Out of Place

[00:00:02]Howdy y’all. Namaste. [00:00:03]And welcome back to the next stop, [00:00:07]I guess you could say, on this [00:00:12]We're all the way up to chapter 11 and chapter 11. [00:00:15]I'm calling "Out of Place,"

[00:00:20]that we're studying today, [00:00:24]And I got to say, I'm a little bit nervous. [00:00:26]I mean, I'm always nervous when the camera goes on. [00:00:28]You know, I hit record and that sort of thing. [00:00:30]But I'm especially nervous today because of this text.

[00:00:33]And the reason I'm nervous about it [00:00:38]This is one of my absolute [00:00:42]favorite texts to study, to read, [00:00:46]So I'm a little bit nervous because I want to share [00:00:50]And I hope I want that enthusiasm

[00:00:53]Right. [00:00:54]To be passed on to you to inspire you. [00:00:56]And inspiration is a lot of what we're talking about. [00:00:59]Today in this text [00:01:03]We're going to study this text over a few chapters

[00:01:08]But today is just kind of giving an overview. [00:01:10]Let's talk about the text as a whole [00:01:12]and what to expect from it [00:01:16]So we've got a lot to cover. [00:01:19]But first, quick little story / disclaimer.

[00:01:23]So I've been studying this text for at least 15 years. [00:01:27]Hard to know. [00:01:28]I can remember exactly [00:01:31]but I know that I studied it [00:01:34]And so in the third year of doctoral studies,

[00:01:39]And it was nice, honestly, because you have a whole [00:01:41]I had a whole year where I was paid [00:01:46]So all I did was study and read and, [00:01:49]But then the end of that year, [00:01:53]each one 4 hours long, very intense, very exhausting.

[00:01:58]And then two weeks after that, you have an oral [00:02:01]exam, oral defense [00:02:04]And I wrote a lot. [00:02:06]I wrote 120 pages during that during my comprehensive [00:02:11]And I remember after after my defense,

[00:02:18]but it was definitely one of the worst things [00:02:21]But I made it through. [00:02:21]And I think that grueling aspect is part of the [00:02:28]Anyway, one of the professors, a mentor, came up to me [00:02:31]who's quite an expert in platonic texts

[00:02:36]And he came up to me and put his arm around me. [00:02:38]And, you know, it was [00:02:41]And that sort of thing was a little awkward though, [00:02:45]So, you know, he's a mentor and a professor, [00:02:48]Anyway, he came up to me and he said he said, Brad,

[00:02:53]you want to be careful. [00:02:55]You don't want to get a reputation [00:03:01]And you know what I said [00:03:05]nothing because I didn't know [00:03:08]So I just kind of nodded. Yes, sir.

[00:03:11]And then and then as soon as he walked away [00:03:14]what does idiosyncratic mean? [00:03:16]Look, idiosyncratic, [00:03:19]like somebody who doesn't think the same way [00:03:22]It's somebody who comes out

[00:03:23]you know, who's outside of out of sync [00:03:28]And I was like, Hell, yeah, [00:03:31]That's exactly who I am. Right? That's me. [00:03:34]So I don't know, I guess. [00:03:35]Disclaimer: So you're learning it from an idiosyncratic

[00:03:41]But with that in mind, let's dig into this text, [00:03:46]I love this text. [00:03:48]REALLY love this text. [00:03:50]And it's great. [00:03:51]And I hope that you enjoy what we're doing too.

[00:03:54]So I want to first give you a little bit of overview [00:03:58]of the text in the structure of the text is important [00:04:02]And interesting. [00:04:04]So Plato wrote this dialog [00:04:05]sometime around 370 BCE,

[00:04:11]It's a fiction. It's not, it's not. [00:04:13]Maybe this dialog happened. Maybe it didn't. [00:04:16]Well, this dialog didn't happen. [00:04:17]Maybe they had a conversation, maybe they didn't. [00:04:19]But what we have here

[00:04:22]So Plato wrote this 30 years after Socrates was gone, [00:04:27]after he'd been murdered by by the government and [00:04:32]so let's just look at the structure of it, the right. [00:04:34]So it's in two halves. [00:04:36]And so the first half we've got a preamble.

[00:04:39]And in this preamble, [00:04:42]We're going to kind of look closely at the preamble [00:04:46]Lots of stuff happens there. [00:04:47]First of all, Socrates follows Phaedrus [00:04:51]Phaedrus lead Socrates out of the city.

[00:04:54]This is an unusual text in a number of ways. [00:04:57]It's idiosyncratic in Plato's discourse [00:05:03]dialog partners and only two people in the dialog, [00:05:08]It's also unusual [00:05:11]It takes place in nature and in fact, nature.

[00:05:13]And in many ways, as we'll see [00:05:18]And there's also this other guy, Lysias, [00:05:21]He's also an important character in the dialog, [00:05:24]So Socrates follows Phaedrus [00:05:29]in 230e,

[00:05:31]Socrates says just as people lead hungry animals away [00:05:38]You can lead me all over Attica or anywhere else you like, [00:05:45]book containing a speech. [00:05:48]In other words, if you know what somebody desires-- [00:05:54]if you know what somebody desires,

[00:05:59]You can dangle what they want in front of them [00:06:03]Right? [00:06:03]It gives you a certain power over that other person. [00:06:08]So that's an important point. [00:06:09]Then, in 229-230, some paragraphs later,

[00:06:15]Socrates talks about the important relationship [00:06:17]between mythic legends and philosophy [00:06:21]So in short, [00:06:26]The Delphic oracle said to Socrates, [00:06:30]No, that's that anthropology, right?

[00:06:32]Who am I? Who are we? [00:06:35]This text helps us to do that. [00:06:36]That helps us to, you know, if we understand ourselves [00:06:42]And that prevents us to certain extent [00:06:47]Right?

[00:06:47]So knowing ourselves gives us makes us [00:06:54]So that happens, you know, the preamble. [00:06:55]And then what happens next is Phaedrus reads [00:07:00]a text, reads a speech that was written by Lysias. [00:07:04]Talk about who these people are in a minute.

[00:07:06]But right now, the point is, Phaedrus reads a text [00:07:12]Right. [00:07:12]And so he delivers this speech. [00:07:13]Socrates lays down the grass and he listens [00:07:17]Phaedrus gives this very impassioned

[00:07:20]And then afterwards he says, All right, [00:07:22]Socrates and Socrates, like you did fantastic. [00:07:24]You did an awesome job. Well done. Really great. [00:07:27]Good job reading that text. [00:07:29]You know, I could feel your enthusiasm and feel

[00:07:33]I was. [00:07:33]I was right there with you. [00:07:34]I felt your passion for it, and Phaedrus was like, [00:07:37]But what did you think about the speech? [00:07:38]Wasn't the speech itself awesome?

[00:07:40]And Socrates like, well, I won't go that far, right? [00:07:42]Actually, the speech kind of sucked. [00:07:44]I was I wasn't [00:07:47]So, in fact, I think I could do a better speech [00:07:51]Just off the cuff, right?

