Plato: Critias

This paper approaches the Critias straightforwardly as a work of political philosophy but gives greater attention to Athens’ opponent, Atlantis, whose founding, political organization, and eventual decline each offer important lessons about the aims of legislation and political life. I begin by comparing the foundation of the two cities as presented in Critias’ myth, with a special focus on the role of divine persuasion (I). I then describe the political organization of Athens and Atlantis, showing how they reflect the different (...) ways in which their founding gods exercised divine persuasion (II). Next, I focus on the decline of Atlantis and the causes behind it (III). Finally (IV), I discuss the lessons that I think can be gathered from the foregoing sections and show how the themes that emerge from the comparison of the two cities anticipate their more extensive exploration in the Laws. (shrink)

This book aims to bring together all the evidence relevant for understanding Plato's Atlantis Story, providing the Greek text of the relevant Platonic texts (the start of Plato's Timaeus and the incomplete Critias), together with a commentary on language and content, and a full vocabulary of Greek words. This essential work also offers a new translation of these texts and a full introduction. The book has two special objectives. The introduction offers a full-scale interpretative reading of the Atlantis story, focused (...) on the philosophical meaning of the story and the significance of Plato's presentation, and responding to recent scholarly discussion of these questions. In conjunction with the new translation, this introduction provides a point of entry to a fascinating story for a wide range of readers. The introduction also discusses the question whether the story had a factual basis, and assesses possible links with Minoan Crete. Secondly, the Greek text (the Oxford Classical text) and commentary are juxtaposed and presented in "bite-size" chunks making it easy to use and helpful especially for students using the book to improve their Greek. The notes provide full grammatical and linguistic help as well as pointers on the philosophical content and presentation, supported by the translation and complete vocabulary of Greek terms. The book is a second edition of one published in 1980. This edition has a new translation, a much fuller introduction, revised and updated notes and a new commentary format. (shrink)

In this paper, we highlight a number of difficulties concerning the relationship between the Critias and theT imaeus, notably a contradiction between Timaeus 27a-b and Critias 108a-c. On this basis we argue that the Critias must be considered spurious.

This paper aims to explain the very sharp contrast between the portraits of Critias found in Plato and Xenophon. While depicted as a monster in Xenophon'sHellenica, Critias is described with at most mild criticism in Plato's writings. Each of these portraits is eccentric in its own way, and these eccentricities can be explained by considering the apologetic and polemic aims each author pursued. In doing so, I hope to shed light not only on the relations between these portraits and the (...) works that contain them, but also on the personal relations between Plato and Xenophon and their manner of expressing them in literary productions. (shrink)

A celebration of John Michel's insights and far-reaching influence, revealing his pivotal role in alternative culture over the last five decades.

'The god wanted everything to be good, marred by as little imperfection as possible.'Timaeus, one of Plato's acknowledged masterpieces, is an attempt to construct the universe and explain its contents by means of as few axioms as possible. The result is a brilliant, bizarre, and surreal cosmos - the product of the rational thinking of a creator god and his astral assistants, and of purely mechanistic causes based on the behaviour of the four elements. At times dazzlingly clear, at times (...) intriguingly opaque, this was state-of-the-art science in the middle of the fourth century BC. The world is presented as a battlefield of forces that are unified only by the will of God, who had to do the best he could with recalcitrant building materials.The unfinished companion piece, Critias, is the foundational text for the story of Atlantis. It tells how a model society became corrupt, and how a lost race of Athenians defeated the aggression of the invading Atlanteans. This new edition combines the clearest translation yet of these crucial ancient texts with an illuminating introduction and diagrams. (shrink)

Se justifican tres tesis. Primera, el sentido mítico-religioso tradicional de la justicia como castigo de la [palabra en griego] quedó desacreditado durante la Guerra del Peloponeso, como bien lo muestra Tucídides. Segunda, en tiempos de Aristóteles, tal sentido ya habría desaparecido en favor de un nuevo paradigma basado en el concepto de [palabra en griego]. Tercera, la obra de Platón constituye uno de los últimos intentosde recuperar ese sentido mítico-religioso tradicional tratando de interpretar la Guerra del Peloponeso a través del (...) mecanismo del castigo de la [palabra en griego] . --- “The notion of ‘hybris’ in Plato’s Critias”. The following theses are basically justified: (1) the traditional mythical-religious sense of justice as punishment of the [greek word] was discredited during the Peloponnesian War, as Thucydide shows. (2) In times of Aristotle such a sense had already disappeared in favour of a new paradigm based on the concept of [greek word]. (3) Plato’s work constitutes one of the last attempts to recover the traditional mythical-religious sense trying to interpret the Peloponnesian War through the mechanism of punishment of the [greek word]. (shrink)

Plato’s Timaeus–Critias juxtaposes a long description of our universe in the making with a discourse on human nature. The latter, confined to Critias, flanks Timaeus’ full-blown cosmogony without clearly articulating how, if at all, do the apparently so different stories fit together. By contrast to many precedent efforts at articulating their relation, the article tries to take seriously Timaeus’ distinction between the two kinds of divinities, whereby he opposes celestial bodies together with the ensouled physical universe to the traditional gods. (...) It seems possible that the two kinds of gods correspond to the duality of human nature itself, and thus to its peculiar position at the juncture of the immortal and mortal parts of the universe. Plato’s recourse to gods distinct from the celestial objects of intellectual assimilation then has nothing to do with theology in some doctrinal sense, but serves to indicate a link between divine and human capacities of deliberation and practical action. Reread in this light, the story told by Critias and several passages from the speech of Timaeus indicate the limits of theoretical knowledge and point towards the problematic ontology of the deliberating mind and the puzzling status of artefacts including man and the universe. In this context, the article re-examines the issue of human civilization and war, and also the question of great cataclysms. Presented by Critias, these issues are revelatory of the Platonic conception of human city not as an expression of man’s natural gregariousness but as a carefully composed artefact. The article concludes that, under the overlays of pseudo-history and cosmology, Socratic colours may well be more prominent than we usually assume. (shrink)

