Plato: Protagoras

In the Protagoras, Socrates argues that what appears to be akrasia is, in fact, the result of a hedonic illusion: proximate pleasures appear greater than distant ones. On the face of it, his account is puzzling: why should proximate pleasures appear greater than distant ones? Certain interpreters argue that Socrates must be assuming the existence of non-rational desires that cause proximate pleasures to appear inflated. In this paper, I argue that positing non-rational desires fails to explain the hedonic error. However, (...) careful consideration of Socrates’ treatment of appearances reveals that he is not without resources to explain the illusion. I argue that in the Protagoras, appearances are imagistic mental representations that appear true but tend to be false. I suggest that proximate pleasures produce inflated hedonic predictions because we represent them more vividly than distant ones, yielding greater anticipatory pleasure which causes us to overestimate their magnitude. (shrink)

Ignorance is commonly assumed to be a lack of knowledge in Plato’s Socratic dialogues. I challenge that assumption. In the Protagoras, ignorance is conceived to be a substantive, structural psychic flaw—the soul’s domination by inferior elements that are by nature fit to be ruled. Ignorant people are characterized by both false beliefs about evaluative matters in specific situations and an enduring deception about their own psychic conditions. On my interpretation, akrasia, moral vices, and epistemic vices are products or forms of (...) ignorance, and a person who lacks knowledge is not necessarily ignorant. (shrink)

I offer a reading of the two conceptions of the good found in Plato’s Protagoras: the popular conception—‘the many’s’ conception—and Socrates’ conception. I pay particular attention to the three kinds of goods Socrates introduces: (a) bodily pleasures like food, drink, and sex; (b) instrumental goods like wealth, health, or power; and (c) virtuous actions like courageously going to war. My reading revises existing views about these goods in two ways. First, I argue that the many are only ‘hedonists’ in a (...) very attenuated sense. They do not value goods of kind (b) simply as means to pleasures of kind (a); rather, they have fundamentally different attitudes to (a) and (b). Second, the hedonism that Socrates’ defends includes a distinction between kinds of pleasures: (a) bodily pleasures and (c) the pleasures of virtuous actions. This distinction between kinds of pleasures—some that do and some that do not exert the ‘power of appearance’—allows Socrates to address one of the central beliefs in the popular conception of akrasia, namely that it involves a special kind of unruly desire: non-rational appetites for pleasures like food, drink, or sex. Socrates replaces the motivational push of non-rational appetites with the epistemic pull of the appearance of immediate pleasures like food, drink, and sex. (shrink)

Guided by the bold ambition to reexamine the nature of philosophy, questions about the foundations and origins of Plato’s dialogues have in recent years gained a new and important momentum. In the wake of the seminal work of Andrea Nightingale and especially her book Genres in Dialogue from 1995, Plato’s texts have come to be reconsidered in terms of their compositional and intergeneric fabric. Supplementing important research on the argumentative structures of the dialogues, it has been argued that Plato’s philosophizing (...) cannot be properly assessed without considering its intellectual debts. By detailed examinations of the practical, generic and textual origins of the dialogues, it has been shown how Plato’s chosen form of philosophical inquiry is deeply influenced by traditional forms of poetry, rhetoric, sophistry, and even medicine... (shrink)

Plato’s Protagoras contains, among other things, three short but puzzling remarks on the media of philosophy. First, at 328e5–329b1, Plato makes Socrates worry that long speeches, just like books, are deceptive, because they operate in a discursive mode void of questions and answers. Second, at 347c3–348a2, Socrates argues that discussion of poetry is a presumptuous affair, because, the poems’ message, just like the message of any written text, cannot be properly examined if the author is not present. Third, at 360e6–361d6, (...) it becomes clear that even if the conversation between Socrates and Protagoras was conducted by means of short questions and answers, this spoken mode of discourse is problematic too, because it ended up distracting the inquiry from its proper course. As this paper 2 sets out to argue, Plato does not only make Socrates articulate these worries to exhibit the hazards of discursive commodifi cation. In line with Socrates’ warning to the young Hippocrates of the dangers of sophistic rhetoric, and the sophists’ practice of trading in teachings, they are also meant to problematize the thin line between philosophical and sophistical practice. By examining these worries in the light of how the three relevant modes of discourse are exemplifi ed in the dialogue, this paper aims to isolate and clarify the reasons behind them in terms of deceit, presumptuousness and distraction; and to argue that these reasons cast doubts on the common assumption that the dialogue’s primary aim is to show how sophistical rhetoric must succumb to Socratic dialectic. (shrink)

_Socrates_ presents a compelling case for some life-changing conclusions that follow from a close reading of Socrates' arguments. Offers a highly original study of Socrates and his thought, accessible to contemporary readers Argues that through studying Socrates we can learn practical wisdom to apply to our lives Lovingly crafted with humour, thought-experiments and literary references, and with close reading sof key Socratic arguments Aids readers with diagrams to make clear complex arguments.

