For many of the ancient Greek philosophers, the ethical life was understood to be closely tied up with important notions like rational integrity, self-control, self-sufficiency, and so on. Because of this, feeling or passion (pathos), and in particular, pleasure, was viewed with suspicion. There was a general insistence on drawing up a sharp contrast between a life of virtue on the one hand and one of pleasure on the other. While virtue was regarded as rational and as integral to advancing (...) one’s well-being or happiness and safeguarding one’s autonomy, pleasure was viewed as largely irrational and as something that usually undermines a life of reason, self-control and self-sufficiency. I want to try to show that the hedonist Aristippus of Cyrene, a student and contemporary of Socrates, was unique in not drawing up such a sharp contrast. Aristippus, I argue, might be seen to be challenging the conception of passion and pleasure connected to loss of self-control and hubristic behavior. Not only do I try to show that pleasure according to Aristippus is much more comprehensive or inclusive than it is usually taken to be, but that a certain kind of control and self-possession actually play an important part in his conception of pleasure and in his hedonism as a whole. (shrink)

The paper outlines several forms of ethical attitude to good life and good death in the Socratic literature of the fourth century BCE. A model for the Socratic discussions could be found in Herodotus’ story about the meeting between Croesus and Solon. Within their conversation, Solon shows the king of Lydia that death is a place from which the life of each man can be seen as the completed whole. In his Phaedo, Plato depicts Socrates’ last day before his death (...) in a similar spirit, as the completion of his beautiful life. However, there is no consensus regarding opinions on death among the Socratics. The final part of the paper outlines various meanings of death in the writings of the first generation of the Socratic authors, which arise from different attitudes that the individual philosophers hold regarding the soul as well as other topics. This part puts the principal emphasis on Aristippus, who is considered as the most controversial figure of the Socratic movement. Aristippus makes an interesting opposite to Plato concerning death, since he associates the philosopher’s endeavour for a good life solely with that which is here and now. (shrink)

In any list of famous last words, Socrates' are likely to figure near the top. Details of the final moments of celebrities tend anyway to exert a peculiar fascination upon the rest of us: life's very contingency provokes a need to see lives nevertheless as meaningful organic wholes, defined as such precisely by their final closure; so that even the most trivial aspects of their ending can come to seem bearers of profound significance, soliciting moral reflections apparently not less urgent (...) for their being quite unwarranted. From earliest times, this fascination with last moments has come to be concentrated in particular upon last words: situated at that most mysterious of borders, between life and death, they seem to look backwards and forwards at once, judging the speaker's own past life from the vantage-point of a future realm he is about to attain and hinting at the nature of what awaits us all from the perspective of that past life he still – however tenuously – shares with us. A moment earlier, and there is no reason to privilege any one discourse of the speaker's above another; a moment later, and his lips are sealed for ever. Only in that final moment can he seem to pass an unappealable judgement on himself, to combine in a single body two incompatible subjectivities, the one suffering and extremely mortal, the other dispassionate and transcendent. If he is a thinker or a man of action, this is his last chance to summarize a lifetime's meditation or experience in a pithy, memorable aphorism.If he is a celebrated poet, he can be imagined to have composed his own epitaph; if he is a Hellenistic poet, he may even in fact have done so. (shrink)

Mucho se ha escrito acerca del significado de las últimas palabras de Sócrates en el Fedón: “Critón, debemos un gallo a Asclepio. Pues bien, ¡páguenselo! Y no se descuiden…”. En el presente trabajo nos proponemos retomar el enigma de la deuda con Asclepio a fin de rescatar cierto matiz político presente en él. Para ello, tras reseñar brevemente las principales interpretaciones que se han dado en el último siglo, nos detendremos en la concepción socrática del nacimiento y de la vida (...) en tanto fenómenos eminentemente políticos para, a partir de allí, repensar el statusde su muerte en esa misma clave. (shrink)

This book is a quest for the real Plato, forever hiding behind the veil of drama. The quest, as the subtitle indicates, is Cartesian in that it looks for Plato independently of the prevailing paradigms on where we are supposed to find him. The result of the quest is a complete pedagogical platform on Plato. This does not mean that the book leaves nothing out, covering all the dialogues and all the themes, but that it provides the full intellectual apparatus (...) for doing just that. It consists of two parts. The first is a general orientation in three chapters, one each pertaining to the life, thought, and works of Plato. The second is a dialogic companion covering the four dialogues built around the last days of Socrates, with a separate chapter devoted to each: Euthyphro, Apology, Crito, and Phaedo. (shrink)

As is the case with his similarly polymorphous dialogue with Socrates, Friedrich Nietzsche's career-spanning engagement with the figure of Jesus is ambivalent in the extreme. In the writings of the last year of his active life however, this self-professed “antichrist” is unwavering in his commendation of the Nazarene’s character and posture vis a vis his martyrdom. Even more remarkable is the Antichrist’s heretofore-ignored tampering with the most famous death-scene in the Western tradition. This paper examines Nietzsche's bold manipulation of the (...) celebrated death-scenes of Jesus and Socrates, with particular attention paid to the possible relationship between his re-writing of the famed proceedings at Calvary, and his remarkably high regard for Jesus’ exit from the stage of life. (shrink)