This paper explores in detail Gorgias' defense of rhetoric in Plato 's Gorgias, noting its connections to earlier and later texts such as Aristophanes' Clouds, Gorgias' Helen, Isocrates' Nicocles and Antidosis, and Aristotle's Rhetoric. The defense as Plato presents it is transparently inadequate; it reveals a deep inconsistency in Gorgias' conception of rhetoric and functions as a satirical precursor to his refutation by Socrates. Yet Gorgias' defense is appropriated, in a streamlined form, by later defenders (...) of rhetoric such as Isocrates and Aristotle. They present it as an effective reductio against a critique of rhetoric that depends on the "harm criterion." This is puzzling, since Plato 's own critique of rhetoric does not depend on the harm criterion. On the other hand, Plato does seem to embrace the harm criterion as a more general principle—as if pre-emptively embracing the reductio —in his arguments about the good in the Meno and Euthydemus. Nonetheless, Isocrates and Aristotle seem to be deliberately misreading Plato on rhetoric: where he intends to criticize its intrinsic nature, they respond as if he were merely complaining about its contingent effects. (shrink)

It is often assumed that the concept of 'alētheia', or ‘truth’, in Gorgias of Leontini belongs to the art of rhetoric. Along these lines, it is usually understood as an aesthetic concept or even a mere ‘adornment’ of speech. In this paper, it is argued, by contrast, that Gorgianic alētheia is a definable criterion of speech figuring in the practice of moral educa­tion. While the ‘truth’ of a logos indeed has to be assessed on aesthetic grounds, the underlying concept (...) of alētheia is predominantly ethical. For Gorgias, speech is ‘true’ when it promotes virtue (aretē) by being expressive of virtue. The principle stated in the opening passage of the Encomium of Helen, that a speaker has ‘to praise what is praiseworthy and to blame what is blameworthy’, explains precisely this understand­ing of alētheia. (shrink)

This paper claims that Socrates’ refutation of Gorgias in the eponymous dialogue is designed not to find out the truth about the nature of the art of rhetoric itself but to refute the master of rhetoric himself. I try to justify this claim by displaying some major contradictions between the conclusions reached at with Gorgias and those reached at with Polus. When these contradictions are taken into account, the discussion with Polus is to be seen as reflecting the (...) genuine Socratic position about rhetoric, whereas the discussion with Gorgias seems only to be devised as a dexterity in refutation. (shrink)

Bruno Latour has been attempting to transform his sociological account of science into an ambitious theory of democracy. In a key early moment in this project, Latour alleges that Plato’s Gorgias introduces an impossibly ratio-nalistic and deeply anti-democratic philosophy which continues to this day to distort our understandings of science and democracy. Latour reckons that if he can successfully refute the Gorgias , then he will have opened up a space in which to authorize his own theory of (...) democracy. I argue that Latour’s refutation of the Gorgias is a failure. Hence, his political theory is, by his own standards, horribly underdetermined. I present another reading of the Gorgias , and consider the dialogue’s possible relevance for current theories of deliberative democracy. Key Words: Latour • Gorgias • Socrates • rhetoric • elenchus • deliberative democracy. (shrink)

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In this paper I offer a reconstruction of the account of meaning and language the Cyrenaics appear to have defended on the basis of a famous passage of Sextus, as well as showing the philosophical parentage of that account.

The Gorgias ends with Socrates telling an eschatological myth that he insists is a rational account and no mere tale. Using this story, Socrates reasserts the central lessons of the previous discussion. However, it isn’t clear how this story can persuade any of the characters in the dialogue. Those (such as Socrates) who already believe the underlying philosophical lessons don’t appear to require the myth, and those (such as Callicles) who reject these teachings are unlikely to be moved by (...) this far-fetched tale. This raises the question of who the myth is told for and what function it is meant to serve. This chapter argues that the myth is aimed, not at Callicles, but Socrates and those who aspire to follow him. There are uncertainties about the philosophical life that are due to the nature of embodiment, as well as reasons to doubt the connection between happiness and virtue. The myth assists with the former by presenting an image that draws a philosopher away from the goods of the body toward the goods of the soul. The story assists with the latter by presenting an image of cosmic justice, thereby securing happiness in proportion to virtue. (shrink)

