Selected Dialogues of Plato: The Benjamin Jowett Translation (Modern Library Classics)
Plato, Benjamin Jowett
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Benjamin Jowett's translations of Plato have long been classics in their own right. In this volume, Professor Hayden Pelliccia has revised Jowett's renderings of five key dialogues, giving us a modern Plato faithful to both Jowett's best features and Plato's own masterly style.
Gathered here are many of Plato's liveliest and richest texts. Ion takes up the question of poetry and introduces the Socratic method. Protagoras discusses poetic interpretation and shows why cross-examination is the best way to get at the truth. Phaedrus takes on the nature of rhetoric, psychology, and love, as does the famous Symposium. Finally, Apology gives us Socrates' art of persuasion put to the ultimate test--defending his own life.
Pelliccia's new Introduction to this volume clarifies its contents and addresses the challenges of translating Plato freshly and accurately. In its combination of accessibility and depth, Selected Dialogues of Plato is the ideal introduction to one of the key thinkers of all time.
cowherd; the rhapsode will know better than the cowherd what he ought to say in order to soothe infuriated cows? ION: No, he will not. SOCRATES: But he will know what is suitable for a spinning-woman to say about the working of wool? ION: No. SOCRATES: At any rate he will know what a general ought to say when exhorting his soldiers? (d) ION: Yes, that is the sort of thing that the rhapsode will be sure to know. SOCRATES: What? The art of the rhapsode is the art of the general? ION: I am
virtuous singer who is compelled against his will to entertain the despicable suitors of Penelope. It is curious that Socrates’ examples of artists are largely mythical or literary; what formed the basis of discussion of the artistry of Phemius, for example, whom we hear in the Odyssey sing not one word? The discussion of Phemius’, or Thamyras’, art resembles the inquiries of later Alexandrian scholarship into such whimsical questions as “What was the song that the Sirens sang?” 12 Worshipers of
far off from uttering dithyrambics.19 PHAEDRUS: Nothing could be truer. SOCRATES: The responsibility rests with you. But hear what follows, and perhaps the fit may be averted; all is in their hands above. I will go on talking to my young man. We have now declared and defined the nature of the subject. Keeping the definition in view, let us now inquire what advantage or disadvantage is likely to accrue from the lover or the non-lover to him who accepts their advances. (e) He who is the victim
speech of your friend? See whether you can find any more connection in his words than in the epitaph which is said by some to have been inscribed on the grave of Midas the Phrygian.45 PHAEDRUS: (d) What epitaph is that? What’s the problem with it? SOCRATES: It is as follows: I am a maiden of bronze and lie on the tomb of Midas; So long as water flows and tall trees grow, So long here on this spot by his sad tomb abiding, I shall declare to passersby that Midas sleeps below. Now here it
during the meal Agathon several times expressed a wish to send for him, but Aristodemus objected; and at last when the feast was about half over—for the fit, as usual, was not of long duration—Socrates entered. Agathon, who was reclining alone at the end of the table, begged that he would take the place next to him, that “I may touch you,” he said, “and have the benefit of that wise thought which came into your mind in the portico, (d) and is now in your possession; for I am certain that you