Gorgias
- Sprache:
- Englisch
- Status:
- Vollständiges Werk
- Autorschaft:
- Vom Autor verfasst
- Zustand des Textes:
- Kein Scanrauschen festgestellt (automatische Messung über den ganzen Text, nicht von Hand geprüft)
- Umfang:
- ~58.500 Wörter · 278 Passagen
Dieses Werk zitieren
- APAPlaton. (n.d.). Gorgias. Digital reproduction: SigPhi. https://sigphiai.com/de/works/plato/gorgias
- MLAPlaton. Gorgias. Digital reproduction, SigPhi, https://sigphiai.com/de/works/plato/gorgias.
- ChicagoPlaton. Gorgias. Digital reproduction, SigPhi. https://sigphiai.com/de/works/plato/gorgias.
Angabe der Ausgabe, die SigPhi wiedergibt: SigPhi ist ihre digitale Reproduktion, nicht der Verlag. Das Erscheinungsjahr steht nicht in den Metadaten (daher „n.d.“), und der Übersetzer erscheint nur, wenn er verzeichnet ist.
Wovon es handelt
Gegen die Lehrer der Rhetorik: wenn der Redner überzeugt, ohne zu wissen, was verkauft er dann eigentlich? Der Dialog wendet sich der schwereren Frage zu, ob es besser sei, Unrecht zu tun oder Unrecht zu leiden.
Kontext und Geschichte
Der Dialog, in dem Sokrates sagt, er wolle lieber Unrecht leiden als Unrecht tun, und in dem Kallikles erwidert, die Gerechtigkeit sei eine Erfindung der Schwachen, um die Starken zu zügeln — ein Argument, das Nietzsche dreiundzwanzig Jahrhunderte später aufgreifen sollte. Platons härteste Erörterung der Macht.
Redaktioneller Kontext, keine zitierfähige Quelle: anders als die Passagen des Werks lassen sich diese Angaben nicht am Korpus überprüfen.
mantle of Schleiermacher has descended upon his successors, who have applied his method with the most various results. The value and use of the method has been hardly, if at all, examined either by him or them. Secondly, they have extended almost indefinitely the scope of each separate dialogue; in this way they think that they have escaped all difficulties, not seeing that what they have gained in generality they have lost in truth and distinctness. Metaphysical conceptions easily pass into one another; and the simpler notions of antiquity, which we can only realize by an effort, imperceptibly blend with the more familiar theories of modern philosophers. An eye for proportion is needed (his own art of measuring) in the study of Plato, as well as of other great artists. We may hardly admit that the moral antithesis of good and pleasure, or the intellectual antithesis of knowledge and opinion, being and appearance, are never far off in a Platonic discussion. But because they are in the background, we should not bring them into the foreground, or expect to discern them equally in all the dialogues. There may be some advantage in drawing out a little the main outlines of the building; but the use of this is limited, and may be easily exaggerated. We may give Plato too much system, and alter the natural form and connection of his thoughts. Under the idea that his dialogues are finished works of art, we may find a reason for everything, and lose the highest characteristic of art, which is simplicity. Most great works receive a new light from a new and original mind. But whether these new lights are true or only suggestive, will depend on their agreement with the spirit of Plato, and the amount of direct evidence which can be urged in support of them. When a theory is running away with us, criticism does a friendly office in counselling moderation, and recalling us to the indications of the text.…