Plato's dialogue the Timaeus-Critias presents two connected accounts, that of the story of Atlantis and its defeat by ancient Athens and that of the creation of the cosmos by a divine craftsman. This book offers a unified reading of the dialogue. It tackles a wide range of interpretative and philosophical issues. Topics discussed include the function of the famous Atlantis story, the notion of cosmology as 'myth' and as 'likely', and the role of God in Platonic cosmology. Other areas commented (...) upon are Plato's concepts of 'necessity' and 'teleology', the nature of the 'receptacle', the relationship between the soul and the body, the use of perception in cosmology, and the work's peculiar monologue form. The unifying theme is teleology: Plato's attempt to show the cosmos to be organised for the good. A central lesson which emerges is that the Timaeus is closer to Aristotle's physics than previously thought. (shrink)

Plato's legend of Atlantis has become notorious among scholars as the absurdest lie in literature. Atlantis Destroyed explores the possibility that the account given by Plato is historically true. Rodney Castleden first considers the location of Atlantis re-examining two suggestions put forward in the early twentieth century; Minoan Crete and Minoan Thera. He outlines the latest research findings on Knossos and Bronze Age Thera, discussing the material culture, trade empire and agricultural system, writing and wall paintings, art, religion and society (...) of the Minoan civilization. Castleden demonstrates the many parallels between Plato's narrative and the Minoan Civilization in the Aegean. Fired by the imagination a new vision of Atlantis has arisen over the last one hundred and fifty years as a lost utopia. Rodney Castleden discusses why this picture arose and xplains how it has become confused with Plato's genuine account. (shrink)

“One, two, three—but where’s the fourth?” When Socrates counts to open the paired dialogues Timaeus-Critias he points to the three who are present, but he points most emphatically to a fourth who is absent—“sick,” Timaeus reports. Who are one, two, and three? But especially who, is the fourth, that ostentatiously absent fourth?

This work suggests a solution to a mystery which has baffled scholars for nearly 2400 years - since Plato first wrote about Atlantis. It reviews previous theories and shows why they will not work. Atlantis could not have been in the Atlantic; nor was it the volcanic island of Santorini near Crete, as currently held. Through an analysis of the sources available to Plato, it becomes clear that the story of Atlantis came from western Turkey, where about 3400 years ago, (...) a major Bronze Age city was devastated by an earthquake and submerged beneath a lake. The new theory also provides an explanation of how and why this event grew into the story of a lost continent. (shrink)

A moral orientation of a historically existing state is superior to an immoral one; but even a moral state or leader cannot be perfectly moral. The Republic (or its symbol, ancient Athens) is impossible for metaphysical and practical reasons, and it must suffer the same fate as Atlantis in this story, i.e., destruction at the hands of nature.

One of the best-known fragments of a lost Greek drama is Critias' fr. 43F19 Snell, an extended rhesis from the play Sisyphus in which the protagonist narrates how once upon a time human life was squalid, brutal, and anarchistic; as a remedy men devised Law and Justice; this expedient served to check open wrongdoing but did not hinder secret crimes; then some very clever man hit upon the idea of inventing gods and the notion of divine retribution; thus secret criminality (...) was stopped by fear of the gods. The prevalent understanding of Critias' motives is largely determined by the commonest interpretation of this fragment. Some authorities think the notion of divine justice as merely a human device designed to serve a socially utilitarian purpose is Critias' own invention; others regard this passage as wholly or in part a réchauffé of the ideas of others, such as Protagoras, Democritus, or Diagoras of Rhodes. With few exceptions, it has until recently been thought that Critias was, if not a sophist himself, at least a cynical disciple of Machtpolitik who differed from similar thinkers such as Thrasymachus and Callicles only in that he translated ideas similar to those these figures are made to express in the pages of Plato into brutal political action. A handful of authorities have dissented from this view on the grounds that it is dangerous to attribute to a playwright sentiments placed in the mouths of his stage-characters . Recently the prevalent interpretation of fr. 19 Sn. has been subjected to additional criticism in two articles by German writers that may well be harbingers of a major reappraisal – long overdue, in the present writer's opinion – of Critias' beliefs. (shrink)

It seems that the Timaeus is independent of the Critias, that the Critias is incomplete, and that the two dialogues are parts of a tetralogy contemplated but not completed by Plato. As Welliver remarks, most commentators have taken these seeming facts to be facts; some have proffered outlines of the supposed tetralogy; some have explained its supposed incompleteness by making Plato old and weary. Welliver believes that the Timaeus-Critias is a complete dramatic work, and most of his book represents an (...) attempt to justify this belief. (shrink)

Among all the writings of Plato the Timaeus is the most obscure to the modern reader, and has nevertheless had the greatest influence over the ancient and mediaeval world. The Critias is a fragment and it was designed to be the second part of a trilogy. Timaeus had brought down the origin of the world to the creation of man, and the dawn of history was now to succeed the philosophy of nature. It tells us about Atlantis and Critias returns (...) to this story, professing only to repeat what Solon was told by the priests. The war of which he was about to speak had occurred 9000 years ago. One of the combatants was the city of Athens, the other was the great island of Atlantis. (shrink)

From antiquity on, the status of Critias' account has been the subject of intense debate. Is the Atlantis story 'real history'? The dialogue invites us to raise this question but also to reflect on its terms. In this paper I shall argue that the story should be seen as 'history' only in a special Platonic sense: it is a story which is fabricated about the past in order to reflect a general truth about how ideal citizens would behave in action.