Socrates’ second speech in the Phaedrus includes the argument (245c6–246a2) that starts “all/every soul is immortal” (“ψυχὴ πᾶσα ἀθάνατος”).1 This argument has attracted attention for its austerity and placement in Socrates’ grand speech about chariots and love. Yet it has never been identified as a deliberately fallacious argument.2 This article argues that it is. Socrates intends to confront his interlocutor Phaedrus with a dubious sequence of reasoning. He does so to show his speech-loving friend how—rather than simply to tell him (...) that—analytic as much as imagistic speech can persuade without deserving conviction.It has been shown in recent years that on four other occasions Socrates deliberately utters bad .. (shrink)

Platón procura establecer en el Fedro una estrecha vinculación entre la poesía y el ámbito eidético propio del saber filosófico, o al que accede el filósofo mediante una ejercitada captación sinóptico-dialéctica. Tal tipo de poesía filosófica aparece ilustrada a la perfección en la propia palinodia socrática, la cual erige a Sócrates – y en última instancia a Platón – como paradigma de filósofo poeta, palinodia que ha sido obligada a pronunciarse “con ciertos términos poéticos”. Partiendo de esa palinodia como modelo, (...) Platón se propone abordar el tema del éros con discursos filosóficos que se nutran de términos poéticos, o sea, a través de una explícita mixtura de elementos filosóficos y poéticos, cuyo ejemplo más claro es el Fedro en su conjunto, o, en términos más generales, el género dialógico platónico en tanto este pone en escena una interacción entre los registros filosófico y poético. Teniendo en cuenta esta relación de compatibilidad que Platón establece en el Fedro entre su paradigma poético-filosófico y el de tipo tradicional – paradigmas que en los libros II, III y X de la República aparecían claramente en tensión –, en este artículo me interesa apoyar tal relación en la anécdota del sueño relatada por Sócrates al comienzo del Fedón, en la cual el filósofo confiesa ante Simmias y Cebes haber compuesto desde su encierro en la cárcel – ya que anteriormente jamás lo había hecho – poemas basados en la versificación o musicalización de las fábulas de Esopo y un himno a Apolo. (shrink)

The Protagoras is a contest of philosophical methods. With its mix of μῦθος and λόγος, Protagoras’ Great Speech stands as a competing model of philosophical discourse to the Socratic elenchus. While the mythical portion of the speech clearly impresses its audience—Socrates included—one of its central claims appears to pass undefended. This is the claim that the political art cannot be distributed within a community as the technical arts are. This apparent shortcoming of the Great Speech does not seem to trouble (...) philosophical commentators: it is a myth, after all, and it seems reasonable to suppose that the sly sophist slips certain claims into his myth precisely to avoid having to defend them. Nevertheless, it is worth subjecting the claim to philosophical scrutiny. What could be the reason that the political art had to be distributed differently than were the technical arts, as the myth insists? (shrink)

The týpos of alternative poetry that Plato starts to delineate in the last part of Republic II can be reduced to two general norms (nómoi) that aim to regulate the treatment of religious aspects in poetic narrations and at the same time establish the bases of a non-anthropomorphic theology that inst..