Between Socrates and the Many: A Study of Plato’s Crito is foremost concerned with Plato’s character, Crito. By focusing on its namesake, Hoffpauir draws attention to aspects of the Crito that may otherwise go unnoticed or underrated: justice, as most know it, seems unjust, and justice, as Socrates knows it, seems impossible; love of one’s own, as most know it, limits one’s own good and the city’s good; and concern for the body and hatred of suffering undermine virtue. Through a consideration of the problems evinced by Crito—problems not peculiar to him or to his Athens—readers may gain a newfound appreciation of why Socrates’ arguments about living well fail. More importantly, by considering why Socrates must advance these arguments in the first place, readers may come to appreciate the strength of man’s natural resistance to that which is necessary for civilized life. Although Crito initially comes to sight as in-between Socrates and the many, as one who shares in the opinions of both, in the end, Crito reveals that all that is in-between Socrates and the many is an unbridgeable chasm.

The Republic is Plato's most famous work and one of the seminal texts of Western philosophy and politics. The characters in this Socratic dialogue - including Socrates himself - discuss whether the just or unjust man is happier. They are the philosopher-kings of imagined cities and they also discuss the nature of philosophy and the soul among other things.

In Plato's Apology, Socrates says he spent his life examining and questioning people on how best to live, while avowing that he himself knows nothing important. Elsewhere, however, for example in Plato's Republic, Plato's Socrates presents radical and grandiose theses. In this book Sandra Peterson offers a hypothesis which explains the puzzle of Socrates' two contrasting manners. She argues that the apparently confident doctrinal Socrates is in fact conducting the first step of an examination: by eliciting his interlocutors' reactions, his apparently doctrinal lectures reveal what his interlocutors believe is the best way to live. She tests her hypothesis by close reading of passages in the Theaetetus, Republic and Phaedo. Her provocative conclusion, that there is a single Socrates whose conception and practice of philosophy remain the same throughout the dialogues, will be of interest to a wide range of readers in ancient philosophy and classics.

Rich in drama and humour, they include the controversial Ion, a debate on poetic inspiration; Laches, in which Socrates seeks to define bravery; and Euthydemus, which considers the relationship between philosophy and politics. Together, these dialogues provide a definitive portrait of the real Socrates and raise issues still keenly debated by philosophers, forming an incisive overview of Plato's philosophy.

Socrates, as he is portrayed in Plato's early dialogues, remains one of the most controversial figures in the history of philosophy. This book concerns six of the most vexing and often discussed features of Plato's portrayal: Socrates' methodology, epistemology, psychology, ethics, politics, and religion. Brickhouse and Smith cast new light on Plato's early dialogues by providing novel analyses of many of the doctrines and practices for which Socrates is best known. Included are discussions of Socrates' moral method, his profession of ignorance, his denial of akrasia, as well as his views about the relationship between virtue and happiness, the authority of the State, and the epistemic status of his daimonion. By revealing the many interconnections among Socrates' views on a wide variety of topics, this book demonstrates both the richness and the remarkable coherence of the philosophy of Plato's Socrates.

Faced with the difficult task of discerning Plato’s true ideas from the contradictory voices he used to express them, scholars have never fully made sense of the many incompatibilities within and between the dialogues. In the magisterial Plato’s Philosophers, Catherine Zuckert explains for the first time how these prose dramas cohere to reveal a comprehensive Platonic understanding of philosophy. To expose this coherence, Zuckert examines the dialogues not in their supposed order of composition but according to the dramatic order in which Plato indicates they took place. This unconventional arrangement lays bare a narrative of the rise, development, and limitations of Socratic philosophy. In the drama’s earliest dialogues, for example, non-Socratic philosophers introduce the political and philosophical problems to which Socrates tries to respond. A second dramatic group shows how Socrates develops his distinctive philosophical style. And, finally, the later dialogues feature interlocutors who reveal his philosophy’s limitations. Despite these limitations, Zuckert concludes, Plato made Socrates the dialogues’ central figure because Socrates raises the fundamental human question: what is the best way to live? Plato’s dramatization of Socratic imperfections suggests, moreover, that he recognized the apparently unbridgeable gap between our understandings of human life and the nonhuman world. At a time when this gap continues to raise questions—about the division between sciences and the humanities and the potentially dehumanizing effects of scientific progress—Zuckert’s brilliant interpretation of the entire Platonic corpus offers genuinely new insights into worlds past and present.

The Apology is Plato's version of the speech given by Socrates as he defended himself in 399 BC against the charges of "corrupting the young, and by not believing in the gods in whom the city believes, but in other daimonia that are novel" . "Apology" here has its earlier meaning (now usually expressed by the word "apologia") of speaking in defense of a cause or of one's beliefs or actions. The general term apology, in context to literature, defends a world from attack (opposite of satire-which attacks the world). Crito is a dialogue by the ancient Greek philosopher Plato. It is a conversation between Socrates and his wealthy friend Crito regarding justice, injustice, and the appropriate response to injustice. Socrates thinks that injustice may not be answered with injustice, and refuses Crito's offer to finance his escape from prison. This dialogue contains an ancient statement of the social contract theory of government. Plato's, also known to ancient readers as Plato's On The Soul, is one of the great dialogues of his middle period, along with the Republic and the Symposium. The Phaedo, which depicts the death of Socrates, is also Plato's fourth and last dialogue to detail the philosopher's final days, following Euthyphro, Apology, and Crito.