12 20 5655 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/c03377a141baddbe91eb9196f92e2a1b.pdf b7c337356fea8f2e9e6d72a59f84dfd4 PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches, presentations, and other lectures Description An account of the resource Speeches, presentations, and other lectures given at St. John's College. These include convocation addresses delivered in both Annapolis, MD and Santa Fe, NM.<br /><br />Click on <strong><a title="Speeches, presentations, and other lectures" href="http://digitalarchives.sjc.edu/items/browse?collection=15">Items in the Speeches, presentations, and other lectures Collection</a></strong> to <span>view and sort all items in the collection.</span> Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context speechespresentationsotherlectures Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 12 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A world of worldless truths, an invitation to philosophy Description An account of the resource Transcript of the Graduate Institute convocation address given on June 20, 1999 by David Levine in Santa Fe, NM. Creator An entity primarily responsible for making the resource Levine, David Lawrence Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 1999-06-20 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Philosophy Learning and scholarship Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 24003175 Convocation Graduate Institute https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/5fda89fb7be753fa39d23130c933247d.jpg 52bb1a591f646808eb8f173ff824ddb8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1252 Title A name given to the resource A. Willard Joyce and Alumnus Having Lunch during Homecoming, Annapolis, Maryland, [ca. 1972] Description An account of the resource 1 photographic print : b&w Subject The topic of the resource Homecoming (St. John's College, Annapolis, MD) Date A point or period of time associated with an event in the lifecycle of the resource 1972 (circa) Creator An entity primarily responsible for making the resource Dos Remedios, Steven Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Homecoming https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2d13c79b0958c27baecc69a0f2332ee1.jpg ea43b9745a7026c1e4de394338f20f45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 18 x 12.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0754 Title A name given to the resource A. Willard Joyce, Dunlevy C. Downs, Mrs. Dunlevy C. Downs, Guy D. Thompson, Walter W. Warner, Ernst von Schwerdtner, and C. Carey Jarman around a Dinner Table at Homecoming, St. John's College, Annapolis, Maryland, 1970 Description An account of the resource 1 photographic print : b&w Subject The topic of the resource St. John's College (Annapolis, Md.) -- Alumni and Alumnae. Homecoming (St. John's College, Annapolis, MD), 1970 Joyce, A. Willard Downs, Dunlevy C. Thompson, Guy D. Warner, Walter W. von Schwerdtner, Ernst Jarman, C. Carey Date A point or period of time associated with an event in the lifecycle of the resource 1970 Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Homecoming https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/55ac56b3728278d0c3413bba25927d9e.pdf 5bfccf97b6bd59faef975dd36abdb5c6 PDF Text Text fiBOUT PLAT0 1 S PHILEBL~§. A lecture given by Jacob Kl ein a t St. John's College May 20, 197·1 To speak about a Platonic dialogue, about a Platonic dialogue, means t o do violence to it. A sense of guil t will, be t herefore~ a continuous source of pain within me while I am speaking. But I cannot resist ths temptation to shed some light, some moonlight , as it were, on the P~ileb~. I hope you will forgive ma-- I cannot-- for sounding extremely pedantic, for speaking much longer than I should, end for making it sometimee very diff icult for you to follow. Let me state fi ve basi c points on which my talking about the Philebus will rest. First: a Platonic dial ogue is not a treatise or the text of a lectur e; it is not comparable in this respect t o a work of Aristotle or, for t hat matter , to any of Plotinus' Enneads as edited by Porphyry. A Platonic dialogue is usually a drama, a mime 9 i n which what happens cannot be separated from what is said and argued about. ,§.econdly : however s erious the purpose and the content of a Platon ic dial ogue , its seriousness is permeated by playfulnsss; indeed, as ~1e can read in t he sixth letter attributed to Plato , serious- ness and play a.re The comica l aspect of a Platonic d i a iog ua .