This essay aims to shed new light on the stages of moral enlightenment in the Allegory of the Cave, of which there are three. I focus on the two stages within the cave, represented by eikasia and pistis, and provide a phenomenological description of these two mental states. The second part of the essay argues that there is a structural parallelism between the Allegory of the Cave and the ending of the Republic. The parallelism can be convincingly demonstrated by a (...) purely formal analysis, but additionally it complements and reinforces the original interpretation of the Cave, insofar as the ending of the Republic also mirrors, on the level of content, the previously adduced stages of moral enlightenment. (shrink)

El artículo sostiene que la caverna de Platón es fundamentalmente una alegoría política, no epistemológica, y que solo así podremos apreciar la relación que guarda con las imágenes del sol y de la línea. Sobre la base de evidencia textual, se ponen en duda las dos hipótesis principales sobre las que se funda el esfuerzo por encontrar un paralelo epistemológico entre la caverna y la línea: que los prisioneros representan a la humanidad en general, y que la caverna simboliza el (...) mundo visible de la experi-encia corriente, mientras el mundo fuera de esta representa el reino de las ideas. La suspensión de estos supuestos posibilita una lectura que resalta los temas culturales y políticos que están en juego en esta famosa alegoría. (shrink)

Socrates, in the Republic, uses the symbol of a divided line to illustrate the distinction between the Visible and Intelligible Worlds, and between the kinds of perception appropriate to each. This paper will present a new hypothesis: that the proportions of the line are derived from optical theory. The construction of the Divided Line is described as follows: Socrates asks his interlocutors to represent the Visible and Intelligible Worlds by a line divided into two unequal segments. The ratio in which (...) the division is to be made is not specified, and it seems that any ratio is acceptable provided that one segment is longer than the other. Socrates then tells them to cut each part again according to the same ratio as the original division. After describing the division of the line thus into four parts, Socrates goes on to explain the philosophical significance of each part. For the purposes of this paper the following brief identification of each segment of the line will suffice. (shrink)

This allegory is among the most well-traversed passages in Plato's dialogues and deservedly so. Its emotional impact is undeniable, yet it confronts the reader with several problems of interpretation. There is a strong sense that it is of central importance to the crucial questions of the Platonic philosopher's education and his role in society, and it possibly holds one key to an understanding of the Republic as a whole.

Socrates, in the Republic , uses the symbol of a divided line to illustrate the distinction between the Visible and Intelligible Worlds, and between the kinds of perception appropriate to each. This paper will present a new hypothesis: that the proportions of the line are derived from optical theory. The construction of the Divided Line is described as follows: Socrates asks his interlocutors to represent the Visible and Intelligible Worlds by a line divided into two unequal segments. The ratio in (...) which the division is to be made is not specified, and it seems that any ratio is acceptable provided that one segment is longer than the other. Socrates then tells them to cut each part again according to the same ratio as the original division. After describing the division of the line thus into four parts, Socrates goes on to explain the philosophical significance of each part. For the purposes of this paper the following brief identification of each segment of the line will suffice. (shrink)

Abstract: In this paper I claim that Plato’s Cave is fundamentally a political, not an epistemological image, and that only by treating it as such can we appreciate correctly its relation to the images of the Sun and the Line. On the basis of textual evidence, I question the two main assumptions that support (in my view, mistakenly) the effort to find an epistemological parallel between the Cave and the Line: first, that the prisoners represent humankind in general, and, second, (...) that the cave itself represents the visible world of ordinary experience while the world outside the cave represents the realm of the Forms. Disrupting these assumptions opens up a reading that highlights the cultural and political themes at play in this famous allegory and allows us to make better sense of it. -/- Keywords: Plato, Cave, Politics, Culture -/- Resumen: En este ensayo sostengo que la Caverna de Platón es fundamentalmente una alegoría política, no epistemológica, y que solo tratándola como tal, podremos apreciar correctamente la relación que guarda con las imágenes del Sol y de la Línea. Sobre la base de evidencia textual, pongo en duda las dos hipótesis principales sobres las que se funda (a mi parecer, equivocadamente) el esfuerzo por encontrar un paralelo epistemológico entre la Caverna y la Línea: la primera, que los prisioneros representan a la humanidad en general, y la segunda, que la propia caverna representa el mundo visible de la experiencia corriente, mientras que el mundo fuera de la caverna representa el reino de las Ideas. La suspensión de estos supuestos posibilita una lectura que pone de relieve los temas culturales y políticos que están en juego en esta famosa alegoría y nos permite así entenderla mejor. -/- Palabras Clave: Platón, Caverna, Política, Cultura . (shrink)

‘The similes of the Sun, Line, and Cave in the Republic remain a reproach to Platonic scholarship because there is no agreement about them, though they are meant to illustrate.’ So wrote A.S. Ferguson in 1934, and so he could write to-day. Four decades have produced at least twenty more substantial contributions to the debate, but no agreement. I shall not attempt to arbitrate between existing interpretations, nor shall I offer an account of the ‘simile of light’ as a whole. (...) I shall confine my attention to a single point: the significance of the shadows in the cave, and of the objects which cast them. The suggestion I shall make seems an obvious one, but I have not found it in the literature. I hope to show at least that it deserves serious consideration. (shrink)

This allegory is among the most well-traversed passages in Plato's dialogues and deservedly so. Its emotional impact is undeniable, yet it confronts the reader with several problems of interpretation. There is a strong sense that it is of central importance to the crucial questions of the Platonic philosopher's education and his role in society, and it possibly holds one key to an understanding of the Republic as a whole.

In general, scholars have viewed the mathematical detail of Plato’s Divided Line discussion in Republic VI-VII as irrelevant to the substance of his epistemology.Against this stance this essay argues that this detail serves a serious and instructive purpose and makes manifest some central features of Plato’s account of human knowledge.

In Plato's Republic, the Analogy of the Sun famously points out that as the Idea of the Good relates to the knowable Forms so does the Sun to the visible things. Yet, no one has ever questioned whether the consequences claimed to be caused by the sun – among them especially the vital genesis of all physical things – can, based on Plato's philosophy, actually be caused by the material body of the sun. Taking this as a point of departure, (...) the present article looks into whether one can reveal more of the Analogy, just as Socrates himself frequently emphasises the incompleteness of his presentation. The article thus develops a series of detailed arguments to propose a differentiation of each analogical relation into two subrelations, which imply a transcendent principle and an immanent representation of this principle on both sides of the Analogy. Implementing this differentiation bears the potential to solve existing tensions within the interpretation of Republic VI and VII, it allows for further systematic considerations about, among others, the Good and the Beautiful and it may help to contextualise Plato's Analogy historically. (shrink)