In the Gorgias, Socrates argues that just punishment, though painful, benefits the unjust person by removing injustice from her soul. This paper argues that Socrates thinks the true judge (i) will never use corporal punishment, because such procedures do not remove injustice from the soul; (ii) will use refutations and rebukes as punishments that reveal and focus attention on psychological disorder (= injustice); and (iii) will use confiscation, exile, and death to remove external goods that facilitate unjust action.

Polus admires orators for the tyrannical power they have. However, Socrates argues that orators and tyrants lack power worth having: the ability to satisfy one's wishes or wants (boulēseis). He distinguishes wanting from thinking best, and grants that orators and tyrants do what they think best while denying that they do what they want. His account is often thought to involve two conflicting requirements: wants must be attributable to the wanter from their own perspective (to count as their desires), but (...) wants must also be directed at objects that are genuinely good (in order for failure to satisfy them to matter). We offer an account of wanting as reflective, coherent desire, which allows Socrates to satisfy both desiderata. We then explain why he thinks that orators and tyrants want to act justly, though they do greater injustices than anyone else and so frustrate their own wants more than anyone else. (shrink)

Sophists and rhetoricians like Gorgias are often accused of disregarding truth and rationality: their speeches seem to aim only at effective persuasion, and be constrained by nothing but persuasiveness itself. In his extant texts Gorgias claims that language does not represent external objects or communicate internal states, but merely generates behavioural responses in people. It has been argued that this perspective erodes the possibility of rationally assessing speeches by making persuasiveness the only norm, and persuasive power the only (...) virtue, of speech. Against this view, I show how Gorgias’ texts support a robust normativity of language that goes well beyond persuasion while remaining non-representational. Gorgias’ claims that a speech can be persuasive and false, or true and unpersuasive, reveal pragmatic, epistemic, and agonistic constraints on the validity of speech that are neither representational nor reducible to sheer persuasiveness. (shrink)

The article argues that the doctrine of Gorgias of Leontinoi, as expressed in his ›Encomion of Helen‹, is not a rhetorical technique but a practice of moral education. The medium of this »ethical speech practice« is perceptual forms, its basic mode being the practice of showing or epideictic speech. The crucial standard of this practice is »epideictic rightness«, which is identical to Gorgias’ conception of »truth«. According to this conception, speech is true if it exemplifies morally right conduct (...) and moral beauty. True speech in this sense must also be effective speech, since it will promote right behaviour in the future. (shrink)

In Plato’s Gorgias, Socrates says to Callicles that “your love of the people, existing in your soul, stands against me, but if we closely examine these same matters often and in a better way, you will be persuaded” (513c7–d1). I argue for an interpretation that explains how Socrates understands Callicles’s love of the people to stand against him and why he believes examination often and in a better way will persuade Callicles.

Socrates' cross-examination of Callicles in the 'Gorgias' has traditionally been viewed as a paradigm of the Socratic method. I argue that, when he cross examines Callicles, Socrates behaves out of character. In fact, he acts like a Sophist and violates the very principles of persuasion that he advocates in the 'Gorgias'. I offer an explanation of Socrates' temporary transformation into a Sophist, and suggest that his role-reversal reinforces Plato's representation of Socrates as the model of the virtuous philosopher.