§l;ste :r~· can never be completely disregarded. l.bl!:.9.1Y; no Platonic dialogue can be said to r epresent be called and ha s been called _:the "Platonic doctrine." (Soph. 254C ) ~1hat might The dlalcgue may well hint, though never 11 wi t h perfect clarity, " at gsnui t:21 a::d ulti mate thoughts of Pla to, the thinker. The S ae~, for example~ does that most certainly. · But an unimpeachable source provides us with more direc t inform~tion ever put down in wr itinga about Plato 1 s thinking t hat he himself Thi s source is Aristotle, who spent t wenty years at that place of leisure, the Academy, and heard what Plato hi mself sai d. I assume that we have to pay a ttention to Aristotle's r eports , never forgattin.9. that Aristotle has his E.!:!.!l way of describing other peoplesv thoughts, a peculiar t erminol ogy r o~ted in his �-2~Q. thinking and not ln the thinking of those other people s.bout luhom he reports. Fourthl_y: i n the las t t tt10 c enturies scholars; not all 1 but moat of them, have tried to understand the Platonic dialogues as belonging to different stages of a "development" in Plato's own thinking. Now, it is of course possible that Pl ato, in his l ong life, changed his views on many and perhaps even on moat important poi nts. follow a Platonic dialogue means to take it as it ~' But to as one whole~ i n which the i nterlocut ors play a definite and unique role and in which uihat is s~ and what is happening does not depend on anythlng that is said and is happening in any other dialogue. Before we could understand any "development" in Plato's thinking, it is i ncumbent on us to understand each dialogue in its £!:.1ill. terms. This understanding is not helped by assignirn} a dialogue to a certain period in Plato's Yet, in the case of the Philsbuet it will not be unimportant life. to t ake no t ice of the time this dialogue was written--no t in order to track some "deve lopmental " deviation i n Plato's thinkingj but merely t o establish whether certain statements in the dialogue may refer to somebodyvs conspicuous behavior within the Academy in Plato's later days. is And, happily enough, there i s general agreement that the a~ Phileb~e dialogue, although some of the reasons for this da ting might be questionable. [i.fthly: every word in a Platonic dialogue counts, and for some- body in the dialogue to remain silent may count even more. talking .~9.2l-!1 That's why a dialogue must necessarily r emain insuff icient . And now let us approach the Philebu~. The conversation takes place in Athens; we do not learn exactly where; it may be at a gymnastic school or at a wrestling school. 1.ofJ.9. What we read is a Eart of a conversation which begins s ome time in the afternoon. three i nterlocutors ; Socrates~ ~§t:i The~e are Protarchus, Philebus; many young men , half a dozen or a dozen per ha ps, are listening. Socrates is, well~ Sacrates--a man deuoteci ta inquiries and discussions and a friend �About Pl:~d;b' s .!:b.!1~9.L.f~ and lover of youth. Call:Las. Protarchua is the son of m well known Athenian, Philebue is nnt f<no1iln at all. He is one of t.ha fe1,t1 person~· ages in the Pl ato nic di alogues 3 like Calliclea, Diotima, Timaeus, invented by Plato; if they do not remain nameless~ like the Stranger from Elea and the Stranger from Athens, their names are appropriately coined. The name of Philebua indicates that he is a "lover of youth"--as Socrates (168) is. Philebus seems to be young, but slightly older than Protarchus and all the l is tening young men around them. The title of the dialogue as it has been handed down to us is Philebus. This title is never mentioned in the writings of Plato's contemporaries. Aristotle refers to what is times, mentioning Plato once. ~ in the dialogue at least eight There seems to be no reason , however, to doubt that the title qPhilebus" is genuine. Moreover, there is one good reason which speaks forcefully for its authenticity. dialogue contains did). .£.i.36~ The lines (I did not count them, but somebody Of these 2,369 lines only 23 are spoken by Philebus (those I counted). He raises his voice altogether only 14 t imese circumstances, who else but ~~ for the title cf the dialogue? Under these could have chosen the name of Philebus There will be more to say about this matter later on. The main question raised in the dialogue is: ~? What is the best human And this question has to cope primarily with the all-pervasive feeling of mocking us. ~~ common to all living beings--haunting, filling~ All of us--without exception--want to be pleased in thousands and thousands different ways: we Beek to lie down or to ait comfortably; we like hearing things that flatter us; we en joy good companyt witty words~ good drink and food; we delight in traveling 1 in going to the theater or to the movies, in looking at beautiful things; we love caresses, precious gifts, wild emotions; we loose ourselves wi th rapture in exerting ecstasies, and so on~ and so on. power~ in sexual s atisfaction 3 in A list of pleasures like the one I have just given is not to be found in the dialogue, but an infinite number of possible pleasures is implied in the arguments we are facing. �-4-- It is Philebus who looks at Pleasure as the highest good, who sees in Pleasure not only the best of human possessions, but the goal after which all liv:i.ng beings strive. ( if I Pleasure (17001''1) is the goddess he And quite a few of us, I think, follow him. worships. Secretes does not. Ha contends that there is something better and more desirabfe than pleasure, to wit, thoughtfulness in deciding how to act (t~ ~eovttv), the apprehending of what is intelligible only (~o vo~~v ) , !be power of memory ("to )At:f"Y~~IJ"') and that which is akin to these, right opiniQD_ (i~l« 1'e0~ ) and l!'ue calculations (JJ...,e;;"Ls Jioit..o-µo~ ); but Socrates carefully adds that these powers are better and more desirable than pleasure for those beings who are able to share in the.s e powers; only to beings who have this ability will these powers be profitable , now and in the future. This juxtaposition of both contentions, of that of Philebus and of that of Socrates, is made by Socrates very shortly after we begin reading. ( 11 A) "See, It is introduced by Socrates with the following words: then~ Protarchust what the assertion is which you are .!l£!