... all probability, Plato's own statement; made indeed to be read by friends in Syracuse in explanation of the role he had played ...

‘‘COGNITIVE ECOLOGY’’ is a fruitful model for Shakespearian studies, early modern literary and cultural history, and theatrical history more widely. Cognitive ecologies are the multidimensional contexts in which we remember, feel, think, sense, communicate, imagine, and act, often collaboratively, on the fly, and in rich ongoing interaction with our environments. Along with the anthropologist Edwin Hutchins,1 we use the term ‘‘cognitive ecology’’ to integrate a number of recent approaches to cultural cognition: we believe these approaches offer productive lines of engagement (...) with early modern literary and historical studies.2 The framework arises out of our work in extended mind and distributed cognition.3 The extended mind hypothesis arose from a post-connectionist philosophy of cognitive science. This approach was articulated in Andy Clark’s Being There: Putting Brain, Body, and World Together Again, and further developed by Susan Hurley and Mark Rowlands, among others.4 The distributed cognition approach arose independently, from work in cognitive anthropology, HCI (Human-Computer Interaction), the sociology of education and work, and science studies. The principles of distributed cognition were articulated in Hutchins’s ethnography of navigation, Cogni- tion in the Wild,5 and developed by theorists such as David Kirsh and Lucy Suchman.6 These models share an anti-individualist approach to cognition. In all these views, mental activities spread or smear across the boundaries of skull and skin to include parts of the social and material world. In remembering, decision making, and acting, whether individually or in small groups, our complex and structured activities involve many distinctive dimensions: neural, affective, kines-. (shrink)

My title is taken from the frontispiece to Ogilby's translation of Aesop ; since every Renaissance poet believed the statement to be true, let me start with my own example. John Denham's only play, The Sophy, published in August 1642, is a tale about the perils of jealousy. The good prince Mirza, after a miraculous victory over the Turks, returns in glory to his father's court, but leaves it shortly thereafter. In his absense, Haly, the evil courtier, follows a friend's (...) advice to " work on [the king's] fears, till fear hath made him cruel"1 and poisons the king's mind with jealousy against his son. Mirza returns only to be brutally blinded and killed, and the emperor soon dies stricken with remorse. Now it happens that Parliament justified all its actions in the months preceding the civil war on the grounds of the "fears and jealousies" that the king had inspired. Charles was incensed by the slogan and claimed angrily that he, if anyone, had the most cause for fears and jealousies.2 Denham obviously decided that here was the all-consuming topic around which a predominantly royalist drama could be written. He followed what I believe was the standard practice - the method that Fulke Greville said Sidney used and that Congreve repeated at the end of the century when he declared of The Double Dealer that "I design'd the Moral first, and to that Moral I invented the Fable."3 He found a plot in Thomas Herbert's Travels into Diverse Parts of Asia that recorded some terrible cruelties and catastrophes caused by jealousy, and he added the point that the emperor's mind had been wrought upon by his counselor. There is no evidence that the play was ever acted, but the most casual reader would have said to himself, "Yes, history reminds us that states destroy themselves through fears and jealousies, and we should abate our own before it is too late." · 1. Sir John Denham, The Poetical Works, ed. Theodore Howard Banks, 2d ed. , p.245. The references to fear and jealousy are so ubiquitous in the play that they need not be listed here.· 2. On March 1, 1642, in the angriest of his replies to Parliament so far, Charles exclaimed, "You speake of Jealousies and Feares: Lay your hands to your hearts, and aske your selves whether I may not likewise be disturbed with Feares and Jealousies: And if so, I assure you this Message hath nothing lessened them" . Although phrases like "distempers and jealousies" had been used earlier, Clarendon on two occasions is quite specific that "fears and jealousies" were "the new words which served to justify all indispositions and to excuse all disorders" in January 1642 . Taken with other evidence, Clarendon's remarks strongly suggest that The Sophy was written after Coopers Hill, and during seven months preceding its publication in August 1642.· 3. William Congreve, The Complete Plays, ed. Herbert Davis , p. 119. And compare John Donne in Sermons, ed. Evelyn M. Simpson are George R. Potter , 9:274: "All wayes of teaching are Rule and Example: and though ordinarily the Rule be first placed, yet the Rule it selfe is made of Examples...for, Example in matter of Doctrine, is as Assimiliation in matter of Nourishment; The Example makes that that is proposed for our learning and farther instruction, like something which we knew before, as Assimilation makes that meat, which we have received and digested, like those parts which are in our bodies before."John M. Wallace, author of Destiny His Choice: The Loyalism of Andrew Marvell and articles on Milton, Dryden Denham, Traherne, and Arnold, is professor of English at the University of Chicago. (shrink)

Ian Crombie’s impressive volumes provide a comprehensive interpretation of Plato’s doctrines. Volume 1 contains topics of more general interest and is mainly concerned with what Plato has to say in the fields of moral philosophy, political philosophy, the philosophy of mind and the philosophy of religion.

Ian Crombie’s impressive volumes provide a comprehensive interpretation of Plato’s doctrines. Volume 2 deals with more technical philosophical topics, including the theory of knowledge, philosophy of nature, and the methodology of science and philosophy. Each volume is self-contained.

In Plato’s Theaetetus , Socrates is portrayed as a midwife to the intellect, a metaphor for his task as a dialectician as he seeks to help give birth to wisdom. Thus it is that the author refers to Plato as the midwife’s apprentice. This volume represents an attempt to provide a more manageable account of the author’s two volume magnum opus, An Examination of Plato’s Doctrines . An accessible and lucid introduction to Plato’s ideas is provided which nonetheless challenges traditional (...) interpretations. In particular the author is concerned to offer an interpretation of the significance of what Plato said. The chapters are arranged by topic, for ease of comprehension. (shrink)

In Plato’s Theaetetus , Socrates is portrayed as a midwife to the intellect, a metaphor for his task as a dialectician as he seeks to help give birth to wisdom. Thus it is that the author refers to Plato as the midwife’s apprentice. This volume represents an attempt to provide a more manageable account of the author’s two volume magnum opus, An Examination of Plato’s Doctrines . An accessible and lucid introduction to Plato’s ideas is provided which nonetheless challenges traditional (...) interpretations. In particular the author is concerned to offer an interpretation of the significance of what Plato said. The chapters are arranged by topic, for ease of comprehension. (shrink)

In Plato’s _Theaetetus_, Socrates is portrayed as a midwife to the intellect, a metaphor for his task as a dialectician as he seeks to help give birth to wisdom. Thus it is that the author refers to Plato as the midwife’s apprentice. This volume represents an attempt to provide a more manageable account of the author’s two volume magnum opus, _An Examination of Plato’s Doctrines_. An accessible and lucid introduction to Plato’s ideas is provided which nonetheless challenges traditional interpretations. In (...) particular the author is concerned to offer an interpretation of the significance of what Plato said. The chapters are arranged by topic, for ease of comprehension. (shrink)