Plato on Virtue: Definitions of [sophrosune] in Plato's Charmides and in Plotinus, Enneads 1.2 (19)

When interpreting Plato's dialogues we are confronted with a number of difficulties that we rarely meet when looking at the works of any other philosopher in antiquity. The most important reason for these difficulties can be found in the literary form that Plato has chosen for all his extant works, the dialogue. Instead of developing his theories in systematic treatises, as at least some of the pre-Socratic philosophers and most of the philosophical later writers we know of did, Plato prefers to display philosophical conversations, usually with Socrates as the main interlocutor. The advantage of this literary form is that it conveys a sense of immediacy and vividness as does a drama on stage;¹ it involves readers in the discussion and lets them experience the process of dialectic going on in the conversation.² Nevertheless, Plato's dialogues raise a number of questions for those who do not read them only as pieces of literature but who want to analyze their philosophical content, especially where the so-called early dialogues³ are concerned: How are we to interpret the figure of Socrates? Is he supposed to represent the historical Socrates or is he only Plato's mouthpiece, or both? Are the aporiai of the early dialogues really insoluble or are there hints at possible solutions? Are we allowed to refer to later Platonic dialogues, in which metaphysical theories such as the immortality of the soul, the theory of ideas, and cosmology are explicitly developed, in order to interpret the dialogues of the early period? Is it possible to detect something like a Platonic system that stands behind the dialogues but is not presented in all its details? What is the relation between such a system and Aristotle's reports about the unwritten doctrines () that Plato taught in his school, the Academy? In what regard are Plato's oral teachings at the Academy and his written dialogues connected to each other? And finally: What was Plato's object in composing the dialogues? These are some of the vexed questions that have been occupying scholars since Friedrich Schleiermacher for the past two centuries⁴ and that form the complex of problems every interpreter of Plato has to face.

The present study does not intend to give a solution to all the problems mentioned above. It is concerned with one of the central aporetic early dialogues, the Charmides, which deals with the definition of the meaning of (hereafter, sophrosune), one of the Platonic cardinal virtues. First I am going to describe which definitions of sophrosune are proposed in the Charmides and how Socrates seemingly proves them wrong. Then I will show that these definitions are accepted in Plato's later dialogues or that they can at least be justified with the help of these. Finally I will present Plotinus' theory of the stages or grades of virtue with respect to sophrosune, and with the help of this theory I shall try to find a solution for the aporiai in the Charmides.

1. The Definitions of Sophrosune in Plato's Charmides

The Charmides,⁵ named after one of the interlocutors of Socrates, is set in the Athens of the year 432, at the beginning of the Peloponnesian war.⁶ After a longer absence, which he spent in the military expedition at Potidaia, Socrates returns to Athens and on the next day immediately goes to the usual public meeting places (, 153a2-3). In the Palaistra or wrestling-school of Taureas he meets some friends, among them Chairephon and Critias, the latter being a cousin of Plato's mother and later one of the thirty tyrants.⁷ When Socrates inquires after the state of philosophy and asks for information about young men excelling in the fields of knowledge and beauty (, 153d4-5), he is referred to Charmides, who has just arrived and who enchants not only the young but also the older men with his beauty. He is Critias' cousin and Plato's uncle, the brother of his mother. Thus the two most important interlocutors in this...