[00:07:52]I mean, I don't think Lysias [00:07:55]And Phaedrus was like, Dude, why don't you do that, right? [00:07:58]Why don't you give a speech right now [00:08:01]And Socrates like, All right, fine, I'll do that, [00:08:04]He said, I'm going to I'm

[00:08:07]I'm going to take some take a cloth [00:08:12]and I'm going to give my speech. [00:08:14]Weird thing to do, right? [00:08:16]So we'll see. [00:08:17]We'll look at that's a little bit later

[00:08:19]Just give your speech! [00:08:21]Come to me, you clear-voices muses, [00:08:28]what he means with his head covered. [00:08:30]Why is his head covered? [00:08:32]But more important than that right now

[00:08:38]It's also kind of inspired by nature, inspired [00:08:44]There's also kind of a character in this text [00:08:48]then Socrates stops like halfway through the speech [00:08:52]There's so much good stuff in here in this speech. [00:08:56]First of all, in Phaedrus’s speech

[00:09:00]that Phaedrus reads that was written by Lysias [00:09:05]It's about Eros, erotic desire [00:09:09]“In-Between Lost and Found” - that discourse [00:09:15]which is on erotic desire [00:09:20]and all those kind of things the important role

[00:09:26]philosophy is a mode of discourse [00:09:30]through cultivating a desire for wisdom [00:09:35]So this is the text [00:09:37]But so Phaedrus gives that [00:09:41]he has

[00:09:41]a different perspective on erotic desire, [00:09:47]that a person who is filled with desire [00:09:52]They can't think straight. [00:09:53]They're not in control of themselves. [00:09:56]And so they need to, like, satisfy

[00:09:59]get rid of it [00:10:02]Right. [00:10:03]If you're hungry, Eat some food, [00:10:07]If you're horny, get freaky, right? [00:10:10]Then you can focus on whatever thing it is

[00:10:13]Now, in Socrates' speech, [00:10:18]with his head covered, [00:10:21]Right. [00:10:22]Okay, let's go with that logic [00:10:28]But he gives a number of other things in that speech.

[00:10:30]He says... he tells Phaedrus how to make [00:10:35]of making a decision, you've got to be clear [00:10:40]Right. [00:10:40]And maybe it turns out the decision is about [00:10:47]Then he says "Each of us

[00:10:49]is driven by two forces [00:10:54]One is our inborn desire for pleasure, [00:10:59]our intellect - Right? - [00:11:03]Right. And sometimes we go with what? [00:11:05]Sometimes we choose what is best,

[00:11:09]And sometimes they're in harmony. [00:11:12]So these are some of the important things that come [00:11:17]And then he stops [00:11:20]He stops, [00:11:23]stop talking and Phaedrus is like, "Dude, why'd you stop? ...

[00:11:26]Like, it was good. [00:11:27]Seems like it was just seemed like [00:11:30]All this good stuff - I was right in there with you. [00:11:32]And then all of a sudden [00:11:36]And then

[00:11:36]Socrates says, man, I you know, I just [00:11:39]That speech was horrible. [00:11:41]I'm embarrassed by that speech. [00:11:43]I feel like it was horrible. [00:11:44]He said the only thing worse than the speech

[00:11:49]That Lysias wrote. That one was worse. [00:11:52]So if my speech has anything going for it, it’s the fact [00:11:58]But both of them were just horrible. [00:12:01]In fact, I have to after me after atone for my sin. [00:12:04]He calls it blasphemy.

[00:12:06]The speech was blasphemous, right? [00:12:07]An offense against God. [00:12:09]And he says, I've got to make up for that. [00:12:11]I've got to give a palin-Ode [00:12:16]to try and make up for the sin of that first speech.

[00:12:19]You know, where I'm blaspheming Eros. [00:12:24]Then Socrates continues his speech. [00:12:26]Now, some people it's called and philosophy. [00:12:29]Philosophy philosophers refer to it [00:12:32]You don't even have to say

[00:12:34]If you just say the great speech, [00:12:36]everybody knows you're talking about this speech, [00:12:39]I think, though, my idiosyncratic reading of it, [00:12:43]this is not actually a second speech [00:12:47]Like Phaedrus said, you know,

[00:12:49]You just got started. [00:12:50]And Socrates says, All right, I'm [00:12:54]And so that the great speech [00:12:58]that he was giving before, [00:13:01]So much important stuff happens in the great speech.

[00:13:04]This is where Socrates gives his definition [00:13:07]In fact, his definition of the whole soul. [00:13:10]As I mentioned before, [00:13:13]so all the "little soul," the "psycherion" in Chapter [00:13:19]And we've looked at that term,

[00:13:24]which is the term that he used [00:13:28]which we talked about in Chapter [00:13:32]He gives a definition of the "Whole soul" will shift [00:13:37]the whole psyche. [00:13:38]He also gives us famous allegory of the chariot

[00:13:43]Right. Was giving an overview. [00:13:44]Maybe you remember that whole discussion [00:13:48]and the horse desire of desire and the charioteer [00:13:53]Right - Philosophy is a mode of discourse [00:14:00]a desire for wisdom through inspiration.

[00:14:03]That's what this text is all about, right? [00:14:05]So he gives his tripartite soul [00:14:11]In other words, the great speech kind of shows us [00:14:18]So that's part of why we're looking at it. [00:14:19]Philosophy as a mode of discourse

[00:14:22]by cultivating a desire for wisdom [00:14:26]Then the second half, right [00:14:28]we're not going to read the second [00:14:31]And by read I mean some reading. [00:14:33]And then some have recorded some of these.

[00:14:35]Maybe I'll trying I haven't recorded the great speech, [00:14:38]Is to try and get it there and get that up soon. [00:14:42]But you can either read the text [00:14:45]or you can do both the, the videos are just performances [00:14:50]But I'm not we're not going to look at the second half

[00:14:54]So I'll just give you a kind of an overview of [00:14:57]This is important. [00:14:58]This whole this whole thing works as one. [00:15:01]One complete dialog, right? [00:15:02]The second half is very different from the first half.

[00:15:05]The second half, there's no speeches. [00:15:06]They just lay down Socrates and Phaedrus [00:15:09]lay on the grass [00:15:13]And they they just talk about the distinction [00:15:18]They're mostly talking about rhetoric,

[00:15:20]you know, the relationship [00:15:24]Right. And in this, Socrates says [00:15:29]he uses a number of comparisons. [00:15:31]One is he compares rhetoric [00:15:38]So he's talking about those who are skilled with

[00:15:42]with medicine. Right. Doctors. [00:15:44]But he said just because you're a doctor, [00:15:48]in order to be a medical doctor, [00:15:50]you've got to understand pharmaceuticals, right? [00:15:52]You've got to understand the chemicals

[00:15:56]and all those kind of things. [00:15:58]What do these potions do? [00:15:59]What do they do? [00:16:00]How do they affect the human body? [00:16:02]But just because you know those things,

[00:16:05]doesn't mean you're a good doctor, right? [00:16:06]In order to be a good doctor, [00:16:09]but you also got to know how to use those medicines [00:16:14]Right. [00:16:14]And your your goal in that is to heal the soul.