£. to accept from Philebus, and what our assertion is, against which you are to argue, if you do not agree with it. of each of them?" logue. Shall we give a summary These words are the very first words of the dia- But what strikes us immediately is that they cannot be under- stood as indica ting the beginning of a conversation; they just continus what was said before; if they were the beginning of a conversation, the vocativa Tie~"&t(eXfl would be preceded by Z (Z lfe~f".txfjE, and not simply lleJr:Q{e~E); and the words "then" (cf~) and "now" (yl)yt) would not be used. Listen again: which you are~ true beginning. "See, ~t Protarchus, what the assertion is to accept from Philebus ••• " The dialogue has no Nor does it have a true ending. sentence we read spoken by Protarchus: This is the last "There is still a little left, Socrates; you will certainly not give up before we do, and I shall remind you of what remains. " We do not yet understand why the dialogue has no beginning and no ending. But we see (and this is important), �About Plato's .. Ebi:.!EJ~ ~ when we begin reading, that Protarchus hes to take over the thesis upheld by Philebus. More about th~t later. Enjoyment and thoughtfulness are the two banners that Protarchus and (111>) Socrates are respectively waving. The life of pleasure and the life of thoughtfulness face each other. But it becomes clear immediately that Socrates is considering some other life superior to both of them. He will keep reverting to this third life. It will finally be described in the last pages of the dialogue. What follows the juxtaposition of the two views, that of Philebus and Protarchus on the one hand and that of Socrates on the other, is Socrates' insistence that pleasure has many different aspects: (12C) "For, when you just simply hear her named, she is one thing, but surely she takes on all sorts of shapes which are, in a way, .!:In~ Socrates gives two simple, though significant, examples; each other." the pleasures of a licentious man are very different from those of a self-restrained man, who enjoys his very self-restraint; the pleasures of a fool are very different from those of a thoughtful man, who enjoys his very thoughtfulness. No, says Protarchus, the sources of pleasure may be different, may have an opposite character, but "how can pleasure help (120/E) being of ail things most like pleasure, that is, like itself." Yes, says Socrates, color and figure are what they are, but colors and figures can be very, very different and even, in the case of colors, most opposed to each other, like black and white. see how this could make him change his mind. third time~ Protarchus does not Socrates tries for the this time incisively, anticipating what will be said later in the dialogue. are pleasant. No argument, he says, disputes that pleasant things But Protarchus' contention, which upholds Philebus' conviction, implies that all pleasant things are g_ood. That's what is wrong. Pleasant things are for the most part bad and only some are good. But youj Protarchus, says Socrates, call all of them good, although you might be forced by the argument to agree that they are otherwise different. Protarchus tacitly admits that pleasures may be very different from each other, and even opposed to each other, but �sticks to his main poi nt t hat pleasure s , inas much as they are ~j are ahiays good . At this point Socrates goes back to his own contention, namely that 1b.?J:19htfulnsss (<f>eov~€tS) and ~! apprehen~ion of the i~elligi~~ (voos) are good. He adds to these--for the first time--knowledoe -- (i ~t ~~1pi) end predicts that many kinds of knowledge will come to the f ore, some among t hem unlike each other. Should it turn out that some are even opposed to each other, could he, Socrates , t hen cling to the poi nt that all knowledge is alike and--not unlike Pro t archus-11 save himself" in an absurdity? Protarchus is pleased that both, his assertion and that of Socrates, receive the same treatment and is now willing to grant that there are many different pl easures just as there are many diff erent knowledges (we have to note ths.t he does not mention oeposite pleasur es and knowledges). Socrates i s satisfied with Protarchus ' concession about the manynsss within knowledge and within pleasure and spsaks as follows: (148) no concealment~ "With thent Protarchus, of the differentiation within my good and within yours, but facing it squarely, let us be bold and see if per chance, on examination, it will tell us whether we should s ay t ha t the good is pleasure or t houghtfulness or some ot her ihird thing. 