Abstract

The Charmides, searching for a definition of temperance, constantly confronts problems of reflexivity, transparency and opacity. Transparency and opacity structures the Charmides, from the dramatic beginning of Socrates peeking inside Charmides’ cloak, to Charmides’ initial depiction of sôphrosynê as concealing what one can do. The final two proposed definitions of temperance in the Charmides, self-knowledge and the knowledge of knowledge, are explicitly reflexive. That reflexivity is best understood by juxtaposing it to transparency and opacity, in the issue of whether someone with knowledge of, say, the science of medicine, also knows the subject of medicine, health, or whether health is opaque to that second-order knowledge, and whether such opacity would be a defect or an advantage. In identifying self-knowledge with the knowledge of knowledge, as in many other things, Critias is a parody of Socrates. Critias’s knowledge of knowledge is a form of architectonic knowledge that, because of opacity, makes unnecessary any appeal to an objective truth and goodness beyond their political determinations. As such, it creates a serious challenge to Socratic claims that such appeals are unavoidable.