Plato: Rhetoric

This paper focuses on a neglected portion of Plato’s Gorgias from 506c to 513d during Socrates’s discussion with Callicles. I claim that Callicles adopts the view that virtue lies in self-preservation in this part of the dialogue. Such a position allows him to assert the value of rhetoric in civic life by appealing not to the goodness of acting unjustly with impunity, but to the badness of suffering unjustly without remedy. On this view, the benefits of the life of rhetoric (...) depend on the idea that virtue consists in the power to protect oneself from the predations of others. I argue that by challenging this understanding of virtue as self-preservation, Socrates both deprives Callicles of any remaining justification for the rhetorical life in the Gorgias and, at the same time, makes room for his own defense of the life of philosophy. (shrink)

Does a τέχνη, qua τέχνη, need to be good-directed? On the basis of the Gorgias, many scholars have thought the answer is yes; I argue here to the contrary. There are, of course, many beneficial τέχναι, such as medicine and weaving; and there are even unconditionally good τέχναι, like the πολιτικὴ τέχνη; but Plato also happily construes piracy as a τέχνη in the Sophist, and, more normally, all sorts of neutral practices as τέχναι. In order to make this argument, I (...) provide a taxonomy of the different kinds of τέχναι and demonstrate that, across the corpus, there does not seem to be a good-directedness requirement. I then address the evidence of the Gorgias, where most commentators find a connection between τέχνη and good-directedness. I argue that this interpretation is incorrect, and that rhetoric in fact fails to be a τέχνη in the Gorgias solely because it is unable to give a rational account. A close reading of the Gorgias shows that this is a plausible interpretation, and comparison with the Phaedrus reinforces the point: in both dialogues, whether rhetoric will be a τέχνη or not hinges only on the question of rationality, not a good-directedness condition. (shrink)

Plato was the first philosopher in the Western tradition to reflect systematically on rhetoric. In this book, Tushar Irani presents a comprehensive and innovative reading of the Gorgias and the Phaedrus, the only two Platonic dialogues to focus on what an art of argument should look like, treating each of the texts individually, yet ultimately demonstrating how each can best be understood in light of the other. For Plato, the way in which we approach argument typically reveals something about our (...) deeper desires and motivations, particularly with respect to other people, and so the key to understanding his views on the proper practice of argument lies in his understanding of human psychology. According to this reading, rhetoric done well is simply the practice of philosophy, the pursuit of which has far-reaching implications for how we should relate to others and how we ought to live. (shrink)

This paper concerns the role of examples (paradeigmata) as propaedeutic to philosophical inquiry, in light of the methodological digression of Plato’s Statesman. Consistent with scholarship on Aristotle’s view of example, scholars of Plato’s work have privileged the logic of example over their rhetorical appeal to the soul of the learner. Following a small but significant trend in recent rhetorical scholarship that emphasizes the affective nature of examples, this essay assesses the psychagogic potential of paradeigmata, following the discussion of example in (...) Plato’s Statesman. I argue that, by creating an expectation for finding similarities, the use of examples in philosophical pedagogy cultivates in the soul of the learner a desire to discern the intelligible principles the ground experiential knowledge. Thus, examples not only serve as practice at the dialectician’s method of abstraction, but also cultivate a dialectical ethos, characterized by the desire to know the logoi of all things. (shrink)

In both the Phaedrus and Statesman dialogues, the dialectician's method of division is likened to the butchery of sacrificial animals. Interpreting the significance of this metaphor by analyzing ancient Greek sacrificial practice, this essay argues that, despite the ubiquity of the method of division in these later dialogues, Plato is there stressing the logical priority of the method of collection, division's dialectical twin. Although Plato prioritizes the method of collection, the author further argues that, through a kind of 'domestication' of (...) natural kinds, collection renders natural kinds knowable only by constructing them as implicitly divisible. As a result, the method of collection reflects not the wholeness of being but a constructed unity, the internal multiplicity of which makes possible each subsequent division. (shrink)