11 It is the second time that Socrates reverts to the poss i bilit y that something third may be th e bes t cf human poss ess ions. He pro- ceeds by strengthening this statement by an assertion whi ch has a wide, wide range. This is one·of the transitions in which the dialogue abounds (Parenthetical remark: in the 2nd century A.O. Galen wrote a treatise enti tled ''On the transitions i n the Philebus, " which is unfortunately not extant ). f ac:ing. let me s ay a f ew words a bout the transi t:ton we are now �-1- Up to this point the talk was about things most familiar to all of us, about pleasure and about thoughtfulness and about knowledge, this last word taken in its colloquial and vague sense. about our lives in this our world. The talk was concerned What Socrates is undertaking now is to lift the conversation to a level of all-embracing universality, disregarding pleasure and knowledge altogether . He will come back to them after a short while and then launch out to an even higher level. Why does he do that? The answer is: to find the ultimate sources of what is so close to us and usually unquestioned by us. The dialogue seeks to link the most common to the most uncommon and fundamental. To find the link will require a great deal of vigor on Socrates' part. The manyness within pleasure and within knowledge leads Socrates to re( 14C) mind Protarchus of the "astounding" assertions that "many are one" that "one is many." and There is nothing par ticularly surprising and diffi- cult about these assertions if they refer to visible and tangible things, which come into being and perish. A man, for example, is also many, because he has many members and parts. intelligibles, the £ l'ott on~, but he is But when we consider of things, the "invisible looks," which can be encountered only in speech (f>I Ao~ ti ) , and each one of which is one and unique, the "ona and many" problem becomes extremely perplexing (Socrates me ntions four of the intelligibles: the One young Beauty~ man~ the _Qne Go.2.£). the ~Man, the One Ox, That's where the trouble sets in. Any says Socrates, challenging those present, any young man, once he has tasted the flavor of that perplexity and thinks he has found a treasure of wisdom, does net spare anyone, neither himself, nor his parents, nor any human being, who can hear him, and joyfully sets every possible argument in motion, confounding everybody. (16A) Protarchus feels hit. "Do you not see 9 Socrates," he says, "how many we are and that we are all young men? Are you not afraid that we shall join with Philebus and at- tack you, if you revile us?" But Socrates' challenge works. Protarchus wants Socrates to find a better road than was used up to now and to lead them on. Socrates retorts that there is a better road , which he alwa~1s loved, �which is easy to point out, but very difficult to follow. Whatever human art has discovered had been brought to light through it. Socrates' description of this batter road marks a new transition in the dialogue. Socrates calls this same Prometheus r~ad tog~ther a "gift of gods to men," which we owe to with some gleaming fire (let me remind you: Prometheus stole the fire he ga\1e to men)~ The ancients, who were better than we and lived nearer the gods, says Socrates with deadpan seriousnessi have handed down to us the tradition that all the things which are ever said to exist are sprung from.Q.o.[ and MailY and have, I "' P ) inherent in their nature, Limit (lft;fd..J) and Infinitude (oUTE'-ft..<Jl • JI We shall come back to this point in a little while. What Socrates emphasizes now is that we must , in every case, look for .si!le e 'f Jos (he uses the word t J~... hare) and next for two,, if there be t1JJO, and if not, for 1hree or some other .J]JJ!nber; and we must treat each of these <:J~J"., ir'l the same way, that is~ subdivide each of them~ until 11 we can see that the original one is not just one and many and infinite, ( ·1 60) but also 12.9~ farewe ll ta the it is." Then we may bid farewell to infinity, bid Lf€et of infinity . Protarchus wants Socrates to clarify what he has said. No wonder! Socrates provides this clarification by pointing to the letters of the alphabet. The sound which we emit through our mou'\::.h can be called one, yet it is infinite in diversity. A god or a godlike man, as an Egyptian story tells, observed, however 9 that there are distinct vowel sounds, semi-vowel sounds and consonants- -in Greek 7 vowels, OY $OY\ta..,'l;.f 3 semi=vowelsA(~je,~)~ and 14 consonants~ more exactly 10y if we include I \ the rough breathing sound h and exclude the 5 double consonants. This means that be tween the oneness and the infinitude of s ound there are definite numbers of sounds. One has to know all of them to possess the arl of reading and writing. Socrates !!llllPhasi~ the !J.1£!!ber~ of sounds and letters. But this example of the al phabet and the example cf the numbers of musical intervals, which Socrates also gives j are �AboL1t P.lat o 1 s f,11,i];_eig!L§_ meant to let Protarchus and Philsbus and us understand that t here are numbers in the realm of the (560-E) 't'[.., . Lab::ir in the dialogue Socrates will clearly distinguish between numbers of unequal units , that is, numbers of sensible things, and pure mathematical numbers of units, that is, of units which do not differ at all from each other. But (sse esp. we learn