Plato - Al al-Bayt University



Plato

Plato (429-347 B.C.E.) is, by any reckoning, one of the most dazzling writers in the Western literary tradition and one of the most penetrating, wide-ranging, and influential authors in the history of philosophy. An Athenian citizen of high status, he displays in his works his absorption in the political events and intellectual movements of his time, but the questions he raises are so profound and the strategies he uses for tackling them so richly suggestive and provocative that educated readers of nearly every period have in some way been influenced by him, and in practically every age there have been philosophers who count themselves Platonists in some important respects. He was not the first thinker or writer to whom the word “philosopher” should be applied. But he was so self-conscious about how philosophy should be conceived, and what its scope and ambitions properly are, and he so transformed the intellectual currents with which he grappled, that the subject of philosophy, as it is often conceived — a rigorous and systematic examination of ethical, political, metaphysical, and epistemological issues, armed with a distinctive method — can be called his invention. Few other authors in the history of philosophy approximate him in depth and range: perhaps only Aristotle (who studied with him), Aquinas, and Kant would be generally agreed to be of the same rank.

• 1. Plato's central doctrines

Themes

Unlike Socrates, Plato wrote down his philosophical views, leaving behind a considerable number of manuscripts.

In Plato's writings are debates concerning the best possible form of government, featuring adherents of aristocracy, democracy, monarchy, as well as other issues. A central theme is the conflict between nature and convention, concerning the role of heredity and the environment on human intelligence and personality long before the modern "nature versus nurture" debate began in the time of Thomas Hobbes and John Locke, with its modern continuation in such controversial works as The Mismeasure of Man and The Bell Curve.

Another theme in Plato's writing is the distinction between knowledge and true belief. From this problems, ideas, and arguments arose which continue to be debated by modern philosophers. Unlike most modern writers, Plato argued that the main difference between knowledge and true belief was the nature of their objects: knowledge was of eternal truths (later, the Forms), while true belief was of ephemeral, contingent truths.

Plato also had a position on the art of writing as opposed to oral communication. This is evidenced in his Phaedrus1 dialogue and his Seventh Epistle.2 He said that oral communication is superior to the written word, especially in the accuracy of the oral word over the written word and in his Seventh Epistle that nothing of importance should be written down but transmitted orally

Form and basis

Plato wrote mainly in the form known as dialogue. In the early dialogues, several characters discuss a topic by asking questions of one another. Socrates figures prominently, and a lively, more disorganised form of elenchos/dialectic is present; these are called the Socratic Dialogues.

The nature of these dialogues changed a great deal over the course of Plato's life. It is generally agreed that Plato's earlier works are more closely based on Socrates' thought, whereas his later writing increasingly breaks away from the views of his former teacher. In the middle dialogues, Socrates becomes a mouthpiece for Plato's own philosophy, and the question-and-answer style is more pro forma: the main figure represents Plato and the minor characters have little to say except "yes", "of course" and "very true". The late dialogues read more like treatises, and Socrates is often absent or quiet. It is assumed that while some of the early dialogues could be based on Socrates' actual conversations, the later dialogues were written entirely by Plato. The question of which, if any, of the dialogues are truly Socratic is known as the Socratic problem.

The ostensible mise en scène of a dialogue distances both Plato and a given reader from the philosophy being discussed; one can choose between at least two options of perception: either to participate in the dialogues, in the ideas being discussed, or choose to see the content as expressive of the personalities contained within the work.

The dialogue format also allows Plato to put unpopular opinions in the mouth of unsympathetic characters, such as Thrasymachus in The

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