You, who call yourself a rhetorician, what is your art? With what particular thing is your skill concerned? Weaving is concerned with fabricating fabrics, music with making melodies; rhetorician, with what is your know-how concerned? This is the question that Socrates poses to Gorgias in Plato's notorious refutation of rhetoric: "Peri tēs rhētorikēs, peri ti tōn ontōn estin epistēmē?" (1925, 268). Socrates' question frames rhetoric in the genitive case—which, in this case, specifies the source or origin of one thing from (...) another. To ask of rhetoric "peri ti tōn ontōn?" is to ask from whence rhetoric comes, from where rhetoric originates, from what rhetoric is generated. So Socrates' question—"peri ti tōn .. (shrink)

In this essay I trace the terms empeiria and tribē throughout the Platonic corpus in order to expose their central position within Plato’s critique of the sophists and rhetoricians. I find that these two terms—both of which indicate a knack or habitude that has been developed through experiential familiarity with certain causal tendencies—are regularly deployed in order to account for the effectiveness of these speakers even in the absence of a technē; for, what Plato identifies with these terms is the (...) sophists’ and rhetoricians’ near masterful familiarity with and ability to manipulate the doxa and the dogma of the many, hoi poloi. (shrink)

This paper explores in detail Gorgias' defense of rhetoric in Plato 's Gorgias, noting its connections to earlier and later texts such as Aristophanes' Clouds, Gorgias' Helen, Isocrates' Nicocles and Antidosis, and Aristotle's Rhetoric. The defense as Plato presents it is transparently inadequate; it reveals a deep inconsistency in Gorgias' conception of rhetoric and functions as a satirical precursor to his refutation by Socrates. Yet Gorgias' defense is appropriated, in a streamlined form, by later defenders of rhetoric such as Isocrates (...) and Aristotle. They present it as an effective reductio against a critique of rhetoric that depends on the "harm criterion." This is puzzling, since Plato 's own critique of rhetoric does not depend on the harm criterion. On the other hand, Plato does seem to embrace the harm criterion as a more general principle—as if pre-emptively embracing the reductio —in his arguments about the good in the Meno and Euthydemus. Nonetheless, Isocrates and Aristotle seem to be deliberately misreading Plato on rhetoric: where he intends to criticize its intrinsic nature, they respond as if he were merely complaining about its contingent effects. (shrink)

In this paper I try to solve some problems concerning the interpretation of Socrates' conversation with Gorgias about the nature of rhetoric in Plato's Gorgias (448e6-461b2). I begin by clarifying what, ethically, is at stake in the conversation (section 2). In the main body of the paper (sections 3-6) I address the question of what we are to understand Gorgias as believing about the nature of rhetoric: I criticise accounts given by Charles Kahn and John Cooper, and suggest an alternative (...) account of my own. In the final section I spell out some of the implications of my account for the interpretation of the Gorgias, and of Plato more generally. (shrink)

Review of Christopher Rowe, Plato and the Art of Philosophical Writing, Cambridge University Press, Cambridge, 2007.

In gorgias, socrates stands accused of argumentative "foul play" involving manipulation by shame. Polus says that Socrates wins the fight with Gorgias by shaming him into the admission that "a rhetorician knows what is right . . . and would teach this to his pupils" . And later, when Polus himself has been "tied up" and "muzzled" , Callicles says that he was refuted only because he was ashamed to reveal his true convictions . These allegations, if justified, directly undermine (...) Socrates' claim to be improving his interlocutors by argument. For if Socrates' use of shame tends to produce insincere assertion, then elenchus cannot serve as a tool for moral reform.In an important recent paper, Jessica Moss presents a new apologia for Socrates on these old charges. According to Moss, although Socrates adopts a strategy of shaming rather than reasoning his interlocutors into agreement, this is legitimate because his appeals to shame function as appeals to a moral sense, which connect a person to his own "deep" convictions. Moreover, she claims that shame "can be a more effective tool of persuasion than reason," for it is capable, where reason is not, of dislodging a person's "intuitive" moral beliefs. This essay argues that each of these points is mistaken. (shrink)