from Aristotle that Plato also spoke of eidetic number s , of ~· XIV, numbers of units which are themselves nothing but ~fd~ 3, 1090·e. find them means tc embark upon that better, but difficult road. • To try to 32 ff.) Protarchus and Philsbus do not under stand what is going on. especially does not see theme of lLlhat the ~' Philebus which Socrates has i n jected into the discussion, has to do with the alternative of pleasure and t houghtfulness, which was in question. Socra tes reminds him that t hey were wondering how each of them , pleasure as well as thought( 18E) ful ness, was one and many, and whether "each of them possessed a number before becoming infinite, " that is to say, whether there were ~I t of Gt~~ pleasure as well as of thoughtfulness, which then are dispersed among beings that continually come into being and perish and that live their li ves in pleasure and thought. Protarchus is perturbed. He understands what Socrates i s after. He cannot find an answer to the question. He wants Philebus to answer it. And he formulates the question as follows; "I think Socrates is asking (198) us whether there are or are not and of what sort they (198) does not utter a wo1-d. true, son of Cal l ies." a ~ e, f; ri.., of pleasure t how many there are and the same of thoughtfulness." Philebus But Socrates remarks: "What. you e.ay is most He underscores the importance cf this fact by addressing Protarchus ceremonially as son of Callias. Protarchus is intent on bringing the discussion about pleasure and thoughtfulness to a satisfactory end. Socrates promis~ was reached. This We learn from what he says that that he would stay on and not go home before this end ptomis~ must have been given, we have to assume , during the discussion which preceded what we read in the di alogue, and we should not forget that. Protarchus demands that Socrates s top per- plexing him and the other young men and decide either to divide him- �self pleasure and knowledg e i nto t.heir .;1'ii1 E£ t o let th,st go, if there bs some other way to solve the matte r s at iss ue among them. Socrates is willing to do the latter, end this marks a new t ransition in the dialogt1e. Socrates claims playfully that some god has just reminded him of some talk about pleasure and thoughtfulness, which he heard when he was dreami ng or perhaps when hs was awake. What he heard saying was that neither pl easure nor thoug htfulnes s was t he good, but some t hird thing, differe nt from both and be t ter than both. that Socr a tes himself had in t imated t his the ~ time. We remember , cf cour se , twi c~ . If this could be clearl y shown He doe s i t new for now~ s ays Socrates, pleasure would not be the victor and it would no longer be necessary to divide pleasure into its 'l"J., . And Socrates adds that, while the discussion proceedsj this will become still What f oll ows leads to thr ee insights: cle a r~~. 1) i t is the l ot of the Good and only of the Good to be s elf-suff icient; 2) if we take the l i fe of plea- sure and the t ho ughtful life separately, so that t he li f e of pl easure is totally divested of any thought, any knowledge, any opi nion, any memory, and the thoughtful life, on the other hand, totally untouched by any pleasure, both lives--in this bare fo rm--cannot be conceived as self-sufficient, as desi ra bl e and as good; 3) only a l ife made up of a mixture of pleasure and th oughtfulne ss and sharing in both will be the kind cf life everybody would choose.- Lat me remark t ha t Socra t es and al s o Protarc hue list under the power s associated wi th thoughtf ulness t he power of a pprehending the intell ig iblas,va~s, which in common parlance may s imply mean sood sense . role for quite a wh ile. This term will now play a central Socrates concludes: it has bsen sufficiently shown that Philebus' goddess, Pleasure, cannot be considered identical (22C) with the good. Thereupon Ph ilebus raises his voice: "nor is your va~s th e good, Socra tes ; it will be open to the same ob jections. " (22C-D ) hear Socrates' :reactiom ''!ti you s Let us perhaps, Philebus ; but not s o the �·-1 ·1- ,.. !£.Y..e vovL, which is also ~l.rJ...~J th at one, I guess, is different. I do not as yet claim for the vo~s the prize of victory over the combined life, but we must look and see tJJhat is to be done about the §_§!cond prize." Socrates goes on, still speaking to Philebus: (220} put forward a claim, one that vous "Each of us might perhaps is ,E_ssponsible for this combined life, is its cause, the other that pleasure is: and thus neither of these two would be the good, but one or the other of them might be re- [Of the combined lify." Then, turning to Protarchus, Socrates claims he might keep up his fight against Philebus in garded as the .£.