This essay investigates the little-known dialogue by Zacharias Scholasticus entitled Ammonius, a philosophical dispute over the creation of the world. It examines in particular Zacharias’ skill in portraying the character of Ammonius, a pagan teacher of philosophy in Alexandria. Even before illustrating his own eternalist theses, which are later refuted by Zacharias, Ammonius is introduced through subtle yet unequivocal allusions as a malus Socrates, i.e. a bad teacher who corrupts young people and alienates them from philosophy, while being well received (...) by the city in which he teaches. This reversal forms the broader plot that runs through the narrative framework of the dialogue, which is based on the borrowing – and inversion – of narrative schemes, mainly from Plato’s Phaedrus. The Ammonius will ultimately be presented as a paradigm of the appropriation of Plato not only on a superficial level (linguistic borrowings, the dialogue form itself), but also on a deeper and more structural level, i.e. as a remarkable case of borrowing Plato’s dramaturgy and irony. (shrink)

The discussion on the nature of eros (love as sexual desire) in Plato’s Symposium offers us special insights concerning the potential role played by love in social and political life. While about eros, the dialogue also claims to offer a true image of Socrates, generating a complex puzzle. This article offers a solution to this puzzle by reconstructing and interpreting Plato’s theatrical presentation of his argument, making use of the structure of the plays of Aristophanes, a protagonist in the dialogue. (...) The new image of Socrates, it is argued, signals Plato’s move beyond the way he envisioned so far his master, best visible in his introducing Diotima, a prophetess who takes over the role of guide from Socrates; and by his presenting the truth about Socrates through Alcibiades, cast into the role of a boastful intruder, a central figure in Aristophanes’ comedies. Eros and Socrates are both ‘in-between’ or liminal figures, indicating that Socrates is still entrapped in the crisis of Athenian democracy. The way out, according to the new philosophy of Plato, lies in redirecting eros from the hunting of beautiful objects that are to be possessed, to elevating the soul to the essence of beauty as a primary means for further generating beauty, in particular through engendering and educating children, thus reasserting a harmonious coexistence with the order of the cosmos. (shrink)

This paper defends an account of how erotic love works to develop virtue. It is argued that love drives moral development by holding the creation of virtue in the individual as the emotion’s intentional object. After analyzing the distinction between passive and active accounts of the object of love, this paper demonstrates that a Platonic virtue-ethical understanding of erotic love—far from being consumed with ascetic contemplation—offers a positive treatment of emotion’s role in the attainment and social practice of virtue.

The discussion on the nature of eros (love as sexual desire) in Plato’s Symposium offers us special insights concerning the potential role played by love in social and political life. While about eros, the dialogue also claims to offer a true image of Socrates, generating a complex puzzle. This article offers a solution to this puzzle by reconstructing and interpreting Plato’s theatrical presentation of his argument, making use of the structure of the plays of Aristophanes, a protagonist in the dialogue. (...) The new image of Socrates, it is argued, signals Plato’s move beyond the way he envisioned so far his master, best visible in his introducing Diotima, a prophetess who takes over the role of guide from Socrates; and by his presenting the truth about Socrates through Alcibiades, cast into the role of a boastful intruder, a central figure in Aristophanes’ comedies. Eros and Socrates are both ‘in-between’ or liminal figures, indicating that Socrates is still entrapped in the crisis of Athenian democracy. The way out, according to the new philosophy of Plato, lies in redirecting eros from the hunting of beautiful objects that are to be possessed, to elevating the soul to the essence of beauty as a primary means for further generating beauty, in particular through engendering and educating children, thus reasserting a harmonious coexistence with the order of the cosmos. (shrink)