So much has been written on this vexed issue, that one hesitates to reopen it. Yet one has no other choice when one finds scholars accepting as generally agreed a view which rests on altogether insufficient evidence. I propose, therefore, to examine the main grounds on which recent authorities interpret the disorderly motion of Tm 30a, 52d–53b, and 69b as a mythical symbol. They are four: I. That the Timaios is a myth; II. The testimony of the Academy; III. That (...) motion could not antecede the creation of time; IV. That motion could not antecede the creation of soul. (shrink)

An analysis of phaedo 96c-606c seeks to demonstrate that when forms are cited as either "safe" or "clever" aitiai they are not meant to function as either final or efficient causes, But as logico-Metaphysical essences which have no causal efficacy whatever, But which do have definite (and far-Reaching) implications for the causal order of the physical universe, For it is assumed that a causal statement, Such as "fire causes heat" will be true if, And only if, The asserted physical bond (...) between fire and heat instantiates the eternal and logically necessary relation of entailment between the instantiated forms, Fire, Heat. (shrink)

It is now nearly axiomatic among Platonic scholars that the Timaeus and its unfinished sequel the Critias belong to the last stage of Plato's writings. The Laws is generally held to be wholly or partly a later production. So, by many, is the Philebus, but that is all. Perhaps the privileged status of the Timaeus in the Middle Ages helped to fix the conviction that it embodies Plato's maturest theories.

This paper has two main aims: first, to set forth an analysis of Timaeus 48E-52D and then to explore the significance of those pages for our understanding of Plato’s metaphysics. Students of the “Receptacle” in Plato’s Timaeus have given close attention to the many metaphors he offers in his explanation of its nature. Less attention has been given to the overall structure of the passage in which he presents it. In this paper, I attempt to show that Plato’s exposition there (...) exhibits a coherent and very careful design. But once that design is grasped, it can be seen that his extended account of the Receptacle must properly be understood to treat a rather different subject: the nature of an image, rather than the nature of the Receptacle, is the focal concern uniting the whole of 48E-52D. (shrink)