Other editions of book Phaedrus

— A Classic — Includes Active Table of Contents — Includes Religious IllustrationsTHE Phaedrus is closely connected with the Symposium, and may be regarded either as introducing or following it. The two Dialogues together contain the whole philosophy of Plato on the nature of love, which in the Republic and in the later writings of Plato is only introduced playfully or as a figure of speech. But in the Phaedrus and Symposium love and philosophy join hands, and one is an aspect of the other. The spiritual and emotional part is elevated into the ideal, to which in the Symposium mankind are described as looking forward, and which in the Phaedrus, as well as in the Phaedo, they are seeking to recover from a former state of existence. Whether the chief subject of the Dialogue is love or rhetoric, or the union of the two, or the relation of philosophy to love and to art in general, and to the human soul, will be hereafter considered.Aeterna Press

The Phaedrus is closely connected with the Symposium, and may be regarded either as introducing or following it. The two Dialogues together contain the whole philosophy of Plato on the nature of love, which in the Republic and in the later writings of Plato is only introduced playfully or as a figure of speech. But in the Phaedrus and Symposium love and philosophy join hands, and one is an aspect of the other. The spiritual and emotional part is elevated into the ideal, to which in the Symposium mankind are described as looking forward, and which in the Phaedrus, as well as in the Phaedo, they are seeking to recover from a former state of existence. Whether the subject of the Dialogue is love or rhetoric, or the union of the two, or the relation of philosophy to love and to art in general, and to the human soul, will be hereafter considered. And perhaps we may arrive at some conclusion such as the following—that the dialogue is not strictly confined to a single subject, but passes from one to another with the natural freedom of conversation.

Plato's Phaedrus is one of the first serious literary works concerning love. Socrates and his friend Phaedrus discuss the different loves that exist between humans. The dialogue includes the famous simile in which the soul is compared to a charioteer (the rational element) driving a black steed (the irrational appetites) and a white steed (the spiritual element). Although ostensibly about the topic of love, the discussion in the dialogue revolves around the art of rhetoric and how it should be practiced and dwells on subjects as diverse as metempsychosis (the Greek tradition of reincarnation) and erotic love.

The Phaedrus is closely connected with the Symposium, and may be regarded either as introducing or following it. The two Dialogues together contain the whole philosophy of Plato on the nature of love, which in the Republic and in the later writings of Plato is only introduced playfully or as a figure of speech. But in the Phaedrus and Symposium love and philosophy join hands, and one is an aspect of the other. The spiritual and emotional part is elevated into the ideal, to which in the Symposium mankind are described as looking forward, and which in the Phaedrus, as well as in the Phaedo, they are seeking to recover from a former state of existence. Whether the subject of the Dialogue is love or rhetoric, or the union of the two, or the relation of philosophy to love and to art in general, and to the human soul, will be hereafter considered. And perhaps we may arrive at some conclusion such as the following—that the dialogue is not strictly confined to a single subject, but passes from one to another with the natural freedom of conversation.

The awe with which Plato regarded the character of 'the great' Parmenides has extended to the dialogue which he calls by his name. None of the writings of Plato have been more copiously illustrated, both in ancient and modern times, and in none of them have the interpreters been more at variance with one another. Nor is this surprising. For the Parmenides is more fragmentary and isolated than any other dialogue, and the design of the writer is not expressly stated. The date is uncertain; the relation to the other writings of Plato is also uncertain; the connexion between the two parts is at first sight extremely obscure; and in the latter of the two we are left in doubt as to whether Plato is speaking his own sentiments by the lips of Parmenides, and overthrowing him out of his own mouth, or whether he is propounding consequences which would have been admitted by Zeno and Parmenides themselves. The contradictions which follow from the hypotheses of the one and many have been regarded by some as transcendental mysteries; by others as a mere illustration, taken at random, of a new method. They seem to have been inspired by a sort of dialectical frenzy, such as may be supposed to have prevailed in the Megarian School (compare Cratylus, etc.). The criticism on his own doctrine of Ideas has also been considered, not as a real criticism, but as an exuberance of the metaphysical imagination which enabled Plato to go beyond himself.

Written by Plato around 370 BC, Phaedrus is an insightful dialogue on love and rhetoric, featuring Plato’s main protagonist, Socrates. The dialogue simply includes Socrates and his interlocutor, Phaedrus, whom he met with on the outskirts of Athens. Phaedrus has just left the house of Epicrates, where he had witnessed an insightful speech given by Lysias on the meaning of love.For those familiar with the Greek philosopher it will become clear from the start that this insightful work bears Plato’s unique signature style, as it dives right into the topic with great intensity. Even more intimate than many of his other dialogues, Phaedrus curiously avoids the bridging of Plato’s ideas through the commonly set layers of interlocutors’ perspectives placed between the reader and the day’s events. Instead, we witness Socrates’ firsthand account of the happenings, as they are placed directly before us.The writing consists of Lysias’ speech, which is reproduced however reluctantly by Phaedrus right in the beginning, and proceeds to fuel Socrates’ inspiration. What follows are two remarkably insightful speeches given by Socrates, first addressing similar topics as Lysias’ but from a slightly different perspective. When Socrates is stopped by his daemon, however, its divine intervention brings him the inspiration and enlightenment to compose a third speech – one in which he delves deep into the meaning and essence of the soul and the divine roots of the madness of love.Socrates’ speech is admitted by Phaedrus to be far superior to any of Lysias’ speeches, and a further discussion on rhetoric ensues. Together with Socrates’ two speeches, this discussion comprises the entire dialogue, and will give even modern readers quite a few deep and interesting points to ponder upon.

The Phaedrus is closely connected with the Symposium, and may be regarded either as introducing or following it. The two Dialogues together contain the whole philosophy of Plato on the nature of love, which in the Republic and in the later writings of Plato is only introduced playfully or as a figure of speech. But in the Phaedrus and Symposium love and philosophy join hands, and one is an aspect of the other. The spiritual and emotional part is elevated into the ideal, to which in the Symposium mankind are described as looking forward, and which in the Phaedrus, as well as in the Phaedo, they are seeking to recover from a former state of existence. Whether the subject of the Dialogue is love or rhetoric, or the union of the two, or the relation of philosophy to love and to art in general, and to the human soul, will be hereafter considered. And perhaps we may arrive at some conclusion such as the following—that the dialogue is not strictly confined to a single subject, but passes from one to another with the natural freedom of conversation.

Phaedrus is one of Plato's best-loved dialogues, remarkable as a work of both philosophy and poetry. Lured into the countryside by the promise of a new speech, Socrates sits in the shade and talks with Phaedrus, a young amateur rhetorician. After Phaedrus recites a speech on love, Socrates delivers two speeches of his own, contrasting the baneful love induced by human folly with love as the divinely inspired blessing of holy madness. Interwoven is a discussion on rhetoric and its relation to truth. Full of charm and gentle irony, Phaedrus is an engaging celebration of love as the path to wisdom.

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The Phaedrus, written by Plato, is a dialogue between Plato's main protagonist, Socrates, and Phaedrus, an interlocutor in several dialogues. The Phaedrus was presumably composed around 370 BC, around the same time as Plato's Republic and Symposium. Although ostensibly about the topic of love, the discussion in the dialogue revolves around the art of rhetoric and how it should be practiced, and dwells on subjects as diverse as Metempsychosis (the Greek tradition of reincarnation) and erotic love.