250-1 is attributed by Capra to the inspiration of Sappho 31, while Plato’s emphasis on the sight of the beloved and upon the erotic importance of memory in retaining an impression of beauty, even in the absence of the beloved, are likewise attributed to Sapphic influence. Capra suggests three possible reasons for Plato’ choice of this myth: the cicadas are (1) excessively devoted to mousikē, (2) representative of Athenian autochthony or (3) loquacious philosophers. Furthermore, the landscape of the dialogue highlights once again the significance of Helen: the plane tree, Capra argues, is evocative of the cult of “Helen dendritis (of the trees)” as well as of the Academy itself. 298 0 obj << /Linearized 1 /O 300 /H [ 848 500 ] /L 235508 /E 12393 /N 94 /T 229429 >> endobj xref 298 20 0000000016 00000 n 5. Achetez neuf ou d'occasion 0000002336 00000 n Like “Only a philosopher's mind grows wings, since its memory always keeps it as close as possible to those realities by being close to which the gods are divine.” ― Plato, Phaedrus. See also E. E. Pender, ‘A Transfer of Energy: Lyric Eros in Phaedrus ’, in P. Destrée, and F.-G. Herrmann (eds. Writing and Pedagogy in Plato’s Phaedrus Avi I. Mintz The University of Tulsa Patrick McCarthy-Nielsen’s “Education as Pharmakon: Plato and Derrida’s Dialectic on Learning” is a rich work, one containing many provocative and in-sightful ideas. My discovery provides a recipe for memory and wisdom. Phaedrus Plato. This book has been cited by the following publications. This allowed him to concretize and develop his ideas in ways that were perhaps unavailable through direct speech. tags: philosophy, plato. Capra finds a rehabilitation of the rhapsode’s role in the Symposium, where Socrates’ recounting of Diotima’s speech can also be regarded as a rhapsodic performance. In so doing he tackles the issue of the unity of the dialogues, searches for a fundamental coherence underlying Plato’s remarkably ambiguous attitude towards poetry, and has produced a thought-provoking book. All sources remember him as an especially attractive young man. This rehabilitation leads Plato to associate Socrates with Stesichorus and Sappho, as well as with poetic initiation and heroic poetic cults. Achetez neuf ou d'occasion. 1. BMCR provides the opportunity to comment on reviews in order to enhance scholarly communication. Chapter 2 explores the Helen theme further, by examining the manner in which the Phaedrus creates an intertextual web with other works concentrating on her: Gorgias’ Helen, Isocrates’ Encomium on Helen and Sappho’s poem on Helen. 2. We ask that comments be substantive in content and civil in tone and those that do not adhere to these guidelines will not be published. This erudite volume is part of a recent surge in interest in the cultural background of the Phaedrus.1 Capra’s study focuses on Plato’s authorial self-portrait, as it can be gleaned from the dialogue, as well as his relationship to poetry, examining the intertextualities between this work and those of Stesichorus and Sappho amongst others. In reading this excerpt from The Phaedrus, which reports a dialogue between Socrates and Phaedrus, crucial to your understanding of what bothers Socrates about writing is knowing a bit about his history and his own philosophical method. The possibility of Isocrates’ work as an intertext is perhaps more noteworthy, given his noted rivalry with Plato, as well as the use both writers make of Stesichorus’ palinode to Helen. Since Plato’s dialogues never directly comment upon themselves as literary works, Capra relies upon the various allegedly self-disclosing strategies that Plato utilizes: his thesis, that Socrates in the Phaedrus has an “authorial aura” (pp.19-20), is supported by various parallels between the Socrates figure and Plato (particularly Socrates’ claim that philosophy is an oral and written undertaking, which is inapplicable to the historical Socrates). It was believed that spirits and nymphs inhabited the country, and Socrates specifically points this out after the long palinode with his comment about listening to the cicadas. 3. The volume is structured around four chapters treating the Phaedrus : three of them are named after the Muses Plato mentions at Phaedrus 259c-d: (1) Terpsichore, (2) Erato, (3) Calliope and Ourania; while the fourth focuses on the setting of the dialogue. Writing, Phaedrus, has this strange quality, and is very like painting; for the creatures of painting stand like living beings, but if one asks them a question, they preserve a solemn silence. After originally remarking that "la… According to Capra, in the later reception of the dialogue the plane tree was also regarded as symbolising Plato’s writings (pp. Yet toward its end Socrates criticizes severely those who take their own writing seri­ ously-any writing, not just orators' speeches. 0000002043 00000 n Therefore, if the path is long, be not astonished; for it must be trodden for great ends, not for those you have in mind. Capra explores such references in order to re-evaluate Plato’s relationship with the lyric poets, as well as his redirection of the language of lyric poetry into philosophical channels in his conception of the lover who transcends the physical body in pursuit of abstract beauty.3 The list of symptoms experienced by the lover upon seeing Beauty at Phaedr. 0000000751 00000 n But our fascination does not extend equally to each of the many topics brought up in this dialogue. 0000001326 00000 n Since mousikē is the result of inspiration, and rationalistic rhetoric is criticized in Phaedrus, this leads Capra to identify a surprising anti-intellectualist strand in the dialogue (pp. From Plato’s Phaedrus, commenting on the invention of writing. 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