The Socratic Method: Plato's Use of Philosophical Drama (Continuum Studies In Ancient Philosophy)

161 Pages·2007·5.94 MB·English

by  Rebecca Bensen Cain

THE SOGRATIC METHOD
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THE SOCRATIC METHOD
Plato's Use of Philosophical Drama
REBECCA BENSEN CAIN
continuum
Continuum International Publishing Group
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© Rebecca Bensen Cain 2007
All rights reserved. No part of this publication may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopying, recording,
or any information storage or retrieval system, without prior permission in writing from
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British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
EISBN 9780826488916
Library of Congress Cataloging-in-Publication Data
A catalog record for this book is available from the Library of Congress.
Typeset by Aarontype Limited, Easton, Bristol
For Jim

Contents
Preface ix
Abbreviations xi
Chapter 1: The Socratic Method of Dialectic 1
Introduction 1
A Psychological Model 3
Vlastos' Epistemological Model 5
The Moral Aim 8
Examples from the Texts 10
Overview of the Three Functions 12
The Moral Aim Defended 14
Aporia and its Psychological Effects 16
Aporia and the Elenctic Function 17
Sincerity and Integrity 18
Examples from the Texts 20
Sincerity and Sincere Assent 21
Socratic Method and Shame 23
The Psychological Principle of Eudaimonism 26
Conclusion: A Constructive Approach 28
Chapter 2: The Protreptic Function 32
Introduction 32
The Elenctic and Protreptic Functions 33
Examples from the Texts 3 7
The Use oiEndoxa 39
The Protreptic Function and Three Endoxical Premises 43
Socratic Interlocutors 46
Examples of Protreptic Discourse 48
Conclusion: Protreptic Themes and Arguments 55
Chapter 3: Ambiguity and Argumentation 57
Introduction 57
The Epistemic Function 59
viii Contents
A Detour to the Phaedrus 63
Ambiguity 67
Terminology 68
Making the Meaning Clear 69
Two Examples from the Texts 71
Refuting and Persuading Polemarchus 76
Polus and the Desire for Power 85
Conclusion 92
Chapter 4: Ambiguity and Drama 94
Introduction 94
Historical Background 95
Creative Use of Ambiguity 101
Perspectives on Refutation 104
The Normative Use of Technique 106
Dialectical Conduct and Conflict 109
The Drama and the Method 111
Notes 112
Bibliography 125
Index 133
Preface
The book is about Plato's use of drama in his dialogues and the philosophical
method of Plato's Socrates. In my study of Plato, I am drawn inexorably to
the idea that the way to read his dialogues is to read them as literature and as
philosophy at the same time. I developed a great respect for the method of
Socrates for several reasons which have to do mainly with self-education and
self-knowledge. I came to realize both how nearly impossible it is to practice
as a method of teaching and learning, and that there really is no way to teach
or learn philosophy, other than to adopt some version of it.
Though I am not able, in this book, to give full reference to the long line of
traditional thinkers who have written profoundly on Plato but have missed
the limelight in Platonic studies, so to speak, I am indebted to all of them for
teaching me how to read the dialogues. In writing the book, I have
approached the secondary literature in Platonic scholarship gingerly so as
not to get bogged down with issues that I would not be able to treat with
adequate care and consideration. I do not give great attention to the
many-headed problems of interpretation of the Platonic dialogues. My cita-
tions are intended mainly to be a useful guide to other works on the subjects I
discuss. In citing sources, I have minimized commentary on what other
authors have said in order to keep the book accessible and intelligible to
the non-specialist reader. Since the book is the intellectual heir to my
dissertation thesis (Bensen 1999) in which I have given copious notes
and tireless care to the current issues that surround the topics of Plato and
Socratic method, I am comfortable with having to forego much of the heavy
weather now. I will refer the reader to the dissertation wherever this
is appropriate.
I acknowledge my appreciation to the philosophy department at Okla-
homa State University for having me as a member of their entourage.
Above all, I wish to express personal gratitude to Jim, my husband, philoso-
pher and confidant. The colleagues and professors who have helped to
see me through my ideas are Voula Tsouna and Nick Smith, to whom I
owe special thanks, and Herbert Garelick, Charles McCracken, Hubert