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)

Plato's "Ion," despite its frail frame and traditionally modest status in the corpus, has given rise to large exegetical claims. Thus some historians of aesthetics, reading it alongside page 205 of the Symposium, have sought to identify in it the seeds of the post-Kantian notion of 'art' as non-technical making, and to trace to it the Romantic conception of the poet as a creative genius. Others have argued that, in the "Ion," Plato has Socrates assume the existence of a technē (...) of poetry. In this article, these claims are challenged on exegetical and philosophical grounds. To this effect, Plato's use of poiētēs and poiēsis in the Symposium is analysed, the defining criteria of technē in the "Ion" and other dialogues are identified and discussed, and the 'Romantic' interpretation of the dialogue is traced to Shelley's tendentious translation of it. These critical developments lead to what is presented as a more faithful reading of the dialogue. In the "Ion," it is claimed, Plato seeks to subvert the traditional status of poetry by having Socrates argue that poetry is both non-rational and non-cognitive in nature. In the third part of the article, suggestions are offered as to the contribution made by the "Ion" to the evolution of Plato's reflections on poetic composition, and particularly as to the reasons which later induced Plato to substitute the concept of mimesis for that of inspiration in his account of poetry. (shrink)

En este artículo me propongo mostrar que lo que Sócrates hace con Fedro a lo largo de toda la obra no es otra cosa que utilizar la auténtica retórica que es descrita en la segunda parte del diálogo. Las tensiones, rivalidades y celos de la situación inicial entre ellos expone un perfil representativo de relaciones entre interlocutores con perspectivas intelectuales opuestas. Es preciso disolver la resistencia emocional por medio de una serie de pasos graduales, estratégicos, y ‘engañosos’. Hay que partir (...) de acuerdos, siquiera parciales, para continuar dialogando. Sin embargo, Sócrates también introduce nociones nuevas acerca del amor, pero éstas pasan desapercibidas a un Fedro obsesionado con la imitación de su enamorado Lisias. Hasta que Sócrates decide cortar el juego y cruzar el río. Este corte provoca un giro en ambos personajes: Fedro se dispone a escuchar lo que Sócrates quiere contarle y Sócrates se revela ante sí mismo como un personaje capaz de ‘encantar’ a Fedro con la belleza rapsódica del relato y superar su propio temor de convertirse en una bestia devoradora. Al final Sócrates muestra su juego a Fedro y le enseña cómo ha sido posible llegar a un auténtico diálogo filosófico, donde pueda tener lugar la enseñanza y el aprendizaje recíprocos. (shrink)

Resumen: Mientras que en Banquete Platón presenta a Éros como un daímon metaxý, i.e. como una divinidad intermedia e intermediaria entre dioses y hombres, en Fedro lo caracteriza, en cambio, como un theós -un dios. Procuraremos mostrar aquí que esto no implica, sin embargo, un cambio doctrinal substancial sino que se trata de dos aproximaciones distintas pero complementarias respecto a la verdadera naturaleza de Éros. Según el Fedro, si bien éros puede permanecer en una expresión puramente física, sin desarrollar su (...) aspecto divino, es posible también que, debido al intenso deseo sexual por el bello muchachito, el amante recuerde la Forma de la belleza y crezcan en él las alas del Éros divino. Pero únicamente los dioses nunca pierden las alas de sus almas y están regularmente en pleno contacto con las Formas. Las almas humanas deben adquirirlas, y aun así, con riesgo a perderlas, quedando entonces en un lugar “intermedio” -metaxý- como el Éros de Banquete.: Although in the Symposium Plato describes Erôs as a daimôn-metaxy, i.e. as an intermediate and intermediary divinity between gods and men, in the Phaedrus it is said that Erôs is a theos -a god. I will try to show that these different descriptions do not imply a substantial change of mind but work as two complementary views about the true nature of Erôs. According to the Phaedrus, although erôs can remain just at a physical level and not develop its divine power, it is also possible that, thanks to the same intense, sexual desire for the beautiful boy, the lover recollects the Form of beauty and so grows divine Erôs`s wings. However, only the gods never lose their wings and so are in regular, full contact with the Forms. The human souls need to acquire the wings and even so take the risk of losing them; they are then in an intermediate state -metaxy- like Erôs in the Symposium. (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)

The aim of this thesis is to explore the relationship between Achilles Tatius' novel Leucippe and Cleitophon and the Platonic corpus. I have searched for Platonic allusions of various natures and purposes and grouped them into thematic chapters. I have also compared instances of similar uses of Plato in contemporary authors in order to classify both the individual cases and the place of Achilles Tatius' novel in its literary environment, including the intended readership. In my introduction I have argued that (...) through the combination in his works of philosophy and literary excellence Plato was an extremely important figure to the Greeks of the second sophistic. However, despite the increasingly influential opinion that Greek novel readership was not dissimilar to that of other works, the possibility that the Greek novelists used Plato in a more than cosmetic fashion has been relatively neglected. The uses of Plato on which I have concentrated are the employment of Platonic names as allusions to their namesakes; Platonic narrative technique as the model for the dialogue form and open-endedness of Leucippe and Cleitophon with the integration of this technique into the broader question of the discrepancies between the beginning and the end; the allusion to a particularly famous passage of the Phaedrus in the name of the heroine; the repeated allusions to the Phaedran flow of beauty, their purposes and the light they shed on the characterisation of Cleitophon; and the Phaedran scene-setting, indulged in by many other writers, which Achilles Tatius uses in two significant passages. The conclusions I have reached are that Achilles Tatius uses Plato far more extensively and imaginatively than hitherto realised; that such an intimate engagement can shed light on other issues, such as psychological characterisation and the question of humour; that Achilles Tatius wrote something of an "anti-Platonic" novel; and that his work displays many similarities with other works whose sophistication is less in doubt. (shrink)

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)

The matter which I wish to discuss is a discrepancy between two accounts of the origin of the philosopher in the myth of Plato's Phaedrus. Before their incarnation the souls of all humans are imagined as having enjoyed the vision of reality, but not all in the same company or to the same degree. For, in the first place, the souls are distributed among the companies that severally follow eleven different gods, 247 a-b, a distribution which is regarded as important (...) for the type of character an embodied soul will subsequently have, 252d. In the second place, some souls are more successful than others in following their god, and accordingly they manage to see more of reality than do the others, and on this variation depends the sort of life each soul will subsequently have on earth, 248 d-e. And here arises the problem about the philosopher, corresponding to the two differences of company and degree in the soul's pre-natal vision of reality. (shrink)

In Bk. 3 of the Institutio oratoria, Quintilian gives a list of the Greek artium scriptores of the classical epoch. It contains a controversial entry: ‘…et, quem Palameden Plato appellat, Alcidamas Elaites’. 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’.

The aim of this paper is to investigate Plato’s conception of the whole in the Phaedrus and the theory of medical dialectic underlying this conception. Through this analysis Plato’s conception of kairos will also be adressed. It will be argued that the epistemological holism developed in the dialogue and the patient-typology emerging from it provides us with a way of perceiving individual situations of medical discourse and decision-making that makes it possible to bridge the gap between observations of a professional (...) nature, i.e. of diagnostics and therapy—of whom to treat and in what magnitude—and individual patients’ perceptions of their situation. Besides, it will be argued that such a patient-typology represents a conceptual framework to assess and deal normatively with patients’ ailments and needs that is more robust than the current standards in use, i.e. the Subjective Standard, the Reasonable Person Standard and the Professional Practice Standard. Finally, it will be argued that the possession of kairos, which according to Plato is the hallmark of a true physician, represents a normative conception of time that today’s medicine is in need of revisiting. (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)