Starting from the importance of the figure of the parrhesiastes — the political and therapeutic truth- teller— for Foucault’s understanding of the care of the self, this paper traces the political figuration of the analogy between philosophers and physicians on the one hand, and rhetors and disease on the other in Plato’s Gorgias. I show how rhetoric, in the form of ventriloquism, infects the text itself, and then ask how we account for the effect of the “ contaminated ” (...) philosophical dialogue on our readerly health. Is the text placebo, vaccine, or virus? All of these options, I argue, complicate Foucault’s prescription for parrhesia, requiring us to think anew the continuing political ramifications of the metaphor of care. (shrink)

Discussions about the content of Plato’s Gorgias mostly follow the structure of this dialogue given by the change of the interlocutors. As plain as this change is, as little does it correspond with the development of the subject. This becomes obvious if we compare the division of the dialogue by the interlocutors with the division of the leading questions. New themes do not start with a new person, but only in the course of the conversation with Gorgias, Polos, (...) and Callicles respectively Socrates gets a more fundamental niveau for an old question or introduces a new subject. (shrink)

The Callicles colloquy of Plato’s Gorgias features both examination and ridicule. Insofar as Socrates’ examination of Callicles proceeds via the elenchus, the presence of ridicule requires explanation. This essay seeks to provide that explanation by placing the effort to ridicule within the effort to examine; that is, the judgment/pronouncement that something/ someone is worthy of ridicule is a proper part of the elenchic examination. Standard accounts of the Socratic elenchus do not include this component. Hence, the argument of this (...) essay suggests a need to revise the standard account of the elenchus, at least as it relates to the use of that method within the Gorgias. Insofar as a revised account of the elenchus has implications for our understanding of Socratic moral psychology, the argument of this essay also suggests a need to reconsider the moral psychological framework within which Socrates operates in the Gorgias. (shrink)

In Gorgias, Socrates stands accused of argumentative "foul play" involving manipulation by shame. Polus says that Socrates wins the fight with Gorgias by shaming him into the admission that "a rhetorician knows what is right . . . and would teach this to his pupils" . And later, when Polus himself has been "tied up" and "muzzled" , Callicles says that he was refuted only because he was ashamed to reveal his true convictions. These allegations, if justified, directly (...) undermine Socrates' claim to be improving his interlocutors by argument. For if Socrates' use of shame tends to produce insincere assertion, then elenchus cannot serve as a tool for moral reform. In an important recent paper, Jessica Moss presents a new apologia for Socrates on these old charges. According to Moss, although Socrates adopts a strategy of shaming rather than reasoning his interlocutors into agreement, this is legitimate because his appeals to shame function as appeals to a moral sense, which connect a person to his own "deep" convictions. Moreover, she claims that shame "can be a more effective tool of persuasion than reason," for it is capable, where reason is not, of dislodging a person's "intuitive" moral beliefs. This essay argues that each of these points is mistaken. (shrink)

Ancient intellectuals from Gorgias of Leontini forward employed the notion of 'imprinting' the soul in order to describe various sorts of psychic affections. The dominant context for this scientific language remains juridical both in 4th Century philosophy (e.g. Plato's description of the soul being whipped in the Gorgias) and in religion (e.g. the soul's imprint as keyword in "Orphic" Gold Tablets). This tradition continues in the fragments of Plutarch's de Libidine et Aegritudine, although without proper attention to its (...) origins in the Sophists. (shrink)

The paper examines Gorgias' treatise "On non-being" in the paraphrasis of Sextus Empiricus (Adversus mathematicos, VII, 65-87).

This is the introduction and the translation of Gorgias' "Helen". The speech is considered to be one of the most interesting pieces of early Greek rhetoric not only because of its rhetorical, but also because of its philosophical value. There is no doubt that it sets out the outlines of the sophistic conception of logos and (along with another Gorgias' speech Palamedes) represents the starting point for the Plato's critique of Gorgias' rhetoric in the dialogue "Gorgias'.

This is the introduction and the translation with a vast commentary in the footnotes of Gorgias' "Palamedes".

These are the excerpts from the book "Sztuka a prawda. Problem sztuki w dyskusji między Gorgiaszem a Platonem" concerning Gorgias' theory of apate (deception).