~~ an even stronger way and might contend "that in this mixed life it is vo~f that is more akin and more similar than pleasure to that, what- ever it may bet which makes that life both desirable and good." As to pleasure, he adds, "it is farther behind than the third place, if J!OC ( l l E.) ~ yous is at all to be trusted at present." The emphasis in this passage is clearly on the terms vcv S and "cause" (oc~ri.ov). What remains unclear is the sense in which the term "cause" is to be taken and the rank to be attributed ul timately to the voDs • And let us not for a moment forget Socrates' own vovr. Socrates suggests that it might be better to leave pleasure and not to pain her by testing her i n the most precise lllay and thus proving her in the wrong . Protarchus disagrees. Socrates asks whether Protarchus disagrees because he, Socrates, spoke of 2aini119. pleasure. second time that pain is mentioned in the dialogue. It is the It is done jokingly. Pain was mentioned for t he first time when Socrates dealt with the thoughtful life, totally untouched by pleasure. was this: (210/E) and The way he put it then "would anyone be willing to live possessing thoughtfulness vov5 and knowledge and perfect memory of all things, but having no share, great or small, in pleasure, or in ee.in, for that matter, but being utterly unaffected by eve rything of that sort?" The question, which is supposed to be negated, when put in this farm1 actually involves a difficulty: one ~ould perhaps be willing to accept a thought- ful pleasureless life, which does not involve us in any pain. The third time pain will be mentioned is going to show pain as a close companion of pleasure and as a real evil. Protarcihus says he i~ not �~·12- shocked by Socrates' phrase "paining pleasure," but rather by Socr ates' apparent attempt to stop talking about pleasure altoge ther and because (238) Socrates does not seem to understand "that not one of us will let you go yet until you have brought the argument about these matters to an end." This is the second time Socrates is warned about leaving too early. Whew, Socrates exclaims, and predicts that a .long and difficult discussion lies ahead of them. To fight the battle of the '/OUS for the second prize requires new weapons in addition to those already used. A new beginning has to be made, and this wili mean a new transition in the dialogue . Let us be on our guard in making this beginning, says Socrates, and we should ind eed pay attention to these words. Secretes suggests that everything tha t now exists in the world be distributed in a twofold, or rather in a threefold way. The results of this distribution are very different from each other. . W They are called by Soc~ates, indiscriminately I and unpreciselyt~ti~ or rev~, which I shall translate by the word "tribes," The first two have been mentioned before as a kind of Promethean gift: the ''limitless" (ro ~7it:,fo"1) and the "limit" (r~ The third is the mix ture of these two into one. literally, as we shall see in a moment: now Socrates adds: n/e°'S ). This is not to be taken let us be on our guard. And "But I cut a considerably ridiculous figure, I (230) think, when I attempt a separation into tribes and an enumeration." (230) Protarchus wonders why. needed besides." Socrates: "It seems to me, a fourth tribe is It turns out that Socrates means the cause of the commixture of those first two. And Protarchus, who is eager to supply even a fifth, namely the power of separation, is told in affable words that this fifth is not needed now, but that if it be needed later, he should excuse Socra tes for going after it. The mentioning of Protarchus' proposal and the way of handling it cast a doubt on the necessity of the �.£.~· fourth tribe, the The:r.e might be something strange and even ridiculous indeed about that. We should be on cur guard. ,,, ' Let us consider one of the first tu10 tribes, namely r:o The following English translations are all adequate: etffEleo'/. the limitless, the endless, the boundless, the unlimited, the infinite, the innumerable, And we must not forget the homonym the indefinite, the indeterminate . ( 17E) :"''foS , meaning the inexperienced one, upon which word Plato does not fail to pun. ... I As to the second tribe, co ffG(!«f, the "limit," it becomes almost immediately apparent that, although Socrates keeps using this term, he ,,also SUbstituteS for it the phrase "that Which has limit, II G~ov, that is to say, the "limited." Protarchus and the other young men as well as we are somewhat confused. gate how each of them~ 'C"O n€efl<.J Socrates-proposes to investi- the "limitless" and the "limited," are both "one and many"; for he contends that each one of them is split up and scat(24A) tered into many. again: He starts with the "limitless," warning Protarchus "Whet I ask you to consider is difficult and debatable." Hare are special cases of this tribe~ parts of its manyness: "hotter and colder," "quicker and slo111er, 11 "greater and smaller," "exceedingly o<l and slightly, 11 "excessive and lacking." In each of them there is "the more as well as the less" JCrt:c. constantly ' J,bt<>.>.ov ,.. ,, (t"o _ "ft " ~ 'J-C-'f:o~). and never stationary--in sharp contrast to what .§_~vancins is determined by a fixed number, by just "that much": s number advances, it cease¢ to exist. • the expression i-" Each of them is A , ~JI.