[00:16:18]But if you know the medicines, if you know these [00:16:23]To make people sick [00:16:27]So the same same way with rhetoric, right? [00:16:29]The rhetoric is some [00:16:33]and it can be used to harm as well as to heal

[00:16:37]that a medical doctor [00:16:42]word pharmaceutical [00:16:43]comes straight from that word, [00:16:47]"pharmakon" to heal the body [00:16:50]can use dialog or talk therapy to heal the soul.

[00:16:55]However, knowing what a particular "pharmakon" or potion [00:17:01]because a medical doctor [00:17:05]and figure out what treatment needs to be applied [00:17:08]In that particular case, [00:17:12]Second half of that dialog is likewise, being skilled

[00:17:16]you know, may mean that you can write good speeches, [00:17:21]Because he to heal the soul, [00:17:24]Everybody has different issues [00:17:28]And so you've got to talk to those people, [00:17:31]Diagnose each patient

[00:17:36]In that particular case, [00:17:40]Right. [00:17:40]So in the same way we've talked about before, [00:17:44]Right. [00:17:45]It was mentioned I mentioned Plato's

[00:17:48]dialog with Meno, [00:17:53]Right. And a knife [00:17:55]Even for in particular, [00:17:58]But it's worth repeating again, right? [00:17:59]You can use a knife in order to cut foods,

[00:18:05]You can also use the same knife to cut food [00:18:10]And he talks a lot. [00:18:11]That's a theme that comes up [00:18:15]the hungry, taking care of those who are hungry. [00:18:17]Taking care of those who are sick. Right?

[00:18:19]So using this tool in order to take care of those [00:18:24]But you can also use a knife [00:18:27]You can use a knife to harm. [00:18:30]We talked about in chapter nine, [00:18:35]Every time Socrates uses that term, the little soul,

[00:18:40]it's always in reference [00:18:45]in order to harm, in order to oppress, [00:18:49]Right. [00:18:50]Those little souls are the ones in the [00:18:53]That are keeping those people distracted.

[00:18:55]They're keeping those prisoners in the cave [00:18:59]paying attention to those screens, right? [00:19:02]Then the people that are controlling those, [00:19:06]can control those people [00:19:10]Right? So in the same way,

[00:19:13]You can use a knife to prepare food [00:19:16]because and use a knife to stab somebody in the back. [00:19:18]Or you can use a knife to liberate. Right. [00:19:21]To try to cut the binds [00:19:25]Likewise, with rhetoric.

[00:19:26]Rhetoric can be rhetoric as a tool [00:19:32]Right. [00:19:32]As we'll see in a minute - Lysias, [00:19:37]he's very much like this psycherion - [00:19:43]sometimes with other folks,

[00:19:48]These little souls who collude with one [00:19:54]Another Greek word popular in Athens at the time. [00:19:58]Right. [00:19:58]In order to in order to incite the mob and into order [00:20:05]Particularly the mob,

[00:20:07]in the [00:20:07]same way that a "pharmakon" is a potion [00:20:11]a physical body [00:20:16]inspire a psyche, inspire this mind [00:20:20]soul to do something that is good or

[00:20:24]rhetoric can be used to incite people [00:20:28]Now, the real life Phaedrus, these are all real people. [00:20:32]This is a fictional dialog. [00:20:33]It's a fictional dialog [00:20:36]And Phaedrus was a real person who, as it turned out,

[00:20:41]was part of a mob that was incited [00:20:45]to by some politicians to vandalize parts of the city in Athens [00:20:51]So we'll look at that right now. Right. [00:20:54]So let's look at these [00:20:55]that's that's done with the introduction to the text

[00:21:01]Now, let's look at some of the characters and dates. [00:21:03]As I mentioned, the dialog [00:21:07]Socrates, as we know, died in 399bce - [00:21:12]Phaedrus was a bit younger, [00:21:18]He committed a crime and he was exiled.

[00:21:22]Well, he presumably committed the crime [00:21:25]Whether or not he did, it seems like it did. [00:21:27]But anyway, he [00:21:29]as a punishment for the crime, [00:21:34]for some time from the year 415

[00:21:39]Then we got this other guy - Lysias - and let's [00:21:44]of the right at the beginning of texts [00:21:50]Where have you been and where are you going? [00:21:54]Where are you going? [00:21:54]We'll see.

[00:21:55]Right that Socrates may have something to say [00:21:59]but but he said, where have you been? [00:22:02]Phaedrus says, “I was with Lysias. [00:22:03]the son of Cephalus which is the Republic [00:22:10]I'm sorry,

[00:22:13]The Republic is set in the house of Cephalus. [00:22:16]So is set in the house of [00:22:20]of Lysias’ father. [00:22:22]Cephalus, by the way, [00:22:25]maybe relevant here.

[00:22:26]Cephalus was a was a wealthy older man, [00:22:30]and he made his wealth by he was a shield producer. [00:22:34]Right. [00:22:34]So he made military he made shields for the army. [00:22:38]So, you know, made this made his wealth off of war.

[00:22:42]Socrates says, "So Lysias, I take it, is in the city?" [00:22:45]And Phaedrus says, "Yes, he's at the house of Epicretus, which used to belong to Morychus". [00:22:51]Now, this is another one of those lines, right? [00:22:53]There's so many lines in here, [00:22:55]that just seem like little throwaway, like little chit

[00:22:59]turn out to have quite a bit of meaning. [00:23:01]So who is Lysias? well... [00:23:03]Lysias was a famous, wealthy [00:23:06]speech writer, so he wrote speeches for politicians. [00:23:10]He also wrote speeches

[00:23:14]You know, you would go in front of a large crowd and [00:23:18]of your apologia, your apology or defense for your [00:23:22]for whatever you did present your defense, [00:23:27]And so, like, this would write these speeches [00:23:31]Lysias is at the house of Epicretus.

[00:23:37]So Epicretus, [00:23:39]Epicretus [00:23:40]There's no other way to say it. [00:23:41]Epicretus was a bad dude. [00:23:43]He was a bad guy, some bad guy.

[00:23:45]He was notoriously corrupt. [00:23:48]In fact, he was was brought up on corruption. [00:23:51]Charges a couple of times. [00:23:52]First time he was convicted but faced no punishment [00:23:58]And then the second time he was brought up on

[00:24:02]I yeah, I embezzled all these funds from from the [00:24:06]But then he just, you know, share [00:24:11]and got off on that, too. [00:24:12]So he's somebody who is kind of a slippery character, [00:24:15]He's he's a corrupt politician.

[00:24:17]And life is is at his house, [00:24:22]Right. [00:24:23]For so it matters, right, [00:24:28]for politicians and criminals is at the house [00:24:35]Which lies this is at which is filled with

[00:24:38]criminal right. [00:24:39]But what about this other guy, Morychus? [00:24:42]So Morychus, there's [00:24:46]It is a joke. Right. [00:24:48]But in Greek there's this little joke

[00:24:51]Mooroteros Morychos... Mooroteros Morychos, or "Morychus" [00:24:57]which means it's just sort of an idiom [00:25:01]people say this thing like "Mooroteros Morychos," [00:25:06]Who's Morychus? [00:25:07]Well, so Morychus is this guy's name right.

