The claim that the citizen's duty is to “persuade or obey” the laws, expressed by the personified Laws of Athens in Plato's Crito, continues to receive intense scholarly attention. In this article, we provide a general review of the debates over this doctrine, and how the various positions taken may or may not fit with the rest of what we know about Socratic philosophy. We ultimately argue that the problems scholars have found in attributing the doctrine to Socrates derive from (...) an anachronistic and erroneous understanding of Socrates as a kind of libertarian. (shrink)

Crito thinks Socrates should agree to leave the prison and escape from Athens. Socrates is also determined that he and Crito should have a ‘common plan of action’ (koinē boulē: 49d3), but he wants Crito to share his preferred plan of remaining and submitting to the court’s sentence. Much of the drama of the Crito is generated by the interplay of these two old friends, both determined that they should come to an agreement, but differing radically in what they think (...) the two of them should agree to do. I show how agreements of various kinds—including agreements about how to agree—play important roles in the dialogue and how Socrates’ commitment to a certain method for determining what to do underpins his own integrity. What’s more, attention to that theme helps to explain one of the most pressing questions for any interpretation of the Crito: Why does Socrates choose, at the end of the dialogue, to present to Crito a speech in the voice of the personified laws of Athens? (shrink)

I argue that the arguments presented in Socrates’ dialogue with the personified Laws of the Crito are arguments Socrates endorses and relies upon when deciding to remain in prison. They do not, however, entail blind obedience to every court verdict, nor do they provide necessary and sufficient conditions for resolving every dilemma of civil disobedience. Indeed, lacking definitional knowledge of justice, we should not expect Socrates to be able to offer such conditions. Instead, the Laws present an argument that is (...) sufficient for resolving Socrates’ specific dilemma, showing us how Socrates can deliberate and act despite his lack of knowledge. (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

While the article discusses the factors that motivated Socrates’ decisionin the Crito, it emphasizes the possible cultural import of the choiceundertaken in the aftermath of the political upheavals in the late fifthcentury. It is also argued here that as Plato’s dialogue were written inthe period that followed the renewal of the Athenian politeia, it shouldbe perceived as having its roots both in the historical reality of its narrativefocus and in the then reality of Plato’s Athens.