\ o 11 i"G 1<"' \ ~ VJ if such a What captures our attention is r; r: o Y • This expression is meant to gather together the tribe of the "limitless" and to put upon it the (25A} seal of a single nature. It is used six times in the passage we are now considering and once more much later on. is omitted. ~ the particle -Cf.. This omission focuses our attention on the use of this particle in all the other cases. are all in the dual. The verbs related to this expression And Socrates summarizes pointedly: 11 by this �- 14(240) argument the hotter and its ,Qppostt_!! become together limitless. 11 The "limitles~' is a pair. The expression "the more as well as the lass, 11 as the seal of a single nature, seals a ,E~~U·..~Y..· And this duality remains completely indeterminate. The "limitless" is an indeterminate pairq But what abou,t the "limit," on the one hand, and the "limited," that "which has limit," on the other? Lat us take the "limited" first. It is, as Socrates quite clearly states, contrary to "the more as well as (25A/B) the less"; it is the egual, and egualiU, the double, and any number in firm relation to another number or a measure in firm (250/E) ~lation to ano- ther measure, that is, everything which "puts an end to the variability between the opposites and makes them proportionable and harmonious by the introduction of number." We understand that what Socrates means by this tribe of the "limited" is what we read in the 5~ Book of Euclid 1 s Elements. This book is in all probability either a perhaps somewhat condensed copy of an original f.l.rist. Met. XII, 8jl073 b 1"lff. P!oclus, in Eucl. Cornm. (Teubner) pp.67,2ff Arist. £]_st. I,9, 991a14ff. i\!ic. Ethe X,2,11'72 b 9ff. work of Eudoxus or imitates this work. Who is Eudoxus? He was born in Cnidus, on the shores of Asia Minor, came to Athens and stayed at Plato's Academy for a while. He was an astronomer, a mathematician, and a geographer; he firmly established the doctrine of ratios and proportions, including those of numerically incommensurable magnitudes; he tried to "mix" the E: (/ti. , as understood by Plato, with all the sensible things 9 and--what is most important to us--he declared plsastire to be the supreme 9,.'2.,0d• Philebus. But pleasure was not his goddess, as she is for Eudoxus, as Aristotle reports, "seamed to be a man of excep- tional temperance, and hence he was thought to uphold this view not because he was a lover of pleasure, but because it seemed to him that it was so in truth." Socrates, as we see in the dialogue, disagrees. The tribe of the "limited" then consists of ratios. The tribe of the �About Plato 's -15- (260) scattered n11mitles s, 11 of the ~,r ~f11€H eov1 ~ £Ql1film~. in .Hs inf5.ni ta manyness found its unity in the esal of "the more and its cppcsite, 1' that is, in "the more as well as the less." Th e tribe of the "limited," the manyness of determinate ratios, has not yet found its unity. (258) This unity was only postulated, was only, as Socrates says, "referred to." ;i / was indeed a direct "reference" to the "limit" itself ( titS wo And Socrates concludes: (260) There .., 11"r!i(!clf ) • "The limit did not contain a multitude nor did we feel a difficulty that it might not be £l..D2. by nature." It is at this point that we might turn to Aristotle's reports about Plato's unwritten words t o conf irm what we found in the dialogue and to win greater clarity. b 987. '2628 In the Plato: 5th chapter of the 1st book of the ~aphysi.£,~ Aristotle says of "it is peculiar ta him [.f.e. Plat_g7 to pos±t a duality instead of the single Limitless, and to make the Limitless consist of and the Small• 111 In the 3rd book of the Phys~cs ~ 1 the Great 111hsre Aristotle dis- cusses t he liJifil(!rn' "' at great length, we read in the 4th chapter again: 203a15 11 For Plato there are two Infinites, •the Great and t he Small.'" We see thus confirmed what we read in the Philebus, except that Aristotle, in his own way 1, usas the words "great 11 and "small" without their comparative (cf. 37C and) forms. He keeps using these words, in speaking about Plato , at many other places. But, what is more important, in Books XIII and XIV of the Metaehysic:s Aristotle mentions several times two he puts it, out of which, according to Pl ato, 11 11 elements, 11 as numbers" are derived. We have to understand that Aristotle has in mi nd "eidetic numbers , " assemblages of '~ 141 • <('»I C' These ttim sources are the "indeterminate dyad" I 'C/ (ff] ii'l.C1ftl'.n::o5 G1votS') and the "one" (i:q ~Y'). minate pair of the of the L imitl e s s~ P hil~ in the 11 We recognize the indeter- i ndeterminate dyad," the duality "the more as wel l as the less." But we see now that what was named the 1'limi t 11 in the Philebus can also be named "the One ." What Aristotle calls the "elements" can be called the ultimate sou:r:~ �-16- of everything, that which has the fi~ rank bot.h as be~ and ~CJ....£.,£Wers. That is what is meant by ~'~l'X>-7 ~ in common parlance as well as in most thoughtful speech. We should not assume, I think, that Plata h&.d a definitely fixed name for each of these iie:<{'M{. The terms }Pe Good, the One, the Precis~, th~..§..~~, tpe Li~it, and perhaps the Whole are all suited to one of the :Ce)(~:, depending on ' X'1/ , the cont.ext i.n which they are used. As to the names of the second tXf the "indeterminate Dyad," "the more as well as the less, 11 and the Other (which also implies a duality) seem all of them no less suitable. In the Philebus Socrates, in putting a seal on the tribe of the >/. Of..'TT(f;(t!