[00:25:11]And but it's also a reference [00:25:14]to Dionysus - Dionysus is the god of wine, [00:25:19]Right. And he has lots of different names. [00:25:21]And one of his names is Morychus. [00:25:23]And but it's a name given to this particular statue

[00:25:29]Just the just off of the boot of Italy. [00:25:32]Right. The big island of Sicily, quite a bit. [00:25:34]Quite a drive for quite a boat. Right. [00:25:36]I should say, from from Greece. [00:25:40]But this little statue of Dionysus there,

[00:25:43]and Dionysus is somebody [00:25:47]And they say, you know, Mooroteros Morychos, "Sillier than Morychus," because he sits outside, he's [00:25:54]always concerned with like external material [00:25:59]Right. He's concerned with partying and good times [00:26:02]to the neglect of what's inside, right?

[00:26:05]That's the that's the joke. [00:26:06]Or, you know, say [00:26:10]They do dumb things. Right. [00:26:11]And it's bad for their internal soul [00:26:15]They do silly things.

[00:26:16]And so that's kind of the joke [00:26:19]There's a lot of other layers to it. [00:26:21]One is that [00:26:22]at the time when this is set the year 415 BCE, [00:26:29]Athens was about to invade Sicily.

[00:26:34]And so Morychus is this guy who used to own the house [00:26:39]a politician who's behind, you know, [00:26:44]So he's taken his house, right? [00:26:46]He stolen the house that used to belong to Morychus, [00:26:50]you know, who's in Sicily.

[00:26:52]So he's taken his house [00:26:56]Right. [00:26:56]So then you just take his house [00:26:59]So this is a war, basically a war. [00:27:02]There's some, there's a lot of different layers

[00:27:05]I don't want to like oversimplify [00:27:08]But basically, they're going to war. [00:27:09]They're invading Sicily in part [00:27:15]Alcibiades, Alcibiades is an important [00:27:19]character, is a student of Socrates,

[00:27:23]There's a platonic dialog called Alcibiades, [00:27:26]which is Alcibiades was also at the symposium. [00:27:30]He's in the republic. He's all over the place. [00:27:32]Right. He's an important, important guy. [00:27:34]We don't need to worry too much about him right now.

[00:27:36]but he gave this speech [00:27:38]to the people of Athens and said, [00:27:42]The the claim, at least, was [00:27:47]and by the people that are there, [00:27:50]Right. By invading the country.

[00:27:52]So they went invaded the country in order [00:27:56]Right. [00:27:57]But really, what they're going after [00:28:00]Right. Money. And so that they can kill the men, and steal their possessions, take women and children as slaves and bring them back. [00:28:08]But also, Alcibiades, you know, he's a general, he's

[00:28:14]Maybe a good guy. Maybe he's a complex guy. Right. [00:28:17]But one of the things that he really wanted from [00:28:23]play an important role in this dialog [00:28:30]but he wants [00:28:30]the Sicilian wood

[00:28:34]The Sicilian timber [00:28:39]So here's another detail, important [00:28:42]On January 6th, I'm sorry, June 7th, 415, [00:28:49]The mob got drunk. [00:28:51]Stay around 3:00 in the morning.

[00:28:53]So they went to the theater of Dionysus. [00:28:55]They've been drinking [00:28:58]And this mob goes there and they decide to go. [00:29:01]You know, [00:29:05]They start defacing all these statues.

[00:29:07]I'm going to show I'm going to show a little video [00:29:13]Assassin's Creed Odyssey, which is set in this time [00:29:19]And you can see the theater of Dionysius [00:29:29]but also these statues, these “herms,” these “hermai”. [00:29:32]So her mind were all over the city, right?

[00:29:34]These statues of Hermes, but they were these these [00:29:40]rectangular columns. [00:29:43]We'll see that in the great speech, [00:29:48]and important discussion about sculpture [00:29:51]and carvings

[00:29:54]Anyway, we'll get to that later. [00:29:56]But the statues matter for a number of reasons, right? [00:30:00]And so this this these rectangular columns, [00:30:04]and all they have they have a head of Hermes [00:30:10]And the eyes are important

[00:30:14]So that the idea is that the [00:30:20]you want to be seen by one of these hermai statues [00:30:23]anytime you step foot out of the city. [00:30:26]And I remember well, [00:30:30]this dialog

[00:30:31]takes place outside of the city [00:30:34]Right. They have to leave the city. [00:30:37]They leave the walls of the city [00:30:42]And any time you step foot outside of the city, [00:30:48]is that you've got like a spirit that's watching over

[00:30:52]So you want to be seen by the Hermai [00:30:58]And that sort of thing. Right. [00:30:59]But this mob, this drunk mob, at 3:00 in the morning [00:31:03]on June 7th 415 bce, they go [00:31:07]round, they start defacing the statues,

[00:31:11]They start like destroying the eyes [00:31:14]And they also destroy the phalluses and penises [00:31:21]also kind of relevant [00:31:27]the idea [00:31:28]apparently what maybe what was in the mind of this

[00:31:34]but maybe what they were thinking was, all right, [00:31:37]We don't want our troops going abroad [00:31:41]We don't need any more war and all that kind of stuff. [00:31:43]It seems like a war of aggression [00:31:46]It's some people who are against the war.

[00:31:48]And so their thinking was [00:31:52]statues - these hermai, then maybe the troops will say, [00:31:57]Right. [00:31:57]Because we won't be protected. [00:31:59]It's a bad omen. It's a bad thing that happens.

[00:32:01]We can't leave if we can't be seen by these hermai, [00:32:05]But that's not what happened, right? [00:32:07]They still invade and they still have the war. [00:32:10]It was kind of a mess. [00:32:11]But anyway, they it still happened. Right.

[00:32:13]But so some people think some people just thought, [00:32:18]I think most people was that just a bunch of drunk [00:32:23]you know, got drunk [00:32:28]When you get drunk, [00:32:31]Right.

