Introduction to the Philosophy and Writings of Plato

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...at times dialectically A method of logical argument and cross-examination used to reach the truth., he evolves the truth concerning them. And sometimes he symbolically announces their unutterable idioms In this context, "idioms" refers to the unique, essential characteristics or properties that define a divine being., but at other times he returns to them using images, and discovers in them the primary causes of the whole of existence. For in the Phaedrus, being evidently inspired and having exchanged human intelligence for a better possession—a divine mania original: "divine mania"; This refers to a state of being "possessed" by a god, which Plato considered a higher state of inspiration than cold human logic.—he unfolds many hidden doctrines concerning the intellectual, liberated, and worldly gods.

But in the Sophist original: "Sophista", contending dialectically about "being" and the existence of the "One" above all beings, and debating against philosophers more ancient than himself, he shows how all beings are suspended from their cause and the first "Being." He demonstrates that Being itself participates in that unity which is set apart from all things, and that it is "passive" to the One. This means it is subject to and united to the One, but is not the same as that which is primarily and purely "the One" itself.

In a similar manner, in the Parmenides, he unfolds dialectically the progression of "being" from the "One" through the first hypothesis of that dialogue; he does this, as he asserts there, according to the most perfect division of this logical method. And again in the Gorgias, he relates the fable concerning the three fabricators The "Demiurges" or divine craftsmen who shape the universe. and their creative roles. In the Symposium original: "Banquet", he speaks concerning the union of love; and in the Protagoras, about how the gods distributed qualities to mortal animals. In these, he uses a symbolic manner to conceal the truth concerning divine natures, revealing his mind only through hints to his most sincere readers.

[8] It is necessary to observe that, according to Plato, whatever "participates" in or shares any quality is said to be "passive" to that which it shares; these participations themselves are called by him "passions" This is a technical term in Greek philosophy: to be "passive" (pathos) simply means to be acted upon or to receive a quality from a higher source..

Again, if it is necessary to mention the doctrine delivered through mathematical disciplines, and the discussion of divine concerns from ethical or physical discourses—many of which may be contemplated in the Timaeus, many in the dialogue called the Statesman original: "Politicus", and many scattered in other dialogues—the method will be apparent to those who desire to know divine concerns through images.

Thus, for instance, the Statesman shadows forth the way the heavens are crafted. The figures of the five elements, delivered in geometrical proportions in the Timaeus, represent in images the unique traits of the gods who preside over the parts of the universe. And the divisions of the essence of the soul in that same dialogue shadow forth the total orders of the gods. To this we may also add that Plato composes his political theories by making them like divine natures, adorning them based on the whole world and the powers it contains. All these, through the similarity of mortal concerns to divine ones, exhibit to us in images the progressions, orders, and creations of the divine. Such are the modes of theological doctrine employed by Plato.

"But those," says Proclus A major Neoplatonist philosopher (c. 412–485 AD) who systematized Plato's theology., "who treat of divine concerns in an indicative manner, either speak symbolically and fabulously, or through images. And of those who openly announce their conceptions, some frame their discourses according to science, but others according to inspiration from the gods.

He who desires to signify divine concerns through symbols is Orphic Following the tradition of Orpheus, which used complex myths and symbols. and, in short, accords with those who write fables respecting the gods. But he who does this through images is Pythagoric Following the tradition of Pythagoras, who used numbers and geometry to explain the divine.. For the mathematical disciplines were invented by the Pythagoreans as a way to remember divine concerns, seeking to ascend to the gods through these images. They refer both numbers and shapes to the gods, according to their historians.

But the 'enthusiastic' character, or he who is divinely inspired, unfolding the truth itself concerning the gods' essence, ranks among the highest of those who lead us into the mysteries. For these people do not think it proper to hide the divine orders or their traits behind veils, but announce their powers and their numbers because they are moved by the gods themselves.

However, the tradition of divine concerns according to science is the illustrious prerogative of the Platonic philosophy. For Plato alone, of all those known to us, has attempted methodically to divide and organize the regular progression of the divine genera Classes, kinds, or categories of divine beings., their differences from one another, the traits they share in their total orders, and the traits distributed to each."

Again, since Plato employs fables, let us first consider why the ancients were induced to create fables, and secondly, what the difference is between the fables of philosophers and those of poets. In answer to the first question, it is necessary to know that the ancients employed fables looking to...