The belief in innate knowledge has a history almost as long as that of philosophy itself. In our own century it has been propounded in a linguistic context by Chomsky, who sees himself as the heir to a tradition including such philosophers as Descartes, the Cambridge Platonists and Leibniz. But the ancestor of all these is, of course, Plato's theory of recollection or anamnesis. This stands out as unique among all other innatist theses not simply because it was the first, (...) but also because it is in some respects the strangest: Plato proposed not just a theory of innate knowledge, but of forgotten knowledge, and this, of course, goes hand in hand with his interest in the pre-existence of the soul. But my concern here is with another difference that makes Plato's theory unique, though it is not as clear as the previous one: in fact it has been for the most part over-looked by commentators and scholars. I wish to argue that while other theories of innate knowledge or ideas hold that much of what is innate in us is realized automatically and with ease, be it knowledge of moral principles, the idea of cause and effect or linguistic competence, anamnesis is concerned only with the attainment of hard philosophical knowledge, which most of us never reach. (shrink)

In the myth of the Phaedrus Plato sets forth a picture of the life of discarnate souls in heaven. He represents these souls by the symbol of a winged charioteer driving winged horses. In the case of the souls of the gods, the charioteers and horses are good. In the case of the other souls whom Plato calls daimones, and among whom our own souls are included, the soul is represented by a charioteer with two horses of which the right (...) one is good but the left one evil. It is generally agreed that the right and left horses represent thumos and passion respectively, while the charioteer symbolizes reason. Plato goes on to describe a procession which the gods and daimones make up to the outer edge of heaven in order to contemplate the Forms which lie beyond. The gods, we are told, make the ascent easily and when they reach the edge of heaven have no difficulty in staying there and beholding the Forms. The daimones, however, experience difficulty due to the recalcitrance of the evil horse, which all their charioteers possess (247 b Plato divides the daimones into three main groups: those who succeed in beholding the Forms though with difficulty; those whose vision is only partial; those, finally, who fail to see the Forms at all. Since contemplation of the Forms provides the nourishment by which the wings of the soul are nurtured, those daimones who fail to see the Forms at all lose their wings and fall to earth. They have to go through a series of earthly existences for 10,000 years, before they regain their wings and return to heaven. (shrink)

The question of determining the genuine works of Hippocrates, a topic already much discussed by the ancient commentators, still continues to be actively debated, although the disagreements among scholars remain, it seems, almost as wide as ever. In comparatively recent times, Edelstein's IIEPI AEPQN and two subsequent studies of his written in the 1930s and marked a turning-point in that they presented a particularly clear and comprehensive statement of the sceptical view, according to which Hippocrates is, as Wilamowitz put it (...) long ago, ‘ein beriihmter Name ohne den Hintergrund irgend einer Schrift’. (shrink)

It is a commonplace of modern criticism that every text is to be located within a complex network of cultural practices and material. Students of the ancient world may sometimes feel at a disadvantage; we simply do not have as much information as we would like in order to contextualize thoroughly. This has been especially true in the study of Platonic dialogues. The meagre remains of the writings of the sophists against whom Plato measured himself and of the art to (...) which he refers entail that analysis of Plato is often confined to the structure of his philosophy. Of course, the requirements of Plato's arguments must always be assigned primary importance; the relative lack of information about Plato's cultural context has not prevented detailed exposition of his method and achievements. Occasionally, however, a kindly fate allows us to set a dialogue, or part of it, in its appropriate material and ideological context and to create an interface between literary, philosophical, and archaeological evidence. Such evidence may not alter our evaluation of Plato's arguments on the analytic level, but it can enrich our appreciation of his literary artistry and recapture for us some of the resonance that his work would have had for a contemporary audience. (shrink)

In Bk. 3 of the Institutio oratoria, Quintilian gives a list of the Greek artium scriptores of the classical epoch (1.8ff.). It contains a controversial entry: ‘…et, quem Palameden Plato appellat, Alcidamas Elaites’ (1.10). The historicity of the rhetorician and sophist from Elaea named Alcidamas, Gorgias' pupil, is of course beyond doubt; scholars disagree only as to the ‘quem Palameden Plato appellat’.

Οκον τν μέλλοντα τέχνην ητορικν μετιέναι πρτον μέν δε τατα δ διρσθαι, κα εληέναι τιν χαρακτρα κατέρου το εδουδ, ν ᾧ τε νγκη τ πλθος πλανσθαι Kα ν ᾧ μή . To the best of my knowledge the soundness of the first six words of this sentence has never been questioned, yet to accept them as they are in the manuscripts means to close one's eyes to the direction of the argument. At 260d5–9 rhetoric personified and allowed to plead its (...) case makes the ‘big’ statement that anyone learning how to speak would do well to know the truth about his subject but that even if he knows it he would not be able νεν μο, i.e. without the aid of rhetoric, πείθειν τέχν. From that point on the issues are whether rhetoric justly claims to be a τέχν, what territory it covers and how the procedure of someone practising it τέχν may differ from that of one for whom it is an τεχνος τριβή . Even if rhetoric engages in πάτη and proves e.g. one and the same thing to be both just and unjust , success will be with τέχν τοτο δρν ; witness Zeno of Elea, a master in such arguments λέγοντα τέχν when he makes the same things appear like and unlike or one and many . To judge shrewdly what kind of subjects deceive people more easily the rhetorician himself must have a firm grasp of the truth: λόγων ρα τέχνην, ταρε, τν λήθειαν μ εδώς, δόξας δ τεθηρευκώς, γελοίαν τινά, ς οικε, κα τεχνον παρέξεται. (shrink)