The Alcibiades I concludes with an arresting image of an eye that sees itself by looking into another eye. Using the dialogue as a whole, I offer a detailed interpretation of this image and I discuss its implications for the question of self-knowledge. The Alcibiades I reveals both what self-knowledge is (knowledge of soul in its particularity and its universality) and how we are to seek it (by way of philosophical dialogue). This makes the pursuit of self-knowledge an inescapably social (...) pursuit. Yet as Socrates cautions us, our ability to gain self-knowledge—and indeed his very account of what it is—are limited. The dialogue is thus challenging us to take the inquiry further, thereby displaying the very matter being discussed. (shrink)

One of Plato’s aims in the Phaedrus seems to be to outline an ‘ideal’ form of rhetoric. But it is unclear exactly what the ‘true’ rhetorician really looks like, and what exactly his methods are. More broadly, just how does Plato see the relation between rhetoric and philosophy? I argue, in light of Plato’s epistemology, that the “true craft (techne) of rhetoric” which he describes in the Phaedrus is a regulative, but also an unattainable ideal. Consequently, the mythical palinode in (...) the dialogue is not (as some have claimed) an example of the true techne—and indeed it could not be. But neither is dialectic. Rather, dialectic is the closest approximation of the true techne of rhetoric which can be had; that is to say, dialectic is the best and highest kind of psychagogia (a ‘leading of the soul through words’). Plato’s purpose in describing the “true techne of rhetoric”, then, is not to reform or to rehabilitate rhetoric, but to urge us to abandon it in favor of the philosophical life. One implication of this is that Plato is just as hostile toward rhetoric as he is in the Gorgias. (shrink)

In the Phaedo the character Socrates argues that suicide is morally wrong. This is in fact one of only two places in the entire Platonic corpus where suicide is discussed. It is a brief passage, and a notoriously perplexing one. In this article, I distinguish between two arguments that Socrates gives in support of his claim. I argue that one of them is not to be taken literally, while the other represents the deeper reason for the prohibition of suicide. I (...) further relate the question of suicide to the overarching concerns of the Phaedo as a whole: the nature of our incarnate “imprisonment”, the nature and purpose of philosophy, the philosophical “purification” of the soul, the human pursuit of knowledge, and the nature of the divine. (shrink)

It is commonly thought that there is a connection between love and death. But what can be said philosophically about the nature of that connection (if indeed it exists)? Plato's Symposium suggests at least three possible ways in which love and death might be connected: first, that love entails (or ought to entail) a willingness to die for one’s beloved; second, that love is a desire for (or perhaps itself is) a kind of death; and third, that love is linked (...) to human mortality and the desire for immortality. I argue that each of these three suggestions is problematic, and should not be accepted at face value. I am ultimately skeptical as to whether any one, overriding connection—be it moral or causal or metaphysical—between love and death exists. At the very least, the matter deserves more nuanced and multi-faceted reflection than what we find in the Symposium. (shrink)

Moving beyond the piecemeal approach to the Euthyphro that has dominated much of the previous secondary literature, I aim in this article to understand the dialogue as an integrated whole. I argue that the question of myth underlies the philosophical and dialogical progression of the Euthyphro. It is an adherence to traditional myth that motivates each of Euthyphro’s definitions and that also accounts for their failure. The dialogue thus presents a broad criticism of traditional myth. But, as Socrates’s references to (...) Daedalus and Proteus show, myth can have a positive role and can be used for philosophical purposes. (shrink)

The ending of the Phaedo is one of the most powerful and memorable moments in the entire Platonic corpus. It is not simply the end of a single dialogue, but a depiction of the end of the life of the man (Socrates) who is a looming presence in nearly everything that Plato wrote. In this article I offer an in-depth analysis of the final scene of the Phaedo. I argue that Plato very carefully constructs the scene for the sake of (...) specific philosophical, dramatic, and political ends. Plato uses it to unify the Phaedo as a singular text, while also provoking us to reflect on the nature of our lives, our deaths, and the possibilities and limits of philosophy itself. (shrink)

In the Phaedrus Socrates says that “the greatest goods” come from madness, and even seems to suggest that philosophy itself is a form of madness. But just how strongly should we understand these claims? I argue that Plato is not claiming that the philosopher is literally mad, in the sense of lacking rational self-control or being possessed by a god. Instead, Plato is appropriating the concept of “madness” and redefining it to refer to a unique state of philosophical cognition.