Benardete here interprets and, for the first time, pairs two important Platonic dialogues, the Gorgias and the Phaedrus . In linking these dialogues, he places Socrates' notion of rhetoric in a new light and illuminates the way in which Plato gives morality and eros a place in the human soul.

The advent of logical positivism contributed to the sharp definitional demarcation between what we consider mythical (mythos) and what we take to be a true account (logos). This essay attempts to go back to one of the sources of such a supposed distinction. By analyzing the Gorgias, I will show that even Plato did not make such a distinction. In fact, Plato even constructed a theory of justice that made use of myth as its medium. The Platonic Myth in (...) the Gorgias was used as true logos in order to justify Socrates’ use of the myth as the paradigm of a life that is philosophical in contrast to that of his accusers who espoused mere sophistry. By using the concept of historia in relation with the concept of mythos, Plato regarded the futuristic afterlife in the myth as a sufficient condition to live a just life. This sufficient condition exemplified by the Myth in the Gorgias is a measuring rod by which we can compare our present system of justice. (shrink)

This is the translation and interpretation of the Gorgias' speech from Plato's dialogue Gorgias (456A1-457C3). In the commentary it is argued that the Gorgias' speech in the dialogue is based on the philosophical and rhetorical motives which can be found both in Gorgias' epideictic speeches ("Helen" and "Palamedes") and doxographical accounts.

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of (...) art (techne). The ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

In this paper, I argue that Callicles presents plausible reasons to accuse Socrates of employing subtle rhetorical maneuvers concerning the concepts of nature and convention. The central focus here is not whether Callicles' accusation against Socrates holds, but rather, it is an exploration of how Plato, through the dialogue between Socrates and Callicles, reveals the compelling rationale behind Callicles' belief in his correctness. Initially, Socrates treats Callicles as a worthy opponent in the conventional sense, engaging in dialectic discourse. However, as (...) Socrates' philosophical approach fails to resonate with Callicles, it becomes apparent that Socrates holds a different perspective on Callicles than he initially expressed. To support this thesis, this paper will closely examine Callicles' Great Speech and Socrates' concise speeches preceding and following it. (shrink)

Gorgias’ On Not-Being survives only in two divergent summaries. Diels–Kranz's classic edition prints the better-preserved version that appears in Sextus’ Aduersus Mathematicos. Yet, in recent years there has been rising interest in a second summary that survives as part of the anonymous De Melisso, Xenophane, Gorgia. The text of MXG is more difficult; it contains substantial lacunae that often make it much harder to make grammatical let alone philosophical sense of. As Alexander Mourelatos reports, one manuscript has a scribal (...) note that reads: ‘The original contains many errors; no one should blame me; I just copy what I see.’2 The treatise's state of preservation has aptly prompted Michael Gagarin to liken it to a black hole: ‘something we cannot see directly but know must exist because of certain effects it has on other objects.’3. (shrink)

In the Gorgias, Plato contrasts pastry cooking unfavorably with medicine, in order to illustrate the difference he believes exists between a mere knack and a genuine art. I attempt to show that Plato’s treatment of cooking distorts or misconceives that activity, and does so in order to shore up his arguments about the distinction between arts and knacks, and about the separation and hierarchy between minds and bodies. Plato’s treatment of cookery seems to be informed not by the activity (...) of cookery itself, but by medicine, the activity against which it is set. In contrast, I shall suggest that attending to foodmaking directly can challenge Plato’s art/knack and soul/body dichotomies in several important ways. My method combines close examination of the passage with more speculative reflections on the significance and consequences of Plato’s ideas about cooking. (shrink)

The paper is concerned with the epistemological foundation of Plato's criticism of Gorgias' rhetoric in the dialogue "Gorgias".

