? Yes, because "of the way in which separation is conceived." In the Phaedo and other middle dialogues separation "involves something more than... nonidentity, independence, or priority. It involves the claim that instances of Forms are deficient imitations or resemblances of Forms.... To that theory was later conjoined, as a natural corollary, the theory that sensibles and Forms differ in their degree of reality, that Forms are more real than their instances." There are, in fact, "Two Worlds, Visible and Invisible.... The objects of the Visible World... are in a perpetually changing mortal realm, never the same with respect to each other or themselves. By contrast, Forms, the reality of whose existence we render an account in questioning and answering, exist always in the same way with respect to the same things, single in nature, alone by themselves, never in any way under any circumstances admitting alteration." This contrast between the Two Worlds is not drawn in the Euthyphro and earlier writings. Hence, between them and the middle dialogues there is a development in the theory of Forms. Of course, there also is "a unity to Plato's thought; but it is not the unity of a monument. It is the unity of growth and development, the unity of life." In these splendid pages one point remains unclear: how can a Form be universal and thus distinct from its instances and yet be their formal cause? Allen leaves no doubt that this is his position: "In Plato's early dialogues Forms are not the being of that of which they are Forms. A universal, being one, cannot constitute the being of a plurality--precisely why Aristotle was led to distinguish substantial form from universal. The Euthyphro does not imply that holiness is the being of any given holy thing or action as holy; it implies only that holiness is that by which holy things are holy. It implies, to borrow another bit of Aristotelian vocabulary, that holiness is a cause." But precisely in what way is a Form "that by which" something is what it is? Plato subsequently answers by distinguishing the Form itself, its character as participated by a particular thing, and the participant : the Form is that by which some thing is what it is through the participated character which the thing has. Is this answer implied in the Euthyphro? Or in what sense is a Form distinct from particular things? In what sense a formal cause? That puzzlement, though, is minor in the context of the entire book, which is valuable not only for the interpretation Allen gives of the early and middle dialogues but also for all sorts of unexpected bonuses. These are points either newly made or brilliantly reiterated--for example, the influence of Anaxagoras on Plato re the notion of essence and in philosophical vocabulary; Aristotle's abandonment of the contrast made in the Categories between primary and secondary substance; the crucial difference between genus/species in Aristotle and in Plato (enriched/impoverished; the analogy of a Platonic definition to mapping a field; the evaluation of Aristotle's interpretation of Plato's Forms, of his report on the "unwritten doctrines," of esoteric and exoteric teachings. This last culminates in a paragraph which all students of Plato should reflect upon constantly: "It is possible to treat Plato's text, not as evidence for something else, but as itself the primary object of historical understanding. The aim of the inquiry is then to interpret a set of literary documents, not to fathom the entertained beliefs of their author. It is reasonable, of course, to assume that the documents are a reliable index to the beliefs; but the connection, after all, is contingent, and as far as interpretation is concerned, unimportant. If Plato, in his heart of hearts, had been a nominalist, an atheist, a sceptic about immortality, and a hedonist, and had yet gone on to write the dialogues which he wrote for some obscure motive now unknown, this would not change the proper interpretation of what he wrote and privately disbelieved by one iota: when a man says what he does not believe, we may still perfectly well understand what it is he has said. The question, then, of whether Plato had beliefs he did not express, or beliefs contrary to what he did express, may be left to those with skill in the arts of divination; the historian may more reasonably limit himself to the study of texts and their meaning. If inquiry is construed in this way, it is self-referentially inconsistent to prefer the testimony of Aristotle to the evidence of Plato's text in the interpretation of Plato."--L. S. (shrink)

Taking up the controversial issue of the value of the laws of non-ideal cities in Plato’s Statesman, the paper argues for a modified version of the traditional interpretation, as defended against Christopher Rowe’s influential criticism. The paper agrees with the traditional view that the established laws of non-ideal cities are assumed to be good laws and that the Eleatic Stranger’s justification for this assumption can be found in 300b. But it also argues that this defence of the traditional interpretation must (...) be based on a revised understanding of the role of legislation in the Stranger’s conception of ideal rule. The unique contribution of the expert to good government consists in his distinctive ability to judge what is appropriate in each case, not in his work as legislator, which, on closer inspection, turns out to be based on the very same ancestral traditions that the second best city must resort to. (shrink)

