In his article in a recent issue of the Classical Quarterly Mr. G. M. A.Grube attempts to vindicate the authenticity of the Hippias Maior, concentrating his attention upon an article by me as ‘embodying most of the objections of earlier scholars’ against the genuineness of the dialogue. I believe that I am still ‘the latest exponent,’ in any detail, of this view; but I may claim at least some good company in the heresy, and to the names already cited by (...) Mr. Grube or myself may be added in particular that of Wilamowitz, who also believes the Hippias Maior to have been written in the Academy within Plato's lifetime. I was not aware when writing my previous article of this noteworthy support in a work just then appearing. (shrink)

Sight, and its object light, appear to be universal metaphors in human language, both for intellectual apprehension or activity and its objects and also for the experience of aesthetic and moral values. The figure is applied equally to the course or end of a rational approach to knowledge, giving scarcely-felt imagery like ‘I see’, ‘look into’, etc., or to a pictorially described ‘illumination’ or ‘vision’ that lies beyond the range of reason. Some phrases are applicable in both senses; to ‘see (...) the light’ may connote either logical grasp of a fact or religious conversion. (shrink)

Of all the dialogues that may be said to be in Plato's normal style, the Republic seems to be the richest in imagery. The Phaedrus may contain more of such figurative language, but its whole atmosphere and style are so artificial as to place it outside comparison. The Republic stands, in this respect as in philosophic content, between the relative plainness of the earlier works and the didactic heaviness of the Laws, which is relieved by proverbial, rather than by imaginative, (...) illustration. (shrink)

Discussion on the Platonic Socrates in relation to the historic Socrates has to some extent subsided in recent years. The older tradition looks like maintaining itself. But the question remains a provocative one, and further light on it would be welcome. It is some years, indeed, since Professor Field showed reason to doubt whether any further light will now be found, and advised reliance on the main line of tradition, through Aristotle, in the belief that we cannot in any case (...) reach behind it. (shrink)

Plato's use of illustrative material, in the widest sense, is very varied. Parts of the field have had some study—his use of metaphor and simile and his use of proverbs, at least as regards subject-matter and sources. The object of the present article is to consider in general what may already have been catalogued somewhere—his quotations from other writers and his references to myths and to other stories.

At the end of the dialogue Theages, after a general review of the prophetic power given by Socrates quotes the words of Aristides to himself—130 d—e: The extravagant claim here made for the influence of Socrates as conveyed through physical proximity and contact is one of the chief reasons for regarding the dialogue as spurious, giving as it does a later and a distorted development from suggestions made by Plato and Xenophon themselves.

Spatial asymmetries are an intriguing feature of directed attention. Recent observations indicate an influence of temperament upon the direction of these asymmetries. It is unknown whether this influence generalises to visual orienting behaviour. The aim of the current study was therefore to explore the relationship between temperament and measures of spatial orienting as a function of target hemifield. An exogenous cueing task was administered to 92 healthy participants. Temperament was assessed using Carver and White's (1994) Behavioural Inhibition System and Behavioural (...) Activation System (BIS/BAS) scales. Individuals with high sensitivity to punishment and low sensitivity to reward showed a leftward asymmetry of directed attention when there was no informative spatial cue provided. This asymmetry was not present when targets were preceded by spatial cues that were either valid or invalid. The findings support the notion that individual variations in temperament influence spatial asymmetries in visual orienting, but only when lateral targets are preceded by a non-directional (neutral) cue. The results are discussed in terms of hemispheric asymmetries and dopamine activity. (shrink)

The basis of Plato's style being for the most part informal conversation, certain elements natural and appropriate to this atmosphere may be looked for and found. These include: colloquialisms in the accepted sense—short phrases, or special uses of words, associated with informal or comic style; phrases of poetic type, probably quotations or adaptations, used frequently with burlesque effect; proverbial or semi-proverbial matter; word-play of various types. The above groups overlap at certain points, but the classification may serve fairly well to (...) set forth the material in question. (shrink)

THE following further instances and parallels, and additional usages, may supplement the colloquialisms, &c, in Plato's dialogues which were listed and studied in a former article. 1. Colloquialisms More examples and parallels for usages previously noted: Charm. 154 b 4, Crat. 418 b 8, Phaedo 92 d 4, Parm. 126 c 6, 127 b 1, Polit. 290 d 7, Laws 630 b 7.

There are in Plato's dialogues several examples of long-continued oblique narration, which may repay study in relation both to his syntactical usages and to the development of his literary style. Two dialogues are based upon this construction. In the Symposium the whole framework, after a brief dramatic introduction , is in reported form; the Parmenides, after a shorter narrative introduction , sustains 0.0. up to 137 c, continuing as a dramatic interchange of speeches without covering construction.

The study of Plato's style as a writer has hardly kept pace with the study of his thought as a philosopher. Obviously he stands apart as the one original thinker in classical antiquity who also gives expression to his thought in a finished literary prose; and obviously his prose is worth studying for its own sake. What I would here suggest is that the close and continual relationship between the style and the content of his work may serve, in various (...) aspects, to elucidate his argument; and, further, that at certain points his style itself has a direct connexion with his philosophic thought. (shrink)