This paper argues that Socrates does not claim to be a political expert at Gorgias 521d6-8, as many scholars say. Still, Socrates does claim a special grasp of true politics. His special grasp (i) results from divine dispensation; (ii) is coherent true belief about politics; and (iii) also is Socratic wisdom about his own epistemic shortcomings. This condition falls short of expertise in two ways: Socrates sometimes lacks fully determinate answers to political questions, and he does not grasp the (...) first principles of politics. (shrink)

This literature review describes the current state of research on the Greek sophists. It draws on recent work on the beginnings of rhetoric, overviews of sophistic thought and case studies on Protagoras, Gorgias, Antiphon and Prodicus. It is shown that the traditional notion of a sophistic antithesis to philosophy has lost further ground: While earlier »rehabilitations« of sophistic thought still use the dichotomous distinction of philosophy und sophistic, now any generic talk of »the sophist« should better be regarded as (...) misleading. (shrink)

Many traditional martial artists assert that MMA is not a martial art, denying that the ‘martial skill’ of MMA constitutes a ‘martial art’, and citing the sportive and entertainment aspects of MMA competitions as antithetical to the spirit of martial arts, lacking the integrity, discipline, and tradition found in martial arts. Today, these criticisms are even more relevant in light of the fact that the typical MMA fighter no longer practices a single discipline but is versed in a variety of (...) techniques and utilizes a variety of strength and conditioning modalities. In addition, with the development of social media and mainstream media’s acceptance of MMA as a legitimate sport, MMA is now more than ever about entertainment. We argue that MMA is a martial art, but it is not always practiced as one. By drawing upon Socrates’ distinction in Plato’s Gorgias between ‘knacks’ and ‘crafts’, we clarify the difference between ‘martial skills’ and ‘martial arts’. Using this distinction, we examine whether the sportive and entertainment aspects of MMA are, in fact, antithetical to the spirit of martial arts. We argue that the latter is, but the former is not. (shrink)

In the Gorgias, Socrates claims that painful bodily punishment like flogging can improve certain wrongdoers. I argue that we can take Socrates’ endorsement seriously, even on the standard interpretation of Socratic motivational intellectualism, according to which there are no non-rational desires. I propose that flogging can epistemically improve certain wrongdoers by communicating that wrongdoing is bad for oneself. In certain cases, this belief cannot be communicated effectively through philosophical dialogue.

Socrates believes that living well is primarily an intellectual undertaking: we live well if we think correctly. To intellectualists, one might think, the body and activities related to it are of little interest. Yet Socrates has much to say about food, eating, and cookery. This paper examines Socrates’ criticism of ‘feeding on opson’ (opsophagia) in Xenophon’s Memorabilia and of opson cookery (opsopoiia) in Plato’s Gorgias. I argue that if we consider the specific cultural meaning of eating opson, we can (...) see that Socrates takes a nuanced stance on food and cookery: he recommends careful consumption and skillful production, not austerity or abstinence. This nuance in Socrates’ discussion of food changes our interpretation of Socrates’ criticism of rhetoric in the Gorgias: in comparing rhetoricians to opson chefs—not to pastry chefs, as many have assumed—Socrates evokes the dangers of indulging in speeches while acknowledging their necessity for Athenian public life. (shrink)