[00:32:32]And you, you neglect important things [00:32:34]and you make bad decisions [00:32:39]And so most people just thought that's what it was. [00:32:41]But then there were some people [00:32:43]maybe Socrates was one of them who thought that

[00:32:48]Maybe people like Epicretus [00:32:52]to try to use the mob and incite the mob [00:32:56]that would harm the city, in order to advance [00:33:02]that they could use the mob to incite violence [00:33:07]and against these statues and these monuments

[00:33:12]to the people of Athens in order to advance [00:33:18]So this seems to be what Socrates thought and seems [00:33:21]to be [00:33:24]you know, but one of the things that we that [00:33:30]Ways of seeing,

[00:33:33]and alcohol is an important spirit. [00:33:35]Or we use the word spirit and spirits [00:33:40]Right. Because they affect the body. [00:33:42]When you drink a lot of spirits, [00:33:46]you become silly, you become sillier than Morychus,

[00:33:50]You make bad decisions [00:33:54]Because alcohol is a kind of spirit [00:34:01]Right. [00:34:02]Last but not least, one more detail to mention [00:34:07]Phaedrus

[00:34:09]was part of that mob, though fate, [00:34:14]Right? He was convicted. [00:34:15]That was the crime that he committed. [00:34:16]The crime that caused him to be exiled from the city. [00:34:20]If he was one of those drunk men that night,

[00:34:25]that night [00:34:29]Okay. [00:34:30]So that brings us to the end of this section [00:34:33]Let's talk about the physical setting of this trial. [00:34:36]Like I've already mentioned it a couple of times,

[00:34:40]Let's look at it a little bit more closely. [00:34:42]In fact, the title of this chapter, [00:34:47]Phaedrus, at one point, says to Socrates [00:34:53]Right. [00:34:53]He uses the Greek word “atapOtatos” or as my son

[00:34:58]you know, I want my kids to learn Greek and study [00:35:01]And so when we were studying it together, [00:35:05]Greek word, "atapOtatos" and my son was like, [00:35:19]So Socrates [00:35:21]Socrates thinks that the absolute best place

[00:35:24]to have any philosophical dialog [00:35:30]Agora is the marketplace, right? [00:35:32]That's where all the people are. [00:35:34]And why does he think that? [00:35:35]Because he thinks that the only way for a democracy

[00:35:38]and democracy to function [00:35:43]everybody in the city, [00:35:48]Right. [00:35:48]So you need to get everybody involved [00:35:52]As we saw at the beginning of the Republic dialog,

[00:35:56]begins with the phenomenology of justice. [00:35:58]What do you think, justice is? [00:36:00]What do you think, justice is? [00:36:02]We've got to get all voices involved, right? [00:36:04]Hearing one another into speech, do a phenomenology

[00:36:10]We've got to hear what everybody thinks. Right. [00:36:12]So the best place to do [00:36:15]in the Agora, in the marketplace [00:36:19]So that anybody can join this discussion. [00:36:21]Anybody can be a part of it. Right.

[00:36:23]Anybody can be a part of the dialog. [00:36:27]So he thought it was critically important to do that. [00:36:29]So because it was important for every soul, [00:36:34]to participate in the dialogue, in the discourse. [00:36:37]Now, apparently, at least according to Socrates,

[00:36:41]the only time that he ever set foot out of the city [00:36:46]when he goes out with Phaedrus, when he follows [00:36:52]And he follows where Phaedrus is, right? [00:36:54]Dangling those leaves of a book, right? [00:36:56]Because that's what Socrates desires.

[00:36:58]But it turns out it's [00:37:00]the Socrates desires, but he wants to inSpire [00:37:06]Right. He has pathos for [00:37:08]Phaedrus, and he wants to save him or rescue him. [00:37:11]That's why he follows them out.

[00:37:12]But he says that the only time he's ever stepped foot [00:37:16]besides this time was [00:37:19]So he was a military soldier, [00:37:21]and then they were sent and he was sent abroad for war [00:37:25]Other than that.

[00:37:25]And he says, you know, I always keep to the city. [00:37:27]The city is where I like to be. [00:37:29]But in this dialog, Socrates and Phaedrus [00:37:36]the Ilissus - which is just really more of a stream than a river. [00:37:40]And so they just walk and they even walk in the stream

[00:37:44]on the cool water on their feet in this hot day [00:37:48]And they sit under a shade tree, a plain tree, [00:37:55]which we'll get to when we get there. [00:37:57]And well, let's look at this passage #230c. [00:38:00]Phaedrus says,

[00:38:04]to be totally out of place (atapOtatos) [00:38:08]really just as you say you seem to need a guide - not to be one of the locals. [00:38:13]Not only do you never travel abroad, [00:38:16]but as far as I can tell you never even set foot [00:38:20]Remember in order to step foot outside

[00:38:24]So that's also a reference to this whole June 7th [00:38:27]415 insurrection kind of thing. [00:38:31]So the fact that this dialog is set in [00:38:35]I think it's fair to say in fact that nature, it's [00:38:39]It's almost like another character or in this

[00:38:45]He says that there's the songs of the cicadas, layers -- [00:38:51]at least three or four times throughout the dialog, [00:38:53]some few times in the first half [00:38:58]He says the cicadas are like [00:39:02]They're muses that inspire us.

[00:39:04]And those cicadas are the [00:39:09]what are we doing - right? - [00:39:12]or are we just doing [00:39:15]smell the freshness of the air - how pretty and pleasant it is [00:39:26]so the water under their feet, the wind on their faces, also,

[00:39:31]the wind is also an important character in this dialog. [00:39:35]The the wind, the "Boreas" - the "North [00:39:42]In fact, the north wind is what when the Persians came [00:39:47]with their huge navy and everything, [00:39:51]The Boreas, the the north wind came

[00:39:56]Right. [00:39:56]So the city of Athens was protected by the wind. [00:40:00]And then Socrates mentions that a couple of times [00:40:05]that the wind plays in this dialog. [00:40:09]It's really playing an important role

[00:40:13]Super (right?) "idiosyncratic" [00:40:20]which don't usually take place in nature [00:40:25]As you'll notice when we read the text, [00:40:29]and everything, the spirits inspire Socrates. [00:40:32]The cicadas are like the muses that inspire him,

[00:40:36]poets and many other artists before him. [00:40:41]So speaking of poets and artists [00:40:46]Let's talk about Pindar. [00:40:47]So I got to say, I've been studying this text [00:40:53]And, and every time I read it, I find something new.

[00:40:56]Every time I read a journal article [00:40:59]I find something, [00:41:01]But nothing even compares [00:41:06]when I was preparing for this course, [00:41:09]Dialogue is you know, it's good to keep learning

[00:41:15]And I read this article by a professor [00:41:20]Christopher Moore, and he wrote this [00:41:23]when I was reading it. [00:41:24]I just this line just really kind of stuck out to me. [00:41:27]It's like, a'ight, I want to kind of go and find out

[00:41:32]Socrates [00:41:32]right at the beginning, [00:41:36]Phaedrus says, "You'll hear, hear all about it if you're [00:41:42]Socrates says, What don't you think? [00:41:45]I would consider it, quote, more important

[00:41:50]says, to hear how you and Lysias spent his time, [00:41:54]spent this time [00:42:11]right [00:42:13]now, the first I don't know, the first [00:42:15]150 times or so that I read this text.

