Ennead VI.4-5, originally written as a single treatise, contains Plotinus' most general and sustained exposition of the relationship between the intelligible and the sensible realms, addressing and coalescing two central issues in Platonism: the nature of the soul-body relationship and the nature of participation. Its main question is, How can soul animate bodies without sharing their extension? The treatise seems to have had considerable impact: it is much reflected in Porphyry's important work, Sententiae, and the doctrine of reception according to the capacity of the recipient, for which this treatise is the main source, resonated in medieval thinkers.

This new way of approaching Plato neither sees Plato's words as doctrines according to which the dialogues are to be interpreted, nor does it reduce Plato's dialogues to dramatic literature. Rather, it seeks to interpret the primary aim of Plato's writings as being influenced primarily by Plato's respect for his teacher, Socrates, and the manner in which Socrates engaged others in philosophical discourse. It places the focus of philosophical investigation of Plato's dialogues on the content of the dialogues themselves, and on the Socratic way of doing philosophy.

Rich in drama and humour, they include the controversial Ion, a debate on poetic inspiration; Laches, in which Socrates seeks to define bravery; and Euthydemus, which considers the relationship between philosophy and politics. Together, these dialogues provide a definitive portrait of the real Socrates and raise issues still keenly debated by philosophers, forming an incisive overview of Plato's philosophy.

J. B. Kennedy argues that Plato's dialogues have an unsuspected musical structure and use symbols to encode Pythagorean doctrines. The followers of Pythagoras famously thought that the cosmos had a hidden musical structure and that wise philosophers would be able to hear this harmony of the spheres. Kennedy shows that Plato gave his dialogues a similar, hidden musical structure. He divided each dialogue into twelve parts and inserted symbols at each twelfth to mark a musical note. These passages are relatively harmonious or dissonant, and so traverse the ups and downs of a known musical scale. Many of Plato's ancient followers insisted that Plato used symbols to conceal his own views within the dialogues, but modern scholars have denied this. Kennedy, an expert in Pythagorean mathematics and music theory, now shows that Plato's dialogues do contain a system of symbols. Scholars in the humanities, without knowledge of obsolete Greek mathematics, would not have been able to detect these musical patterns. This book begins with a concise and accessible introduction to Plato's symbolic schemes and the role of allegory in ancient times. The following chapters then annotate the musical symbols in two of Plato's most popular dialogues, the Symposium and Euthyphro, and show that Plato used the musical scale as an outline for structuring his narratives.

Plato's philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato's time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues. The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato's dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus.

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.

Plato's Meno: An Interpretation/is a comprehensive study of the transitional dialogue dedicated to the investigation of virtue. Cristina Ionescu analyzes with approximately equal emphasis both the dramatic details and the logic of the arguments. By focusing on the interrelated themes that run through the text, Ionescu provides a comprehensive overview of the dialogue and a refreshing update of its argument. The theme of the Meno is the investigation of virtue with regard to both its essence and our possibility of acquiring it, whether we acquire virtue by nature, teaching, practice, or in some other way. As the nature of the theoretical investigation itself is made into a direct concern of the dialogue, and since the essence of virtue is closely associated with knowledge, the dialogue has both a moral and an epistemological dimension. The interwoven treatment of virtue and knowledge throughout the Meno enlarges the scope of interest to cover also several related themes: the immortality of the soul, the relationship between craft-like expertise and moral wisdom, the relationship between divine inspiration and virtue, the contrast between dialectical conversations and eristic disputes, and the importance of following appropriate methods in philosophical investigations. By examining these related ideas with clarity, Ionescu provides an invaluable guide to the dialogue. Plato's Meno: An Interpretation is an excellent book for readers of Plato at all levels: undergraduates, graduates, and specialists.

In this supplementary volume, a number of renowned scholars of Plato reflect upon their interpretive methods. Topics covered include the use of ancient authorities in interpreting Plato's dialogues, Plato's literary and rhetorical style, his arguments and characters, and his use of the dialogue form. The collection is not intended as a comprehensive survey of methodological approaches; rather it offers a number of different perspectives and clearly articulated interpretations by leading scholars in the field.

Offers an alternative interpretation and defends a radically new view of Plato's method of argument in the early dialogues.