Meontology of Gorgias vs. Nihilism. The purpose of this paper is to challenge Gorgias’ image of a “nihilist existentialist”. The original thesis ouden estin, too frequently rendered as „nothing exists”, thus reducing the verb “to be” to denote “bare” existence, and ouden to denote “nothingness”. On close inspection, it turns out that, in Gorgias, neither do we have a negation of reality nor an affirmative treatment of the word “nothingness”.Therefore, ouden” should not be understood as a negation (...) of all reality or a kind of affirmative “nothingness”, whereas “estin” should not be reduced to “bare” existence. (When existence is negated what we obtain is annihilation). Such practices still affect the various translations of Gorgias’ treaty On the non-being or on Nature. Gorgias’ “sophist” thought is typically interpreted as a joke or a parody of dialectical thinking of the Eleatics. In fact, as it turns out, he made no parody of dialectic but applied the elenctic, apagogic method in Zeno’s masterly manner. He did so not for an artificial purpose but to prove the absurdity of the hypothesis of absolute, transcendent (hence incognizable) one Truth-Being, which eliminates the non-being of becoming as absolute non-being. Gorgias argued in earnest in favour of relative being as such, Becoming as the only reality, which from the point of view of absolute being is after all non-being, but not-this-being, or relative non-being but not non-relative non-being, as the Eleatics had claimed. Gorgias’ positions appears to be an apologia of non-being which is, that is of Becoming. We do not transform the “nothing” into a “no thing”. The main question of the treaty is: what is predicated by the word “nothing”? Gorgias’ position can be recapitulated as “nothing is sc. true, there is no criterion because, after all, everything is opinion. It is reinforced further by meontological, i.e. anti-eleatic Gorgias’ emphasis: “No thing is Being (substance)”, because everything is Becoming. Thus the title if Gorgias’ treaty can thus be treated as as an antithesis to that of Melissos’, which – in our opinion – is to emphasize the “non-beingness” of nature, the non-substantiality of things. Therefore, if Gorgias’ text was polemical, and it questioned (while at the same time maintaining the positivity of Becoming as non-being) only the immutability of things, and thus we cannot speak of the existence or the cognizability of natures or of essences of things. In sum, the reasoning of Zeno and Melissos was of a kind that is apt to cut both ways, and that is what Gorgias showed. The argument given as peculiar to himself was to this effect. “What is not” is not, so, it is just as much as “what is”. It is as if the onset of the issues that Plato will take up in The Sophist as the problem of non-being understood as difference. The axis of Gorgias’s anti-eleatic critique, in our view, is his polemic with Parmenides’ famous thesis B3 regarding the relationship of identity or equality between noein and einai. It is an additional and perhaps the most important point of his critique that aims at demonstrating that such relationship is impossible. In brief, things are not words just as thoughts are not words. (shrink)