[00:42:20]I don't [00:42:23]But then, you know, I read this this text, [00:42:26]this article by Christopher Moore at Penn State [00:42:31]on The Phaedrus and a perspective [00:42:36]to our course, this philosophical quest

[00:42:41]So step three -- remember [00:42:46]Listen to the experts. [00:42:48]So let's listen to this guy. He's an expert. [00:42:49]Chris Moore, Christopher Moore. [00:42:51]Let's listen to him. And so he wrote this article,

[00:42:55]I think it is [00:42:56]to 2014, 15, something like that when he published it. [00:43:00]And he said so he wrote about it. [00:43:04]So now let's think about let's talk about Pindar, so Pindar wrote this Ode [00:43:10]So, Pindar is from another city

[00:43:14]city of Thebes, which is kind of a rival of this. [00:43:17]Definitely a big rivalry [00:43:21]It's really long and complex [00:43:24]Pindar is from Thebes. [00:43:25]And one important thing about Thebes

[00:43:29]what made the Thebes famous and successful - [00:43:32]One of the things that made them successful in war [00:43:37]What's called the "Sacred Band" was that army -- [00:43:41]force of 300 soldiers. [00:43:45]And they were in these pairs,

[00:43:50]It was usually an older man and a younger man [00:43:56]the lover and the beloved, [00:43:57]and they watched out after each other and they work [00:44:02]So this "Sacred Band" was super close to one another, [00:44:06]and they basically just kicked everybody's ass

[00:44:11]But, you know, more on that [00:44:13]another time perhaps right now when I talk about [00:44:17]this poem that Pindar wrote [00:44:20]about this kid named Herodotus or Herodotus, [00:44:24]there's a lot of folks named Herodotus,

[00:44:28]I mean, you wouldn't really know anything about him [00:44:33]So and Pindar wrote this text, this Ode to Herodotus [00:44:38]sometime around 458 B.C., So quite a while [00:44:44]But not that long. [00:44:45]All right, let's talk about this.

[00:44:46]So why is it important? [00:44:49]Basically, there's this local boy, right? [00:44:52]Herodotus from Thebes, and he goes off [00:44:56]and he wins a gold medal and the Olympics. Big whoop. [00:45:00]Right? Why are we talking about?

[00:45:02]He went off and he won a gold medal in the Olympics. [00:45:04]And then somebody writes to Pindar and says, Dude, [00:45:09]this other kid from Thebes, he won a gold medal [00:45:15]Right? Which is have a parade, right? [00:45:16]If the Red Sox win the World Series,

[00:45:20]you have a parade to celebrate that win everybody goes [00:45:26]And if somebody wins a gold medal like this [00:45:30]you celebrate that person. Why it's important right? [00:45:33]It's important. [00:45:34]And our knows it's important

[00:45:39]If the youth see this guy and this guy, Herodotus, [00:45:43]And he's just like you. He's right down. [00:45:45]He's from right down the street. Right? [00:45:46]If he can do it, you can do it. [00:45:48]How did he do it?

[00:45:49]By being excellent. [00:45:50]By working his ass off. [00:45:52]By working really hard, but being diligent, [00:45:55]Right. [00:45:55]And then so other young people see that older person

[00:45:59]who's done something excellent, right? [00:46:02]He's done something excellent. [00:46:03]“Arete” = excellence. [00:46:05]We've used that word “Arete” a lot. [00:46:07]I keep trying to teach you that word.

[00:46:08]And every time I do, [00:46:12]And it has lots of different meanings. [00:46:15]It also means skill, right? [00:46:17]Being skillful, being excellent. [00:46:19]But Socrates takes it and uses it to mean

[00:46:23]He writes Ode to virtue of being good, right? [00:46:25]Being excellent, being, in fact, [00:46:30]So you've got Justice, Goodness, Beauty, [00:46:36]Truth (maybe), and “Arete” or Virtue. [00:46:40]And so becomes one of the forms

[00:46:44]to Excellence, this ode to Pindar in order [00:46:51]So that's not all right. So [00:46:54]Herodotus won, due to his excellence, his “Arete”, [00:46:58]his hard work, his discipline, his self-control, [00:47:04]and because of his passionate desire

[00:47:09]even especially work twice as hard on those days [00:47:14]Right. We all have those days. [00:47:15]But it's that desire for something more meaningful, [00:47:21]Some existential drive [00:47:23]even when we don't want to write

[00:47:27]“Arete” [00:47:28]That would not [00:47:33]but also make the entire hometown proud, [00:47:36]Right. And inspire them to do something else. Right. [00:47:39]So why is it important for Pindar,

[00:47:43]Because he wanted to inspire the young people [00:47:48]to inspire them with a desire for excellence. Right. [00:47:51]If they can do it, maybe I can do it, too. [00:47:54]So stories of inspiration [00:47:58]In other words, Pindar wants to immortalize this hero

[00:48:05]immortalized this hero. [00:48:07]I mean, it worked, right? [00:48:09]We're talking about him in 2022. [00:48:12]We're still talking about him, right? [00:48:14]So in some ways he's

[00:48:17]Right? [00:48:18]But we're still talking about him today. [00:48:19]He's immortalized that hero [00:48:23]by the spiritual will force that pushed him towards. [00:48:28]Excellent. Right.

[00:48:29]In order to get out of the cave, he's [00:48:33]nine in between lost and found. [00:48:35]We talked about the the discourse between Socrates [00:48:40]and Diotima where, you know, she talks about Eros [00:48:44]that erotic desire is a spiritual force

[00:48:50]It's that drive, that force, [00:48:54]some in at the most basic level, [00:48:58]Sexual intercourse with human bodies, [00:49:05]Right. [00:49:05]But then that force, as we saw in that chapter

[00:49:09]the thought of it and Socrates, she says, you know, [00:49:14]That desire for human bodies [00:49:19]Right. [00:49:20]Not just for intercourse with bodies, [00:49:25]And even that can be transcended to become a desire

[00:49:31]and equality of all those minds and bodies in society. [00:49:36]Right. [00:49:36]So we desire those laws [00:49:40]existential drive, existential desire, [00:49:46]Philosophy is a mode of discourse

[00:49:52]by cultivating a desire for wisdom through inSpiration. [00:49:58]We got it [00:50:04]to on behalf of Herodotus [00:50:08]of Thebes writes as inspiring a desire for justice [00:50:13]through Eros, that Great Spirit

[00:50:20]now already that seems super significant, right? [00:50:24]So thank you, Professor Moore, for [00:50:28]sort of bringing all that to our attention [00:50:32]Right? [00:50:32]We totally blew my mind is this guy Herodotus.

[00:50:35]I told you he won the gold medal and the Olympics. [00:50:38]Guess what? [00:50:38]He won the gold medal. [00:50:39]In the Olympics for [00:50:43]he was a charioteer.

[00:50:44]He drove a chariot in the in the race. Right. [00:50:47]So he was a charioteer. [00:50:49]We've already given you back [00:50:52]The the tripartite soul, [00:50:55]Intellect is the charioteer,

[00:51:01]Ride the horse of logic and reason. [00:51:03]Talked about a couple of chapters, right? [00:51:05]In Chapter six and seven, [00:51:10]That ladder of desire [00:51:14]Right.

