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The Intelligent Troglodyte’s Guide to Plato’s Republic, 2016a

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66 Further Mathematical Studies<br />

See 526c-531c. After numbers, Socrates recommends studying “geometry”<br />

(shapes, both in two and three dimensions), “astronomy” (“the motion of things<br />

having depth,” adding the fourth dimension of time <strong>to</strong> the three dimensions of<br />

geometry), and “harmonics” (the proportions that generate musical harmony). <strong>The</strong><br />

aim of these further mathematical studies is <strong>to</strong> turn the attention of students away<br />

from the transient particulars and <strong>to</strong>ward the eternal forms. This is why Socrates<br />

recommends studying problems of a sort that do not require for their solution<br />

information gathered through the externally directed senses of the body. <strong>The</strong>re is<br />

no need <strong>to</strong> develop skill at observing the shapes of crystals, the motions of the<br />

planets, or the subtleties of audible sounds – indeed, interest in these things could<br />

even be counterproductive – when the point is <strong>to</strong> have the rational part of the soul<br />

“purified” of concern for particulars and “rekindled” in preparation for<br />

philosophical inquiry.<br />

Most people appreciate the usefulness of mathematics, but some people love<br />

it for its own sake. What is it about mathematics that these people love?<br />

People skilled in mathematics are often said <strong>to</strong> be good at abstract thinking.<br />

What is abstract thinking?<br />

<strong>The</strong> Greeks were aware, on the basis of experiments with altering the length<br />

of strings equal in tension and tubes equal in diameter, that the proportion of<br />

one <strong>to</strong> one half (one string or tube being twice the length of the other)<br />

generates the musical interval of the octave, that the proportion of one <strong>to</strong><br />

two thirds generates the fifth, and that one <strong>to</strong> three fourths generates the<br />

fourth. Socrates criticizes his contemporaries for taking the numbers at<br />

work in these “audible concordances” seriously, but failing <strong>to</strong> investigate,<br />

apart from sense perceptions, “which numbers are in concord and which are<br />

not.” What could he mean by this? Is there a kind of inaudible, purely<br />

mathematical, harmony that can be investigated through the study of ratios?<br />

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