This article undertakes to examine the reception of Platonic theories of falsification in the contemporary philosophy of Leo Strauss and his adherents. The aim of the article is to consider the Straussian response to, and interaction with, Platonic ideas concerning deception and persuasion with an emphasis on the arguments found in the Laws. The theme of central interest in this analysis is Plato's development of paramyth in the Laws. Paramyth entails the use of rhetorical language in order to persuade the (...) many that it is to their advantage to obey certain laws. It does so without explaining in detail why a given law is ethically correct and its use assumes that the audience, on the whole, is not capable of understanding the finer philosophical underpinnings of the law. The so-called 'noble lie' of the Republic is also considered in this context. The crucial issue, for Plato if not for Strauss, is whether or not an instance of falsification, however minor, for the purposes of persuasion contains 'truth-value', that is, whether it is morally justifiable in terms of ends and means. In terms of Strauss's reception of Plato, such issues as ancient Hebrew mysticism, Medieval Jewish and Islamic scholarship and Heideggerian Phenomenology figure in the argument. Ultimately, the article finds that Strauss and his followers have constructed a particular view of Platonic ideas that, while unique, is not compatible with their original signification. (shrink)

Marina McCoy defends three interrelated claims about the topic mentioned in her title. First, the distinction between philosophy and rhetoric in the dialogues is not as clear as some commentators seem to think. Second, since philosophy as practiced by Socrates includes important rhetorical dimensions, there is no important methodological distinction between philosophy and rhetoric. Third, it is his virtues—and not any particular method—that differentiate Socrates the philosopher from sophists and rhetoricians. McCoy pursues different aspects of her theses through the Apology, (...) Protagoras, Gorgias, Republic, Sophist , and Phaedrus.Her approach coheres with that of a contemporary school of interpretation according to which a proper appreciation of the dramatic setting of each dialogue will show that the content of Socratic conversation is not meant to be a body of substantive philosophical doctrine. Rather, Socrates’ quarry is the souls of his interlocutors. McCoy’s contribution to this line of. (shrink)

This paper draws attention to the Symposium's concern with epideictic rhetoric. It argues that in the Symposium, as in the Gorgias and the Phaedrus, a contrast is drawn between true and false rhetoric. The paper also discusses the dialogue's relationship to drama. Whereas both epideictic rhetoric and drama were directed to a mass audience, the speeches in the Symposium are delivered to a small, select group. The discussion focuses on the style of the speeches delivered by Aristophanes, Agathon, Socrates and (...) Alcibiades. Aristophanes speaks in the simple style of comedy, fable and folktale, also used by Protagoras in Plato's Protagoras. Agathon speaks in the high-flown style of Gorgias. Socrates' speech is a miniature Platonic dialogue, and both Alcibiades' speech and Socrates' speech may be compared to satyr play. The paper concludes with a suggestion that the claim at 223D, that the same person should be able to write both comedy and tragedy, refers to style as well as subject-matter. (shrink)

The main objective of the paper is the analysis of the views of Plato’s Socrates on poetry and rhetoric in Ion and Gorgias. Its first part aims at an examination of the subjects of poetry and rhetoric. In the second part the author gives the definition of Plato’s methodical criteria of recognizing of a discipline as ... . In its the last part the paper tries to decide, whether poetry and rhetoric, according to the founder of the Academy, meet the (...) criteria for their acknowledgement as ... (shrink)

This paper revisits the scholarly controversy about the nature of persuasion in Plato's Laws. So far scholars have identified the nature of this persuasion in often conflicting ways, e.g. from 'lying propaganda' and 'enchantment' to 'sermon preaching' , or even as 'rational persuasion' . Rather than proposing yet another identification, this paper shows that the nature of the persuasion envisioned by the Athenian lawgiver becomes evident once the divergent scholarly views are brought together into one idea. The seed to this (...) reconciliation was contained in the debate all along but has not been sufficiently fore-grounded. A close examination makes evident why such persuasion appears to different readers to be of a vastly different nature. It employs, indeed, a variety of linguistic means geared towards a variety of different people at different times in their lives. (shrink)