[00:51:15]So he's a chariot driver. [00:51:17]He's a charioteer, but that's not all. [00:51:20]There's more to it than that. [00:51:21]As Pindar tells us in this ode. Right. [00:51:23]One of the things that makes Herodotus

[00:51:27]he won the gold medal for Chariot driving the Olympics [00:51:31]but that he was he both trained, [00:51:37]And this was unusual, right? [00:51:39]Usually you have somebody who trains the horse, [00:51:41]somebody like Bob Baffert, who trains the horses

[00:51:46]But somebody who trains the horses, right. [00:51:48]Who's an expert, who's that sort of intellectual [00:51:52]But then you've also got [00:51:55]a jockey, right? [00:51:56]Somebody who is just the driver,

[00:52:00]But Herodotus said both. [00:52:01]He trained his own horses and he drove his own chariot [00:52:07]Right. Super. Excellent. [00:52:08]But if that's not enough to like, blow my mind, [00:52:13]it turns out that Pindar is owed to Herodotus.

[00:52:17]His Ode to Excellence follows for Sy or [00:52:23]Socrates. [00:52:24]Great speech aligns with the structure [00:52:30]Moore points out, there's so many similarities [00:52:34]Right?

[00:52:34]The parallels are impossible to overlook once you once [00:52:39]Right. [00:52:39]As which we can see through his for the work of this [00:52:43]expert on Plato. [00:52:46]So there is so much more to say about this.

[00:52:50]And maybe I'm already overwhelming you [00:52:54]but it's got a lot more to say. Right? [00:52:56]So we'll pause and I want to start [00:53:01]Just putting all of these pieces [00:53:04]Let's start putting all of this

[00:53:09]How does it fit together [00:53:11]I've done some of that, [00:53:12]but I want to make it even more explicit [00:53:18]And metanoia so in chapter eight, right, [00:53:22]The title of Chapter eight is The Upward

[00:53:27]that goes on this upward journey [00:53:32]And as Socrates points out, I emphasize [00:53:35]this quite a bit when we were talking [00:53:39]Hopefully I emphasized that enough [00:53:44]"Metanoia" is that "turning around," that "conversion,"

[00:53:47]that turning around, he says there needs to be a metanoia of the whole body. [00:53:51]You can't turn the eyes without turning. [00:53:53]The whole body can't turn the soul [00:53:57]Right? [00:53:57]So the "metanoia" of the "hole psyche" - the "Whole Soul"

[00:54:02]And that [00:54:04]that's what education is, right? [00:54:06]Not putting sight into blind eyes, but turning them [00:54:12]Right? [00:54:12]An uncovering (aletheia)

[00:54:17]Right. [00:54:18]To see the puppeteers behind behind these puppets. [00:54:21]Right? [00:54:22]So there's two metanoia-s. [00:54:23]There's one metanoia when this when this poor soul,

[00:54:28]has to turn around from the screens [00:54:34]Right. In order to get out of the cave. [00:54:37]But then Socrates emphasizes [00:54:40]Glaucon has trouble understanding this. Glaucon [00:54:45]of the cave noticed I've drawn this little stick

[00:54:51]Right. [00:54:51]It's already had this met [00:54:55]must go in turn to dwell in the cave [00:55:06]and let your eyes adjust to the darkness. Why? [00:55:10]Because remember that we spent a good deal of time

[00:55:16]of the allegory of the cave, as we saw right: [00:55:21]turning away from the screens [00:55:25]But his main point was that second metanoia. [00:55:28]He says each of you must go down to live in the cave (Republic 520c). [00:55:33]Because that first sentence.

[00:55:35]Because you care pathos, right? [00:55:38]Because there must be some pathos. [00:55:41]Because you care about the well-being [00:55:46]in order to turn the "hole psyche" - the whole soul [00:55:50]because we only get out of the cave together

[00:55:55]Now, Glaucon understood the prisoner part of the Cave Allegory [00:56:01]he understood [00:56:02]why we want to turn these people around [00:56:05]But you had trouble understanding. [00:56:07]Why would you go back in

[00:56:19]Right? He struggled to understand [00:56:24]And most people do if you like, watch almost any [00:56:30]No one really talks about that part, right? [00:56:32]That whole emphatic speech [00:56:36]Each of you must go down and turn to live in the cave,

[00:56:40]We've made you kings. [00:56:41]We've made you leaders of the swarm. Right. [00:56:44]You have a responsibility [00:56:45]to take the education that we've given you, [00:56:50]You've got an education.

[00:56:51]You've got a responsibility to do likewise. Right? [00:56:54]And go and liberate every person in the cave. [00:56:57]So we spent a lot of time [00:57:01]and then that first sentence. Right. [00:57:03]Socrates tells us at that point of the allegory

[00:57:07]is to contrast [00:57:14]versus the lack of formal education. [00:57:17]apaideusis [00:57:20]the difference between those two things [00:57:22]on our emotional state of mind, right the outer side

[00:57:27]reading of that systematic philosophy, right [00:57:32]That's [00:57:35]So these getting drunk, right? [00:57:38]Being in a a drunk state of mind leads [00:57:44]So does getting stoned or whatever.

[00:57:46]Lots of different sort of spirits can "inhabit" us [00:57:50]which lead us to make certain kinds of decisions. [00:57:52]But those spirits aren't necessarily [00:57:54]from substances that affect our body, [00:57:59]Right?

[00:57:59]But if we have that that paideias - [00:58:04]Right. Right. [00:58:06]Then they will have they [00:58:08]it will affect their emotional state of mind [00:58:13]It won't be apathetic to the injustices

[00:58:20]They will have feeling right, strong feeling [00:58:25]If a person has had a glimpse of Socrates, [00:58:31]of justice itself [00:58:37]then they will [00:58:38]not be apathetic but will have feelings or pathos

[00:58:45]and being controlled by those little souls [00:58:51]who continue to deceive them by telling them [00:58:55]what to care about, and what to pay attention to, [00:59:00]so what the cave allegory does not [00:59:04]do, does not tell us

[00:59:07]is about this other metanoia [00:59:09]How do we do that? Right. [00:59:11]He said the whole point of the metanoia [00:59:15]got to get out of the cave. [00:59:16]When you get out of the cave,

[00:59:20]once you get down there, once your eyes have adjusted, [00:59:24]How do you liberate those prisoners in the cave? [00:59:27]Right. [00:59:28]That's why we're reading the Phaedrus dialog, [00:59:32]how to liberate those minds and souls. Right?

[00:59:36]This liberate philosophy of liberating those souls. To explain: [00:59:41]Just to explain, start putting these pieces together. [00:59:44]We've got three main characters in this dialog. [00:59:48]Most people say there's two [00:59:51]There's two bodies there. There's Socrates

[00:59:56]and Phaedrus [00:59:59]but then there's also that invisible character [01:00:01]that's that character that Socrates at one point [01:00:08]but he's not present in body, [01:00:13]that Phaedrus is so inspired by this,

[01:00:18]Right. [01:00:19]He's, he's, he's really enamored by the speech [01:00:22]that Lysias [01:00:24]That speechwriter who writes speeches and defends [01:00:28]people like Epicretus - the

[01:00:32]In order to defraud people and take advantage [01:00:37]Right. [01:00:37]So so Phaedrus says being manipulated or controlled [01:00:42]or incited by the words of Lysias - who's not there. [01:00:46]And it's important,

[01:00:50]He can't be seen here. [01:00:52]Right. [01:00:52]His words [01:00:56]other philosopher [01:01:01]His words go without saying.