Each of us is a measure. The project of advocates of change in Plato’s Theaetetus as compared with sophistic thought -/- Summary -/- One of the most intriguing motives in Plato’s Theaetetus is its historical-based division of philosophy, which revolves around the concepts of rest (represented by Parmenides and his disciples) and change (represented by Protagoras, Homer, Empedocles, and Epicharmus). This unique approach gives an opportunity to reconstruct the views of marginalized trend of early Greek philosophy - so called „the (...) sophistic movement”. Paradoxically, previous research shows little interest in sophistic thought as a source of the standpoint of advocates of change („the secret doctrine”). The roots of „the secret doctrine” were investigated in the works of Heraclitus, Aristippus, and Antisthenes or those related to “neoheracliteanism”. However, researchers did not make any significant attempt to confront this concept with the contemporary research on the sophistic movement. The conviction that sophistry was primarily humanistically oriented was one of the main reasons why researches were opposed to the fact that „the secret doctrine” could represent a true expression of Protagoras’ views. This is why J. Burnet and F. M. Cornford in their seminal works assumed that “the secret doctrine” should be attributed to Plato, who simply combined a series of loose statements into one single project. In this work, we argue that the thesis which questions the parallels between the sophists’ interests and the philosophers of nature requires a significant revision. There is ample evidence to suggest that the philosophy of nature was a part of sophists’ research. This is supported by two main arguments. First, the tutors of sophists were philosophers of nature. Second, there are numerous sources that explicitly show sophists’ interest in the physical issues. These sources include anecdotal evidence about the fact that sophists wrote works On nature. There is also information confirming that they deliberated on detailed physical issues. The analogies between the concepts attributed to the advocates of change and our knowledge about sophists from other sources is very wide and contains most elements, which are included in the project of “changeable reality” presented in Theaetetus. The deliberations on the mechanism of perception, which are close to those of flux theory of perception in Theaetetus, are present in the sources referring to Gorgias of Leontinoi, the famous sophist and rhetorician. Also, the second element of “the secret doctrine” that is the metaphysics of flux matches up with what we know about the sophists’ views from other sources. On this basis, one can deduce that – contrary to the tradition which marginalized the role of sophistic considerations on the issue of being and non-being – it was one of the major subjects of sophistic research. Its main point was the criticism of the Eleatic conception of a single and unchangeable being, which also plays a key role in the doctrine of flux in Theaetetus. The epistemological theses which are presented in Theaetetus are borne out in sophistic sources. They include the definition of knowledge as perception, the „Man-measure” formula and a number of principles, which result from these foundational theses. Sophists’ empirical preferences resonate with the theses of the advocates of change in Theaetetus. Special attention that is given to the issues of differences among people, and even to cognitive differences in one person depending on the changeable states to which a person is subject, goes well together with what we know about reciprocal influence between the sophistry and medicine. The consequences of the epistemological conception present in Theaetetus have their equivalents in sophists’ works and other testimonies. An example of these consequences may be the abolition of truth and falsehood or the abolition of contradiction, which finds its expression in the thesis ouk estin antilegein. The analogies also concern reflections on the language itself. The project of the “new language” uses categories, which were developed by sophists. These include the antithesis of nomos and physis. The general intentions of this project reflect Protagoras’ ideas, at least to the extent to which they are known from the sources reporting his thoughts on language. Plato’s Theaetetus can thus be considered a veritable treasury of sophistic motifs. Even though the problem remains unsolved and one is still not able to unambiguously decide about the author of “the secret doctrine”, one can come to a certain conclusion – even if Plato synthesized various doctrines, he must have relied in his project mostly on the elements that he borrowed from sophists. Moreover, the value of reconstructing the project of the advocates of change in Theaetetus does not consist of mere enumeration of sophistic motifs. The dialogue is key to understanding the sophistic movement, whose separate doctrines – for the lack of sources and as a result of centuries-old disregard – are usually treated as rhetorical formulae that are interpreted in many ways and have no philosophical foundations. If it is really the case that the theses attributed to Protagoras in Theaetetus were actually a part or a derivative of Protagoras’ thought, or – speaking more conservatively – if they constitute a synthesis of sophistic thought done by Plato, they could represent philosophical foundations for the most important sophistic theses: the “Man-measure” formula, the ouk estin antilegein principle, the concept of language as a tool, the idea of the relativity of good and the whole practical sphere of sophists’ activity. Contrary to the views of many researchers, we are certain that the representatives of the sophistic movement did not limit themselves only to the application of practical rules, which determined the extent of their educational or rhetorical-political activity. They were capable of creating – indeed, they did create comprehensive projects that embraced the whole thematic scope subject to philosophical reflection. (shrink)

This essay argues that Plato in the Republic needs an account of why and how the three distinct parts of the soul are parts of one soul, and it draws on the Phaedrus and Gorgias to develop an account of compositional unity that fits what is said in the Republic.

In this paper I focus on a passage of Plato’s Laws that so far has been the object of little study (V 731d-732b). In the Laws, the origin of all evil is neither an ontological principle, as in the Judaeo-Christian tradition, nor a simple lack of knowledge (àghnoia) or a lack of knowledge combined with the false presumption of knowledge (amathìa). Rather, in this passage amathìa itself is traced back to “excessive self-love” (sphòdra heautoû philìa). I show that this “excess” (...) has a specific “anthropological” relevance, because it is not limited to the intellectual sphere or to the will, but directly concerns the human way of loving. The thesis that I argue for in this paper is that this “excess” is a possibility implicit in the human being qua àplestos, and should therefore be interpreted in an “anthropological” sense: it does not indicate a simple “lack” of balance, but rather a possibility and a risk to which humans expose themselves when they exceed the homeostatic balance of needs typical of non-human animals. Finally, I trace the various steps of this “anthropology of excess” back to its origin: the image of the leaky jar found in the Gorgias. (shrink)