Abstract

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Less Familiar Plato: From Phaedo to Philebus by Kevin CorriganKristian SheeleyCORRIGAN, Kevin. A Less Familiar Plato: From Phaedo to Philebus. New York: Cambridge University Press, 2023. xi + 306 pp. Cloth, $110.00Corrigan makes a substantial contribution to the body of Plato scholarship that offers rigorous and textually supported corrections to [End Page 711] superficial (yet all too common) readings of Plato’s dialogues. The book covers a range of core Platonic topics such as embodiment and selfhood, participation in the divine, the critique of artworks in the Republic, the form of the good, love, friendship, desire, and the relationship between mythos and logos. Corrigan devotes his primary attention to the so-called middle dialogues and the Philebus, but to varying degrees he engages with many more Platonic dialogues as well as other philosophers in the Platonic tradition.Chapter 1 combats common interpretations of the Phaedo claiming that Plato wholly denigrates the body and idealizes the state of disembodiment that can only be fully reached in death. Corrigan’s opponents claim that Plato’s negative comments about the body encourage an unhealthy attitude toward the body and the emotions. Corrigan responds by thoroughly showing how the passages about body–soul separation, when read in view of the dialogue as a whole, instead reveal a “model of positive embodiment” that is “full of conscientious protest, good hopes, thoughts, arguments, refutations, and friendship.” Next, Corrigan turns his focus to passages from both Plato and Aristotle that shed light on classic perplexities surrounding the key concept of participation. He argues that “participation” is not the best option for translating methexis or its related terms, and he suggests “having of” or “sharing” as alternative translations. If they are correctly understood, Plato’s discussions of the forms and their relationship to particulars are not vulnerable to criticisms concerning infinite regress or self-predication issues according to Corrigan’s analysis. Chapters 3 and 4 confront Plato’s well-known criticisms of artworks in the Republic and beyond. Here Corrigan makes a highly intriguing point about the role of what he calls “the intelligible painter” in Republic 6 and 7, through which Socrates both sketches and exemplifies “positive philosophical art” as an alternative to the traditional art he criticizes in books 2, 3, and 10. The intelligible painter uses the good as his “perfect and sufficient model” to cultivate himself and others through education, just as Socrates fashions the images of the sun-good, the cave, and other images for the sake of benefitting his interlocutors.In chapter 5 Corrigan draws inspiration from Plotinus’s nuanced understanding of the famous statement in the Republic that the form of the good is “beyond being.” According to the view Corrigan works out, the form of the good is the ground of all intelligibility, and so its relationship to everything that is intelligible can be understood, but it is not in itself intelligible. Chapter 6 takes a close look at the Philebus in light of the Republic’s discussions of the forms and dialectic, the One and the indefinite Dyad of the “unwritten doctrines,” and the work of Speusippus and Xenocrates. Corrigan then shows in chapter 7 how Plato reveals the wide variety of ways in which myths can be used, ranging from the misleading tales of unwise poets to Plato’s own use of stories to aid philosophical logos. Finally, chapters 8 and 9 focus on Plato’s dialogues concerning love and friendship: Symposium, Phaedrus, Lysis, and First Alcibiades, which Corrigan regards as authentic. Corrigan’s main [End Page 712] objective is to show that these dialogues collectively provide a “guide for the perplexed” in matters of love that, contrary to modern criticisms of Plato, is both sensitive and relevant to real, complex, and concrete relationships between humans.As mentioned above, Corrigan sometimes uses terminology and conceptual resources from authors throughout the various ancient and medieval Platonic traditions, including Aristotle and his inheritors. Corrigan’s interpretive method often aims to show that the dialogues harmonize with one another as well as with Plato’s “unwritten teachings,” and he argues that some Neoplatonic interpretations of Plato are correct. This interpretive approach might be seen as...