Marina McCoy explores Plato's treatment of the rhetoric of philosophers and sophists through a thematic treatment of six different Platonic dialogues, including Apology, Protagoras, Gorgias, Republic, Sophist, and Phaedras. She argues that Plato presents the philosopher and the sophist as difficult to distinguish, insofar as both use rhetoric as part of their arguments. Plato does not present philosophy as rhetoric-free, but rather shows that rhetoric is an integral part of philosophy. However, the philosopher and the sophist are distinguished by the (...) philosopher's love of the forms as the ultimate objects of desire. It is this love of the forms that informs the philosopher's rhetoric, which he uses to lead his partner to better understand his deepest desires. McCoy's work is of interest to philosophers, classicists, and communications specialists alike in its careful yet comprehensive treatment of philosophy, sophistry, and rhetoric as portrayed through the drama of the dialogues. (shrink)

This absorbing study of Plato’s criticism of poetry offers a new interpretation based upon central features of both the pre-Platonic conception of poetry and previously neglected features of Plato’s various discussions of poetry and the poets. Professor Mitscherling’s analysis is unique in that he concentrates on the philosophical significance of Plato’s distinction between dramatic and nondramatic sorts of poetry. Mitscherling shows that this distinction proves in fact to be central to the conception of poetry that Plato consistently elaborates throughout his (...) dialogues. Mitscherling also makes a unique contribution by outlining a possible Platonic aesthetics, which draws on current work in phenomenology and hermeneutics in such a way as to promise an entirely new direction for current work in continental aesthetics. The author employs Gadamer’s analyses of the ontology of the work of art, in conjunction with a phenomenological analysis of the aesthetic experience, in the construction of a foundation for aesthetics that is consistently Platonic. Mitscherling concludes with the hypothesis that Plato’s criticism of poetry did not apply to poetry itself, nor was it directed to art in general or the educational system, or the Sophists. Rather, Plato was specifically against the techn? of mim?sis, that is, the technique of persuading by appearing to be what one is not, or by merely appearing to speak the truth. (shrink)

In Plato’s Gorgias, Socrates argues that philosophy is superior to rhetoric in part because the former is a techne while the latter is not. I argue that the Socratic practice of philosophy within this dialogue fails to qualify as a techne for exactly the same reasons that rhetoric fails to qualify as a techne. In doing so, I introduce a new kind of Socratic ignorance: methodological ignorance. I reject both Charles Kahn’s account of the relationship between the dialogue’s dramatic and (...) philosophical contents, and Thomas Brickhouse and Nicholas Smith’s claim that Socrates never regarded his practice as a techne. (shrink)

Inspired by Pierre-Jean-Georges Cabanis' claim in 1798 that physicians might learn forms of medical reasoning from les anciens rhéteurs, in this paper I explore intimate associations between medicine and rhetoric over the longue durée. Gravely susceptible to error, medical reasoning relies on signs and examples, both gleaned from experience and both the subject of rhetorical inquiry; like rhetoric, medicine reaches plausible conclusions from probable premises. Here, ranging from Hippocrates and Plato through Aristotle to early modern England, I argue that forms (...) of inference developed and refined in the history of rhetoric offer ancient and early modern philosophers and physicians models and metaphors for their own forays into the probable. (shrink)

The article analyses the relation between logos and myth in Plato’s philosophy using the Phaidros as a representative example; this includes the investigation of the function of the myth in this dialogue. The palinode proves to be the central unifying element of the Phaidros, and thus the dialogue s core. The second speech of Socrates mediates between the different parts of the Phaidros, its themes, motives and thoughts: for example love, rhetoric, dialectic, forms, different kinds of knowledge and speech or (...) of souls and gods. These entities are connected in the myth with the aim of mutual elucidation. While the myth is to be seen on a metaphorical level, the logos has to reflect the relation of the myth’s themes in a rational and discursive manner. Thus, the myth gives the dialogue its epistemological purpose. (shrink)