Character Plot And Thought In Plato S Timaeus And Critias

Character, plot and thought in Plato's Timaeus and Critias

Glaucon's Fate: History, Myth, and Character in Plato's Republic

“Glaucon's Fate is one of the most interesting and insightful treatments of Plato's Republic in years . . . We may never know the real Socrates, but Howland's mastery and interpretation of an impressive array of works from Plato's time, along with his insight into many Platonic dialogues, including and especially the Republic, makes this book a must-read for anyone interested in Plato, Socrates, and the life of philosophy."—The New Criterion In the Republic, Socrates seeks to convince Plato’s brother Glaucon that the just life of philosophy is preferable to the unjust life of tyranny. Jacob Howland’s Glaucon’s Fate argues that he fails. The available evidence suggests that Glaucon joined his cousin Critias and his uncle Charmides in the regime of the so-called Thirty Tyrants, the brutal oligarchy that governed Athens in the immediate aftermath of the Peloponnesian War. If Howland is right, Plato’s intelligent and courageous brother—suspended as he was between the corruption of Athenian politics and the integrity of Socratic inquiry, between kinsmen who were leaders of the Thirty and a just friend who fell afoul of them—could not be saved even by the age’s most capable advocate of virtue and philosophy. What went wrong? This is the guiding question of Glaucon’s Fate, a book that promises to challenge our understanding of Plato’s masterwork. It is the culmination of a lifelong devotion to the study of Plato’s Republic by a major scholar.

The Play of Character in Plato's Dialogues

This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek 'character' words (especially ethos), including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relationship to his 'dramatic' hero.