Gabriel Danzig

RHETORIC AND THE RING: HERODOTUS AND PLATO ON THE STORY OF GYGES AS A POLITICALLY EXPEDIENT TALE

The story of Gyges has come down to us in several versions. These include a summary of a version recorded by Nicholas of Damascus, which may descend ultimately from the Lydian historian Xanthos; a fragment of a dramatic version by an unknown Greek author; a brief description by Plutarch; Justins summary of a version by Pompeius Trogus; and a version by Ptolemy Hephaestion of Alexandria, summarized by Photius. But the most famous and oldest fully extant versions of the story are those told by Herodotus and Plato.

Crito and the Socratic Controversy

Crito was written in response to popular slanders concerning Socrates’ failure to escape from prison, and accompanying misgivings within the Socratic circle. Plato responds by asking his audience to disregard the slander of the mob and obey the moral expert instead. But he also responds by creating an image of Socrates and his friends widely at odds with the popular slander; by implying that Socrates’ critics were themselves guilty of some of the behaviour they charged against Socrates; by pointing out that Socrates had no viable alternative to death; and, in partial contradiction to all this, by rejecting the popular morality which saw Socrates’ abandonment and death as signs of failure. In the rhetorical climax of the composition, Plato shows that Socrates chose to die rather than victimize or offend the laws of the city, which he represents as sentient beings. The weaknesses that have been perceived in the arguments of the Athenian Laws are not fatal to the composition, because it aims not at a convincing demonstration, but at providing a portrait of Socrates’ own overwhelming conviction of the rightness of his decision.

ALCIBIADES VERSUS PERICLES: APOLOGETIC STRATEGIES IN XENOPHON'S MEMORABILIA

One of Xenophons chief aims in Memorabilia is to defend his beloved teacher from charges raised both during and after his trial. Some readers have thought that he has gone so far in whitewashing Socrates that the resulting portrait makes it impossible to explain the hostility he aroused: Socrates appears here merely as an innocuous friend offering good advice on all sorts of mundane subjects. But the apologetic strategies employed by Xenophon are more complex and subtle than that. The widespread view of him as a simple-minded defender of conventional attitudes blinds us to the places where he speaks with a different, more radical voice. We should not be surprised to find that the enthusiastic student of Socrates, one of the most radical and unconventional thinkers of ancient Greece, has some radical thoughts of his own.

Big Boys And Little Boys: Justice And Law In Xenophon’s Cyropaedia and Memorabilia

Xenophon’s anecdote concerning the exchange of clothes between a big boy and a little boy in Cyropaedia (1.3.16–18) offers a valuable framework for understanding his conception of justice and the problematics of administering it. Interpreters have erred by assuming that Cyrus’ teacher, as well as Socrates in Memorabilia, simply identifies the just with the lawful. Rather than identifying the two, both characters argue that the law is just; but they differ widely in their explanations of what makes the law just. For Cyrus’ teacher, the obligation to observe the law rests on a universal pre-legal ban on violence; for Socrates statutory law is to be obeyed for utilitarian reasons. Socrates’ view thus justifies both the teacher’s insistence that Cyrus obey the law—since the law is of benefit to the community—and also Cyrus’ decision to violate the law to achieve a just and beneficial redistribution. But it offers no justification for a universal ban on violence. In conformity with the Socratic principle, Cyrus avoids violence as far as possible, but only for the prudential reasons expressed by his mother. Once he acquires the power to coerce, Cyrus uses it to enforce the principle of proportional equality and meritorious redistribution he had approved in his judgment of the actions of the big boy.

THE USE AND ABUSE OF CRITIAS: CONFLICTING PORTRAITS IN PLATO AND XENOPHON

This paper aims to explain the very sharp contrast between the portraits of Critias found in Plato and Xenophon. While depicted as a monster in Xenophons Hellenica , Critias is described with at most mild criticism in Platos writings. Each of these portraits is eccentric in its own way, and these eccentricities can be explained by considering the apologetic and polemic aims each author pursued. In doing so, I hope to shed light not only on the relations between these portraits and the works that contain them, but also on the personal relations between Plato and Xenophon and their manner of expressing them in literary productions.