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Plato, ethical and political thought  

Christopher Bobonich

Plato’s dialogues are divided into Early, Middle, and Late. The early dialogues accept Psychological and Rational Eudaimonism. The four cardinal virtues form a whole identical with knowledge of what is overall best for the person and is sufficient for happiness.The middle dialogues hold that all knowledge requires knowledge of transcendental Forms. They also partition the soul which allows for the possibility of akratic action. (An agent acts akratically when she acts contrary to what she knows or believes is overall best for her.) Contemplating Forms becomes a major part of happiness. Plato still recognises inter-entailing four virtues including wisdom which requires knowledge. Since non-philosophers cannot attain knowledge, they lack genuine virtue and have seriously deficient lives. So long as they obey philosopher rulers, however, they are better off in Kallipolis (the Republic’s good city) than outside it.The late dialogues, the Politicus and the Laws, restrict citizenship to those capable of genuine virtue. The Laws’ city tries to develop genuine virtue in all citizens and provides for them a better education than that of the Republic’s auxiliaries.

Article

poetry, philosophers on  

S. Halliwell

The engagement of philosophers with poetry was a recurrent and vital feature of the intellectual culture of Graeco-Roman antiquity. By around 380 bce, *Plato (1) could already refer to “a long-standing quarrel between philosophy and poetry” ( Resp. 10.607b). Early Greek philosophy, while closely related to poetry (*Xenophanes, *Parmenides, and *Empedocles wrote in verse), set itself to contest and rival the claims of “wisdom,” sophia, made by and on behalf of poets. Xenophanes, repudiating anthropomorphic religion, cast ethical and theological aspersions on the myths of *Homer and *Hesiod (DK 21 B 11–12); Heraclitus expressed caustic doubts about the idea of poets as possessors of deep understanding (DK 22 B 40, 42, 56–57); Democritus, by contrast, despite his materialist physics, seems to have believed in poetic inspiration (DK B 17–18, 21). Philosophy and poetry could be considered competing sources of knowledge and insight. The stage was set for lasting debates about their relationship.

Article

thymos  

Douglas Cairns

Thymos (or thumos), cognate with Indo-European words meaning “smoke,” is one of a number of terms in Greek which associate psychological activity with air and breath. In the Homeric poems, thymos is one of a family of terms associated with internal psychological process of thought, emotion, volition, and motivation. Though the range of the term’s applications in Homer is wide, that in itself gives us a sense of the unity of cognitive, affective, and desiderative processes in Homeric psychology. No post-Homeric author can rival that range, but something of the richness of the Homeric conception of thymos as an interrelated set of motivations re-emerges in Plato’s conception of the tripartite soul in the Republic and the Phaedrus. Plato’s thymos represents a pared-down model of human agency typified by one central desire or aim in life but also exhibiting whatever further capacities of persons are necessary to enable it to pursue that aim in interaction with the other elements of the personality. As in Homer, the metaphorical agency of Plato’s thymos does not detract from the notion of the individual as the real centre of agency.

Article

poetic unity, Greek  

Richard Hunter

Greek discussion of unified organic form, as both a biological principle and a literary virtue, has been very influential in Western criticism. What survives before late antiquity of that Greek tradition as applied to literature is, however, relatively sparse; crucial above all are the Homeric poems and ancient discussion of them, together with some passages of Plato and Aristotle. The fact that the bulk of later surviving criticism derives from rhetorical teaching, heavily indebted to the Isocratean tradition, means that much greater prominence is given to the closely related ideas of variety (poikilia) and the avoidance of monotony over the course of a long work, and to the arrangement and ordering (taxis) of narrative than to “unity”; there is no standard term for “unity” in Greek criticism.Homer announces the subject of the Iliad as the wrath of Achilles, which wrought terrible destruction upon the Greeks, but, however dominant the story of the wrath and its consequences, the scope of the poem is clearly not limited to that subject. Reflection upon the Iliad stands at the beginning and the heart of ancient discussion of unity, and it is the Iliad that shows why “unity” and “variety” are entirely compatible in ancient criticism.

Article

Gorgias (1) of Leontini, orator, c. 485–c. 380 BCE  

Josh Wilburn

Gorgias of Leontini, orator, c. 485–c. 380 bce, was one of the most well-known and influential of the early Greek rhetoricians. He spent much of his life as an itinerant speaker and reputed educator throughout Greece and contributed to the early development of the art of speech. His extant works include two complete speeches, Encomium of Helen and Defense of Palamedes, and ancient authors also summarize, provide fragments from, or report several additional works: On What-Is-Not, a Funeral Speech, a Pythian Speech, an Olympian Speech, a Speech for the People of Elis, a treatise on the “opportune moment” or kairos, and some manuals of rhetoric.Gorgias of Leontini, orator, c.485–c. 380bce, became one of the most well-known and influential figures of the early, 5th-century generation of thinkers credited with developing and marketing skills, principles, and ideas related to the burgeoning art of speech. Nothing secure is recorded about the events of his early life, although he must have achieved some degree of eminence and respect in .