"Plato's Statesman reconsiders many questions familiar to readers of the Republic: questions in political theory - such as the qualifications for the leadership of a state and the best from of constitution (politeia) - as well as questions of philosophical methodology and epistemology. Instead of the theory of Forms that is the centrepiece of the epistemology of the Republic, the emphasis here is on the dialectical practice of collection and division (diairesis), in whose service the interlocutors also deploy the (...) ancillary methods of myth and of models (paradeigmata). Plato here introduces the doctrine of due measure (to metrion) and a conception of statecraft (politikē) as an architectonic expertise that governs subordinate disciplines such as rhetoric and the military - doctrines later developed by Aristotle. Readers will find a sustained defence of the importance of expertise (technē or epistēmē) in the conduct of affairs of state, a robust (although not unqualified) defence of the rule of law, and an unsparing but nuanced critique of democratic government. The chapters in this volume provide a comprehensive and detailed philosophical engagement with the entirety of Plato's wide-ranging dialogue, with successive chapters devoted to the sections of the dialogue as it unfolds, and an introduction that places the dialogue in the context of Plato's philosophy as a whole. While not a commentary in the traditional sense, the volume engages with Plato's Statesman in its entirety" -- Publisher's description. (shrink)

'What exactly is knowledge?' The Theaetetus is a seminal text in the philosophy of knowledge, and is acknowledged as one of Plato's finest works. Cast as a conversation between Socrates and a clever but modest student, Theaetetus, it explores one of the key issues in philosophy: what is knowledge? Though no definite answer is reached, the discussion is penetrating and wide-ranging, covering the claims of perception to be knowledge, the theory that all is in motion, and the perennially (...) tempting idea that knowledge and truth are relative to different individuals or states. The inquirers go on to explore the connection between knowledge and true judgement, and the famous threefold definition of knowledge as justified true belief. Packed with subtle arguments, the dialogue is also a work of literary genius, with an unforgettable portrait of Socrates as a midwife of wisdom. This new edition uses the acclaimed translation by John McDowell. It includes a valuable introduction that locates the work in Plato's oeuvre, and explains some of the competing interpretations of its overall meaning. The notes elucidate Plato's arguments and draw connections within the work and with other philosophical discussions. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Republic, Plato's best known and most frequently read dialogue, although receiving a flood of translations and philosophical analysis over the last 100 years, has in recent times been quite short of detailed commentaries. In particular, a full edition of the introductory sections of the dialogue, representing, probably, a single papyrus roll in the original text, has not been attempted for more than fifty years. In that period scholarship has moved on, and this edition aims to take into account recent (...) developments in the study of Plato's literary style as well as of his ideas. The arguments have always been of great interest to philosophers, especially the sophist Thrasymachus' clash with Socrates in defending injustice as the most profitable life-choice. But there is a great deal more to this introduction than abstract ideas; Plato chooses to begin his great work by staging a dramatic debate, arising out of a social meeting between Socrates and friends in the Athenian port of the Piraeus during a religious festival. The case against justice as a state of affairs leading to eudaimonia is put with great force and humour, not to mention bad temper, and in the cut-and-thrust of argument and the clash of personalities, Plato brings vividly to life the cultural and social world of his times and the crucial issues at stake for his contemporaries. He also puts as effectively as possible the adversarial case which Socrates has to answer in the rest of Republic. This edition is aimed principally at readers without Greek; however, following the main purpose of the Series, a spectrum of needs is catered for, ranging from those studying through the original text to those working with the translation. Greek text with facing-page translation, introduction and commentary. (shrink)

Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories (...) and On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

The Symposium and the Phaedrus are combined here because of their shared theme: a reflection on the nature of erotic love, the love that begins with sexual desire but can transcend that origin and reach even the heights of religious ecstasy. This reflection is carried out explicitly in the speeches and conversations in the dialogues, and implicitly in the dramatic depiction of actions and characters. Thus, the two dialogues deal with a theme of enduring interest and are interesting for both (...) their literary and their philosophical character. In addition to the introduction, the book contains substantial commentaries and thorough endnotes. Key Greek terms are discussed for readers who are unfamiliar with the language. A special feature is a discussion on the importance of the dramatic and literary aspects of the dialogues for interpreting their philosophical content. The introductions deal with the nature of the dialogues themselves as philosophical texts and with Plato’s philosophical assumptions and key concepts, as well as with the necessary background of Athenian society. The endnotes clarify any ambiguities and obscurities in the original text, identifying all references to people, places, gods, et cetera. The commentaries are designed to open up the dialogues for the reader, showing the issues that have been debated by commentators and considering some of the responses to them. They are designed to stimulate further reflection. (shrink)