Abstract At Charmides 163, Critias attempts to extricate himself from refutation by proposing a Prodicean distinction between praxis and poiēsis . I argue that this distinction leads him further into contradictions.

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)

The geography of the Timaeus-Critias is the final stage of a process through different eschatological myths around the concept of justice . The geography conditions the configuration of three political models (atlantean, athenian, egyptian ) ; and their interplay raises the question of mimesis against dialectics. Any relation with the environment is one of two things: either a mimesis of human acts and the environment that serves as their stage; or a dialectics between the subject and the possibility of (...) achievieng his or her authenticity. (shrink)

'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)

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.

Plato’s Timaeus was his only cosmological dialogue and for almost thirteen hundred years it provided the basis in the West for educated people’s general view of the natural world. The author provides a translation of this important work, together with the Critias – the source of the legendary tale of Atlantis. He has taken particular care to provide an accurate rendering of Plato’s words and to avoid putting his own or any other interpretation on the works.

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)

Recent Plato scholarship has grown increasingly comfortable with the notion that Plato’s art of writing brings his readers into the dialogue, challenging them to respond to deliberate errors or lacunae in the text. Drawing inspiration from Stanley Fish’s seminal reading of Satan’s speeches in Paradise Lost, this paper considers the narrative of Timaeus as deliberately unreliable, and argues that the actively critical reader is “the missing fourth” with which the dialogue famously begins. By continuing Timaeus with Critias—a dialogue that (...) ends with a missing speech—Plato points to the kind of reader he expects: one who can answer Critias’ question : ὡς μὲν γὰρ οὐκ εὖ τὰ παρὰ σοῦ λεχθέντα εἴρηται, τίς ἂν ἐπιχειρήσειεν ἔμφρων λέγειν. (shrink)

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)

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 (...) class='Hi'>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)

The present study is an analysis of Plato’s _Timaeus-Critias_ composition process, from the point of view of discourse modeling. It intends to show that the dialogue is distinguished by an insightful articulation of composition techniques, which combine the pictorial and dramatic aspects of poetic _mimesis_. Establishing the Panateneias as an implicit reference, the work presents the performance of a sequence of narratives, produced as true discursive images. Platonic originality is revealed in _Timaeus-Critias_, therefore, as the accomplishment of a formal construction (...) that is both dramatic and representational, through a singular mimetic agency of discursive forms. (shrink)

The present study is an analysis of Plato’s _Timaeus-Critias_ composition process, from the point of view of discourse modeling. It intends to show that the dialogue is distinguished by an insightful articulation of composition techniques, which combine the pictorial and dramatic aspects of poetic _mimesis_. Establishing the Panateneias as an implicit reference, the work presents the performance of a sequence of narratives, produced as true discursive images. Platonic originality is revealed in _Timaeus-Critias_, therefore, as the accomplishment of a formal construction (...) that is both dramatic and representational, through a singular mimetic agency of discursive forms. (shrink)

Plato presents Socrates as an ethical example and a political warning. Other characters serve other philosophical functions. Alcibiades---the worst man in the democracy---and Critias---the worst in the oligarchy---are the most notorious characters. This dissertation argues that Plato uses these characters in order to open a diachronic dimension in the synchronic accounts of the dialogues. This dimension turns historical characters into paradigmatic characters and allows the reader to evaluate the accounts people give in terms of the lives that they lead. (...) In order to make a case for philosophy, Plato needs to make it clear that bad accounts have negative ethical effects, particularly over a period of time. The use of paradigmatic characters like Alcibiades and Critias allows him to make this case in the strongest possible way, while also allowing him to explore the relationship between time and virtue. I show that the connection between time and virtue explains not only individual decline, but also the historical decline described in Republic VIII. ;I offer close readings of the Protagoras, the Alcibiades I, the Symposium, the Timaeus-Critias , the Charmides and the Republic in order to show Plato's creation and use of the diachronic dimension surrounding paradigmatic characters in order to show the effects of time on virtue. In so doing, I substantially contribute to our understanding of Plato's use of historical characters; his understanding of the human experience of time; and the nature of Socratic intellectualism and its relationship to error. I show that Socrates uses elenctic questioning in order to avoid the self-forgetfulness in the face of time that allowed both Alcibiades and Critias to become so vicious, even while intending to do the good. (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)

O presente estudo consiste em uma análise do processo de composição do Timeu-Crítias de Platão, sob o ponto de vista da modelagem do discurso. Pretende-se mostrar que o diálogo é marcado por uma engenhosa articulação de técnicas de composição, que combinam os aspectos pictorial e dramático da mímesis poética. Estabelecendo as Panateneias como referência implícita, a obra apresenta a performance de uma sequência de narrativas, produzidas como verdadeiras imagens discursivas. A originalidade platônica revela-se no Timeu-Crítias, portanto, no desempenho de uma (...) construção formal ao mesmo tempo dramática e imagética, mediante um singular agenciamento mimético de formas do discurso. (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. (shrink)

In The Textual Tradition of Plato's Timaeus and Critias, Gijsbert Jonkers presents a new examination of the medieval manuscripts of both Platonic dialogues, an overview of the ancient tradition and a vast collection of ancient testimonia.

“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 article presents evidence over which we stumbled while investigating a completely different part of the Platonic Corpus. While examining the ordinary working vocabulary of the doubtful dialogues and of those undisputed dialogues most readily compared with them, it seemed essential to have a representative sample of Plato's allegedly 'middle' and 'late' dialogues also. The real surprise came when the Critias was included, showing some frequencies not previously observed in Platonic dialogues. This prompted treatment of the Timaeus also, some (...) of which showed comparable peculiarities. The most distinctive feature was the increase in the rate of the definite article from around 8% of total vocabulary in dialogues assumed to be early, or around 10% in Laws, to some 14% in sizeable parts of the Timaeus-Critias, where Plato seemed no less interested in the literary credentials of his creations than elsewhere. Tests intended for application to our original set of problems were yielding results that appeared to bear on a number of problems central to the interpretation of the Timaeus-Critias. (shrink)