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Spring 2007 - Interpretation: A Journal of Political Philosophy

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1 1 0 I nterpretation<br />

possibilities and limits <strong>of</strong> philosophical activity, and in particular to the<br />

relationship <strong>of</strong> philosophers and non-philosophers in the city. The juxtaposition<br />

<strong>of</strong> philosophical activity and the city in or near which it takes place in<br />

the dialogues also perpetually calls to attention the potentially fertile but also<br />

precarious relationship that exists between philosophy and the city. The<br />

dialogues as a whole, then, show Plato to be particularly attuned to the<br />

problems and the possibilities inherent in the relationships between man and<br />

city, philosophy and politics.<br />

One cannot, <strong>of</strong> course, simply assume the “political thesis” to<br />

be true; such a claim would require a good deal <strong>of</strong> justification. But since a<br />

complete justification <strong>of</strong> this thesis would require a thorough investigation <strong>of</strong><br />

the dialogues as a whole, such a task is well beyond the scope <strong>of</strong> this<br />

paper. Instead, I mean to provide a partial and negative justification for the<br />

political thesis by considering and then dismissing an apparently powerful<br />

counterexample to it: namely, the Philebus, which is notable for its lack <strong>of</strong> both<br />

dramatic context and political content. It is not so unusual that this dialogue<br />

does not explicitly address political themes, as there are many dialogues that do<br />

not; but the absence <strong>of</strong> the explicitly political from the Philebus is reinforced by<br />

the near-absence <strong>of</strong> the explicitly dramatic, with the result that the broad sense<br />

in which every dialogue is political becomes severely weakened and seriously<br />

questionable in the case <strong>of</strong> this dialogue.<br />

In the following section (II), I will review the apparently<br />

non-dramatic and apolitical features <strong>of</strong> the Philebus, then contrast it with other<br />

“late” dialogues, by way <strong>of</strong> showing the peculiar nature <strong>of</strong> this dialogue. Next<br />

(III), I will attend more closely to the one explicitly dramatic feature <strong>of</strong> the<br />

Philebus – its characters—and explore each <strong>of</strong> the characters, their positions,<br />

and their interaction in order to elicit their significance both individually<br />

and collectively for the dialogue. Finally (IV), I will argue on the basis <strong>of</strong><br />

this investigation that, far from indicating a decline or even disappearance<br />

<strong>of</strong> Plato’s concern with political philosophy in a broad sense, the Philebus<br />

rather reaffirms this concern and indicates its most important expression and<br />

application.<br />

To state the matter in advance, the political significance <strong>of</strong><br />

the Philebus can be seen in its use <strong>of</strong> dialogical interaction to overcome<br />

obstacles to philosophical discussion and secure and further the possibility<br />

<strong>of</strong> philosophy within the city. Looked at in this way, the Philebus shows Plato<br />

coming full circle to the Socratic political mission as articulated in the Apology:<br />

the transformation <strong>of</strong> the city through the individual transformation <strong>of</strong> its

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