[01:01:03]But then they are said by Phaedrus. [01:01:06]So you've got these three characters [01:01:10]and Lysias and Lysias is the puppeteer, [01:01:15]Oh, look at all these shadows on the wall. [01:01:18]Are these shadows on the wall?

[01:01:19]Super awesome, right, Socrates? [01:01:23]And Socrates is like, "Ummm, I don't know, [01:01:27]you know, we we should have to we should look at it. [01:01:30]Now, another point, Socrates repeatedly in this dialog [01:01:34]refers to Phaedrus as "pai" (p - a - i )

[01:01:39]which is like an affectionate term, [01:01:43]Right. Like you would call your your own child "pai." [01:01:46]So a term, an affectionate term. Right? [01:01:49]Meaning child. [01:01:50]So he keeps calling him child.

[01:01:51]Now, he's not a child in that sort of sense. Right? [01:01:54]Not in terms of age is a young man at this point, [01:01:58]but he's a child because he's being deceived. [01:02:01]He's being manipulated by Lysias [01:02:05]But Socrates doesn't just come out and say, "the guy's

[01:02:11]He doesn't just say, [01:02:16]But instead he does. [01:02:17]He's much more gentle, right? [01:02:19]He comes out in a particular way. So, of course, [01:02:23]is Socrates the liberated teacher

[01:02:27]around to lead him out of the mental cave that Lysias [01:02:31]has imprisoned him in. And Lysias [01:02:34]is obviously the "psycherion" right? [01:02:37]The "little soul" that we talked about [01:02:40]in Chapter eight, but especially in chapter nine

[01:02:43]Those "little souls" [01:02:47]they're very smart, [01:02:52]in order to get what they want right [01:02:57]to dangle what they want in front of them, [01:03:02]Right.

[01:03:03]So Lysias is one of those "little souls" [01:03:14]but uses his skill (arete) [01:03:17]in order to control innocent souls like Phaedrus [01:03:24]and other corrupt leaders, corrupt little souls [01:03:29]Right.

[01:03:29]These little souls work together [01:03:34]Right, oligarchy. [01:03:35]So it's significant, I think, that Lysias is present [01:03:42]in the dialog, just like the captors in the cave [01:03:47]But invisible sees only the shadows of

[01:03:52]Lysias' artifact. [01:03:54]The artifact of his speech. [01:03:57]How so then? How? [01:03:59]How does Socrates liberate all this? [01:04:04]This.

[01:04:05]Hey, this child, right? [01:04:06]How does he turn him around? [01:04:09]Well, he does so [01:04:12]through psychological healing, right? [01:04:14]For that,

[01:04:17]So I'm going to do too much of that now. [01:04:19]But as we read the text [01:04:24]to how Socrates liberates, [01:04:28]how Socrates turns Phaedrus around how he inspires him [01:04:34]with a desire for wisdom and for truth

[01:04:36]and for justice and for beauty [01:04:40]in that other sense (Virtue). Right. [01:04:42]First, let me just give you a little overview [01:04:46]So we're going to look in detail [01:04:49]But I'm almost out of time

[01:04:51]I'm going to keep this under an hour [01:04:56]Doing well so far. [01:04:57]First, [01:04:59]Socrates follows Phaedrus. [01:05:01]First you have to go down into the cave, right?

[01:05:05]Each of you must in turn, go down [01:05:10]He says so Phaedrus says, lead the way. [01:05:12]And Socrates says, "No, no, no - [01:05:16]Right. [01:05:17]So Phaedrus tries to get him to lead,

[01:05:19]but Socrates says, "No, I will follow YOU." Right. [01:05:23]Socrates follows him into the cave, [01:05:29]He's atopOtatos -- [01:05:31]He's totally out of place here. [01:05:34]Next.

[01:05:35]Socrates continues to he praises him. [01:05:39]He encourages him. [01:05:40]He builds up his confidence. [01:05:43]Well, you delivered that speech, [01:05:46]You did a great job, right?

[01:05:49]But you did a great job of reading [01:06:04]he listens to him not only in the speech, [01:06:08]He hears him into speech. [01:06:10]That Nelle Morton quote [01:06:13]Hearing one another into speech through listening

[01:06:19]is where we listen to our neighbor [01:06:24]because speaking being heard [01:06:28]There's an aspect to when somebody sees you [01:06:34]Being yourself, when you're able to be yourself. [01:06:37]In some places,

[01:06:41]But when you are able to be yourself [01:06:47]as you are and love you as you are, [01:06:53]and hear your voice and hear your perspective, [01:06:59]It gives us a it's psychologically healing, right? [01:07:02]Listening is a critically important

[01:07:07]Everybody wants their voice to be heard [01:07:11]But in order to diagnose a patient, [01:07:15]In medicine, [01:07:19]What's wrong? Right? [01:07:20]What's your in order to figure out their pathology

[01:07:25]their emotional state of mind, [01:07:29]hear them into speech [01:07:34]in order to diagnose the [01:07:37]whatever is affecting their mind or their body. [01:07:40]Right.

[01:07:40]In the same way, just as a physician heals the body, [01:07:44]Socrates heals the psyche through discourse [01:07:48]most importantly, [01:07:51]Last Step. [01:07:52]Socrates inSpires him.

[01:07:54]He cultivates a desire for wisdom. [01:07:58]And helps Phaedrus to climb the ladder of desire, [01:08:05]a true desire for wisdom is the only thing [01:08:11]out of the cave [01:08:15]but before that desire can even begin.

[01:08:19]Right? Desire is what gets you out of the cave. [01:08:22]But before that desire can even begin, [01:08:27]So that's the (question)... What starts it? What's the spark? [01:08:30]The spark of desire [01:08:34]Right.

[01:08:35]So this is what we see [01:08:39]that gets one out of the cave - But [01:08:43]This child (pai) must experience a metanoia [01:08:47]or a turning around, a turning away from screens, [01:08:53]and screens

[01:09:00]so that's it for chapter 11. [01:09:04]That brings us to the conclusion of this introduction, [01:09:09]hopefully you feel a little bit out of place [01:09:13]Right. [01:09:13]And hopefully this introduction

[01:09:17]also inSpired you with a desire to listen [01:09:22]to what Plato is trying to say to us, [01:09:27]Right? [01:09:28]I want you to either read this text [01:09:35]Right?

[01:09:35]Or you can even read it on the screen [01:09:39]I genuinely hope that you find it [01:09:42]as inSpiring as I do, as I continue to do, [01:09:46]even after 15 years of studying it [01:09:52]And hopefully it will help you to feel

[01:09:55]atapOtatos -- "totally out of place" [01:10:00]and spark some sort of metanoia [01:10:04]because philosophy is a mode of discourse [01:10:10]Because philosophy is "A mode of discourse for the sake of training the intellect by cultivating a desire for wisdom through inspiration." [01:10:23]with that

[01:10:25]peace out.