This paper deals with the deuteros plous, literally ‘the second voyage’, proverbially ‘the next best way’, discussed in Plato’s Phaedo, the key passage being Phd. 99e4-100a3. I argue that (a) the ‘flight into the logoi’ can have two different interpretations, a standard one and a non-standard one. The issue is whether at 99e-100a Socrates means that both the student of erga and the student of logoi consider images (‘the standard interpretation’), or the student of logoi does not consider images but (...) that “consistency should suffice for truth” (‘the non-standard interpretation’); (b) the non-standard one implies the problem of the hypothesis, a problem analogous to the problem of the elenchus; (c) there is a structural analogy between Descartes’ ontological argument for the existence of God in his 5th Meditation and the final proof for the immortality of the soul in the Phaedo. (shrink)

This paper uses a problematic passage at Phaedo 69a–c as a case study to explore the advantages we can gain by reading Plato in his cultural context. Socrates argues that the common conception of courage is strange: people fear death, but endure it because they are afraid of greater evils. They are thus brave through fear. He proposes that we should not exchange greater pleasures, pains, and fears for lesser, like coins, but that there is the only correct coin, for (...) which we must exchange all these things: wisdom (phronēsis). Commentators have been puzzled by the precise nature of the exchange envisaged here, sometimes labelling the coinage metaphor as inept, sometimes describing this stretch of argument as “religious” and thus not to be taken seriously. The body of the paper looks at (1) the connection between money and somatic materialism, (2) the incommensurability in Plato of financial and ethical orders, (3) financial metaphors outside Plato that connect coinage with ethics, (4) intrinsic and use values in ancient coinage, and (5) Athenian laws on coinage, weights, and measures that reflect anxiety about debased coins in the fifth and early fourth centuries. It sees the Phaedo passage as the product of a sociopolitical climate which facilitated the consideration of coinage as an embodiment of a value system and which connected counterfeit or debased currency with debased ethical types. Athenians in the early fourth century were much concerned with issues of commensurability between different currencies and with problems of debasement and counterfeiting; understanding this makes Socrates’ use of coinage metaphors less puzzling. Both the metaphor of coinage and the other metaphors in this passage of the Phaedo (painting and initiation) engage with ideas of purity, genuineness, and deception. Taken as a group, these metaphors cover a large area of contemporary popular culture and are used to illustrate a disjunction between popular and philosophical ways of looking at value. (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)