Myth and Metaphysics in Plato's "Phaedo" (review)

Book Reviews David A. White. MythandMetaphysicsin Plato's"Phaedo."Selinsgrove, PA: Susquehanna University Press, 199o. Pp. 316. Cloth, $45.oo. Although this book is in essence a running commentary on the Phaedo,a central theme weaves together its disparate elements, as White examines the relation between the rational and the mythical elements in the work. In particular, White focuses his commentary on the rather anomalous fact that "a singularly complex myth stands as a narrative summit overlooking the rational substructure of the Phaedo" (x7). Against those who would see the myth at the end of the dialogue as either subordinate or irrelevant to the rational arguments of the work, White will attempt to demonstrate that the myth is intimately connected to these arguments in the sense that the rational arguments, designed to convince us of the immortality of the soul, will require the myth in order to achieve this goal. The insufficiency of rational argument, according to White, is foreshadowed in the opening scene of the dialogue, where Socrates explains why he has begun composing poems. Although in the past dreams had informed him "to make music and practice it" (6oe), Socrates had inferred that this directed him to do philosophy, which is "the greatest kind of music." But since his sentencing he has wondered whether the words weren't meant to be taken literally and begins to compose verses in order to fulfill his duty. White thinks we should see in this a recognition of the limits of reason. Just as by beginning to compose poems Socrates casts doubt upon whether philosophy should have been the exclusive occupation of his life, so the Phaedo itself, by placing the myth at the end of the chain of rational arguments, will recognize that "philosophy can and perhaps must be complemented by myth" (3 l). Further evidence for the necessity of myth to complement reason comes after Socrates has presented the first two proofs for the soul's immortality. Although Simmias and Cebes rationally accept the arguments, they admit to Socrates that they are still plagued by fears. In order to dispel remaining fears, Socrates insists that they must "sing spells" (77e) and "find a charmer" (78a) who will help them alleviate their anxieties. White takes this as proof that reason by itself will not persuade Simmias and C,ebes and that "regardless of how long the argument takes to complete, some arguments will eventually require mythical supplementation" (xo3). White continues in this vein for much of the book, offering up declarations on the shortcomings of reason according to the Phaedo:Socrates insists that singing the myth "is necessary in order to persuade us of the truth about the next life" (1~7); the arguments for immortality "will be incomplete and require some other form of dis- [443] 444 JOURNAL OF THE HISTORY OF PHILOSOPHY 3o:3 JULY 199~ course to fill the gap left by the argument" (138); when we accept the myth "the arguments will then be more likely to be persuasive" (238). What emerges, then, is an antirational or at least an extrarational Socrates, a Socrates who believes that reason by itself will not persuade us of anything important and that other than rational means must ultimately be employed. One's attitude toward this work, 1 imagine, will depend on how plausible one finds this picture of Socrates. Personally, I do not see that this portrait of Socrates corresponds to that of the devoted rational enquirer portrayed throughout the dialogues, nor do I think White's arguments are very compelling. To consider just one of the more crucial pieces of evidence: White thinks that Socrates' command to Simmias and Cebes after the first two proofs to "sing songs" and to "find an enchanter" means that he is telling them to turn to other grounds besides rational argument. Against the suggestion that by "singing songs" Socrates is merely exhorting them in a metaphorical way to continue the argumentative process, White argues that "to sing songs" can't mean to argue discursively because Socrates is telling them "to sing songs" in order to allay their fears regarding the afterlife. But since neither Simmias nor Cebes disputes the logic of the proof...