Plato is a well-known critic of rhetoric, but in the Phaedrus, he defends the art of rhetoric, arguing that it can be perfected with the aid of philosophy. In Reason, Rhetoric, and the Philosophical Life in Plato’s Phaedrus, Tiago Lier provides a new and comprehensive interpretation of this important dialogue. He argues that Plato’s defense of rhetoric is based on philosophy’s ethical nature, and that philosophy is a way of life rather than a body of knowledge. For Plato, an essential element of both rhetoric and the philosophical life is that every use of speech, whether to persuade or to learn, depends upon the psychology of the speaker and the audience. Lier shows how Socrates develops a dynamic account of this psychology over the course of the dialogue in order to help Phaedrus understand how he is personally engaged in, and shaped by, every act of communication. Only when we grasp the tension between eros and logos will we discover the limitations of the art of rhetoric and that rhetoric alone cannot show us what we truly desire. Instead, Lier concludes, the greatest power of speech is to reveal to ourselves our own desires and understanding of our place in the world. This continual self-reflection is the philosophical life around which Socrates and Plato fashion their distinctive forms of rhetoric. The insights developed in this book will be of particular relevance to students and scholars of ancient philosophy, classics, and rhetorical theory, but it will also be of interest to those working in political science, literary studies, and communication studies.

Examines the role of myth in Plato's Phaedrus, arguing that it leads readers to participate in Plato's dialogues and to engage in self-examination.

This book explores Plato's views on what an 'art of argument' should look like, investigating the relationship between psychology and rhetoric.

The Phaedrus, written by Plato, is a dialogue between Plato's protagonist, Socrates, and Phaedrus, an interlocutor in several dialogues. The Phaedrus was presumably composed around 370 BC, about the same time as Plato's Republic and Symposium.

This volume explores the tremendous influence of Plato’s Phaedrus on the philosophical, religious, scientific and literary discussions in the West. Ranging from Plato’s first readers, over the Church Fathers and the Platonic commentators, to Byzantine and Renaissance thinkers, the papers collected here introduce the reader to the first two millennia of the dialogue’s reception history. Thirteen contributions by both junior and established scholars study the engagement with the Phaedrus by such major figures as Aristotle, Galen, Origen, Clemens of Alexandria, Plotinus, Augustine, Proclus, Psellus, Ficino, Erasmus, and many others. Together, they cover the wide range of topics discussed in the dialogue: the value of myth and allegory, religion and theology, love and beauty, the soul and its immortality, teaching and learning, metaphysics and epistemology, rhetoric and dialectic, as well as the role and the limits of writing. By placing the dialogue in this broad perspective, the volume will appeal to readers interested in the Phaedrus itself, as well as to classicists, literary theorists, and historians of philosophy, science and religion concerned with the dialogue’s reception history and its main protagonists.

Plato was described as a boor and it was said that he never laughed out loud. Yet his dialogues abound with puns, jokes, and humor. Sonja Madeleine Tanner argues that in Plato's dialogues Socrates plays a comical hero who draws heavily from the tradition of comedy in ancient Greece, but also reforms laughter to be applicable to all persons and truly shaming to none. Socrates introduces a form of self-reflective laughter that encourages, rather than stifles, philosophical inquiry. Laughter in the dialogues—both explicit and implied—suggests a view of human nature as incongruous with ourselves, simultaneously falling short of, and superseding, our own capacities. What emerges is a picture of human nature that bears a striking resemblance to Socrates' own, laughable depiction, one inspired by Dionysus, but one that remains ultimately intractable. The book analyzes specific instances of laughter and the comical from the Apology, Laches, Charmides, Cratylus, Euthydemus, and the Symposium to support this, and to further elucidate the philosophical consequences of recognizing Plato's laughter.

Marina McCoy explores Plato's treatment of the rhetoric of philosophers and sophists.