Abstract

In a 1985 article entitled “The Art of Glaukos,” Diskin Clay suggested that the enigmatic passage at the beginning of the geological myth in Phaedoreferred toRepublic10, where the soul is likened to the sea-creature Glaucus whose true nature, like the soul’s, is obscured by the distortions imposed by underwater life. Starting with a defense of Clay’s ingenious suggestion, my purpose is to compare Phaedoto Glaucus, with its true nature obscured by traditional assumptions about the order in which Plato composed his dialogues, and thus how they should be read. At least part of the reason that Clay’s thesis has not been embraced is because it clashes with the dogma that Phaedocannot refer back to Republic; I want to challenge that dogma. Borrowing from Catherine Zuckert the notion that, since Phaedocomes at the end of Socrates’ story, it can usefully be read as the culmination of the Platonic dialogues, I will show how a “late” Phaedo—i.e., a reading of the dialogue that is open to the possibility that it refers to more than one dialogue generally considered to be later than it with respect to composition—recovers its true nature, presently encrusted with the oysters and seaweed of an outdated developmentalism that has obscured this culminating masterpiece of Plato’s dramatic and philosophical art.