Richard Kraut

The Cambridge Companion to Plato

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  • Jan Nohas quoted3 years ago
    In the Parmenides, there is a complex treatment of the relationship between Unity and such other Forms as Sameness and Difference, Motion and Rest, Limited and Unlimited.
  • Jan Nohas quoted3 years ago
    What we must strive for in our souls and as members of a political order – the unification of diverse elements into a harmonious whole – is something that the Forms already possess by their very nature.
  • Jan Nohas quoted3 years ago
    The Forms are not a mere aggregate of abstract objects, but are in some way connected to each other: They form an ordered kosmos (500c) and therefore each must be studied not in isolation from others but as a member of a unified whole.
  • Jan Nohas quoted3 years ago
    A good political community, Plato assumes, must be one that promotes the well-being of all the citizens; and if the citizens fail to understand where their own good lies, then it is the proper task of political leaders to educate them.
  • Jan Nohas quoted3 years ago
    Forms are not in turn dependent for their names on anything else.
  • Jan Nohas quoted3 years ago
    So, when Plato says that Forms are completely real, he means that they are at the top of a scale that ranks objects according to their degree of ontological dependency
  • Jan Nohas quoted3 years ago
    When we point to the carpenter’s creation and call it a bed, our assertion is acceptable only if it is construed in the right way.
  • Jan Nohas quoted3 years ago
    When we point to an image in a painting and call it a bed, what we say is in a way correct, if our claim is taken in the right way. What makes it something that is properly called a bed is its having the right relationship to the functional bed
  • Jan Nohas quoted3 years ago
    It is this same relationship of dependency that he thinks exists between the visible bed of the carpenter and the Form.
  • Jan Nohas quoted3 years ago
    in saying that the painter’s image of a bed is not a true bed, he is not expressing doubts about the existence of the painting; rather, he is trying to express the point that the painter’s image is in some way derivative from or dependent on the functional object he is representing.
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