What is paradoxical about the Socratic paradoxes is that they are not paradoxical at all. Socrates famously argued that knowledge is sufficient for virtue and that no one errs willingly. Both doctrines are discussed in the Protagoras between Socrates and the Abderian sophist, however the argumentative line that Socrates chooses to follow in order to refute ‘the many’ has raised a serious degree of controversy among scholars. Is Socrates upholding the hedonistic view? Or, is he only trying to show the (...) bankruptcy of the explanation of akrasia as ‘being overcome by pleasure’ which ‘the many’ advocate? Socrates intends to do the latter, showing that this hedonistic explanation of akrasia leads to absurdity. Plato’s and Socrates’ identification of goodness with pleasure would mark a sudden and unexplained departure from their moral theories, and would render the Socratic denial of akrasia an argument with limited range –only for those assuming hedonism. If we are correct to hold that Socrates does not intend to identify the good with the pleasant, then we are immediately put against a new and much more difficult challenge; that is, to suggest how the Socratic denial of akrasia could regain its catholic plausibility against the commonsensical stance to akrasia, namely that people act against their best judgment due to their impotence to resist to motivational forces such as pleasure, pain, fear, passion and love. Socrates does not offer any other explicit account –apart from the hedonistic one- of how his doctrine could be catholically defended; hence the task of decoding the Socratic line of thought is far from an easy one. The key move in order to decode the puzzling Socratic doctrine is to understand how Socrates treats the notion of ‘knowledge’. For Socrates, moral knowledge is distinguished from mere belief; in this sense, only knowledge has the commanding power which enables one to sustain his best evaluative judgment against other motivational forces and only knowledge is sufficient for the virtuous conduct. By contrast, as mere belief is susceptible to other motivational forces like pleasure, pain, fear, etc. its possessor will, in turn, be susceptible to the revision of his intentions which derive from his best value judgment. In the Protagoras, Socrates implies that intentions grounded on belief can be ‘dragged around’ by desire; and according to my view in this paper, this Socratic stance allows a non-epistemic interpretation of his thesis. According to the traditional epistemic interpretation of the Socratic denial of akrasia, one’s wrongdoing is always a miscalculation that takes place on his practical syllogism. However, my understanding of the Socratic denial of akrasia allows cases of one even going against his best judgment, when his judgment is based on belief. In that sense, a judgment grounded on belief has insufficient power to guarantee that the chosen action will follow, whereas only judgments grounded on knowledge have a commanding and lordly power. For Socrates, everyone always goes for the good but only those with knowledge can infallibly discover and act on the good. Those with mere belief can only reach an apparent good, which may be good or bad. The motivation for the good is not unshakeable for those with mere belief since the grounding of their belief is scarcely strong enough to hold on the correct intention. Socrates therefore holds that the grounding of knowledge influences the motivational state of the moral agent. Thereupon, my interpretation differs from others in suggesting that for Socrates not all the cases of akrasia are cognitive mistakes in their judgment. Rather I hold, in opposition to the received stance on akrasia, that Socrates allows that one could act against his best judgment, when the latter is grounded on mere belief. (shrink)

The Protagoras features the first known venture into detailed textual interpretation in the Western intellectual tradition. Yet if Socrates is to be taken at his wordat the close of his hermeneutic contest with Protagoras, this venture is to be regarded as a playful demonstration of the worthlessness of texts for aiding in the pursuit of knowledge. This essay is an attempt to view Socrates’ puzzling remarks on this point within their dramatic and historical contexts. I argue that, far from having (...) us lay our inherited texts aside, we can find in the Protagoras a reorientation to the linked activities of reading and dialogue, where we need not be forced to choose between merely using our own unaided voices and relying upon the (textual) voices of others in the project of philosophic education. (shrink)

Are the long, wildly inventive etymologies in Plato’s Cratylus just some kind of joke, or does Plato himself accept them? This standard question misses the most important feature of the etymologies: they are a competitive performance, an agôn by Socrates in which he shows that he can play the game of etymologists like Cratylus better than they can themselves. Such show-off performances are a recurrent feature of Platonic dialogue: they include Socrates’ speeches on eros in the Phaedrus, his rhetorical discourse (...) in the Menexenus, and his literary interpretation in the Protagoras. The paper compares these cases to work out the ground rules, purposes and implications of the Platonic agôn, and the Cratylus etymologies in particular. (shrink)

This is the review of L. Regner's translation of Protagoras by Plato.

In Plato’s dialogues we often find Socrates talking at length about poetry. Sometimes he proposes censorship of certain works because what they say is false or harmful. Other times we find him interpreting the poets or rejecting potential interpretations of them. This raises the question of whether there is any consistent account to be given of Socrates’ practice as a literary critic. One might think that Plato himself in the Ion answers the question that I have raised. Rhapsody, at least (...) in the Ion , is portrayed as the activity of interpreting and evaluating the works of the poets. At first glance at least, Plato seems to conclude that this activity cannot meet the standards of a τέχνη. Rhapsodes are divine madmen. Thus, there cannot be a systematic Platonic account of literary criticism because this activity is inherently irrational and, subsequently, not something that one could engage in in a systematic way, guided by a theory of any sort. In the first part of the paper I argue that the Ion does not simply consign the Interpretation of poetry to the irrational and, as a result, does not pose an obstacle to the possibility of a Platonic literary criticism. In the second part of the paper I turn to the task of finding an account of the purpose of reading poetry and strategies for fulfilling this purpose that make systematic sense of Socrates’ multifarious remarks about poetry. (shrink)