_ov , makes its intrinsic character perfectly cleai. But the character of I' the 114f(;~S, the "limit , 11 remains obscured. as Now lat us take up the third and of the "Limit." tribe~ the "mixture" of the "Limitles s" What does "mixing" here mean? two :Z{X,6}(.~r the "Limitless~" the 11 5.ndsterminate dyad," and the "Limit," the "One," exert their power on each other. described as follows. It means that the Wha t happens then may be The "indeterminate dyad" duplicates the "One," that is to say, produces two entities , two E~J~ , duplicates each of # Nr these E 1,./''1 --we may also say "divides" each of these E tQ7 --and keeps Me~.XIII,7~ an duplicating-~we have to assume, up to a certain point. In Aristotle's reports the "indeterminate dyad" is explicitly characterized as a daub~ ling power" (dvoJTcn/s). I t is the ultimate source of definite manyness, 1082 a 15 and of "numbers," in the realm of the B, 1083b36 the earlier passage, when Socrates first introduced t he Promethean gift t:.f'57 as well as in Oll:r world. In of "infinitude" and of "limit" and urged that in every case a definite >I£ number of f:t o'1 had to be found (Bthe alphabet helping him to clarify this point), there was hardly a discernible hint that the "Limitless" with its doubl.ing power is responsible for the _mul tipl.i£lli of >tr th~ Etol:f You will remember that in this context the "limitless," the infinite, l!las ultimately dismiss ed. Not so in the world in which we live. What happens here is this: the "Limit," the "One," transforms the "indet erminate dyad 11 .into a £ill~.Fmj~ one, that is to say , Q �-1'1- About Plato's .P.hll.~ transforms the two constantly and indeterminately changing terms of ths dyad into two stationary and determinate ones and keeps doing this, illJ produce st in other wordst a mtJltituds~ of~· (3-S' DJ Socrates can call the manyness of ratios "the offspring of the limit." That's l1Jhy We understand now what confused Protarchua and us u.rhen Socrates sub- stituted "that which has limit," the "limited," for the 11 limit 11 itself. The "limited," the assemblage of ratios, is already a part of the mixture, of the third tribe. (26A} But it represents a mixtur e or rather mix- tures of a spacial kind, mathematicilpartnar ships that can give to parts of the world we live in a certain rightness 9 ~smoue the excess and indefiniteness, and pr oduce balance and right measure. Such mathematical partnerships engender, for example, health, establish the entire _genuine art of !I!Y~' bring about the temperate_.§eason~ and all the bounties of our world, beauty and strength of the body and all the beauties of the soul. (.2 ~ £) . And Socratest addressing Philebus directly and speaking about ' ~ that proper partnership (@t 8~ JC@(. '1"'1 Y~f'L) Of mathematl.cal ratios, has this to say~ "for this goddess, my beautiful Philebus, beholding the (268-C) wanton violence and universal wickedness which prevailed 9 since there was no limit of pleasures or cf excess in , order (VtJ,,t.GttS , "" ~ IC.«t t'"~5tS) them~ in which there is limito us; I say 1 on the contrary, she kept us sa.fs." (26C) established law and You say she exhausted Socrates addresses Phllebus 9 but we cannot help thinking of Eudoxus. Philebus remains completely silent. "How does this appear Socrates turns to Protarchus: to you Protarchus?" And Protarchus answers~ "It is very much how I feel, Socrates.'' Let us conclude: mixture. the common power of the two > I otef«~ determines the Sometimes the community of this power is lacking. Socrates turns now to the fourth tribe, the £!Use. You will remember that Socrates seemed somewhat reluctant to add this fourth to ths first three. And indeed, is there any need for H7 The common power of ths �About P1 at o 1 s .E.hi~1'?.l!!!. -18- "Limitless" and the "Limit" appeared as the of what it engendered in this mixture. E~use of the mixt..ure and Listen now to Socrates' words: (278/C) "Should I sound a false note if I called the fourth the £.OUse of the mixture and generation?" And listen to wha t Socrates one moment earlier says with regard to all the first three tribes: (278) "That which fabricates all these, the cause, we call the fourth, as it has been sufficiently shown to be distinct from the others." > That has not been shown at all! / How can ultimate sources, «f X""'' , be caused by something else? If that were so, the first two tribes, the "Limitless" and the "Limit," would not be what they are. The exploration of this fourth tribe, the "cause," is left e_endi11q, and Socrates makes a new transition which helps him to turn backwards. What was the purpose, he asks, of coming to the pcint they have reached? They were trying to find out whether the second prize belonged to pleasure or to thoughtfulness (<;etv1ns). They had posited, Socrates reminds Protarchus and us , that the mixed life was the victor. We can see now, he con t inues, to which tribe it belongs, namely to the third tr i be, formed by the mixture of all that is "limitless" and all that is (2. 7 J)} "bound by t he limit. 11 And now Socrates asks Philebus to which of the three tribes his life of ummixed pleasure ,belongs. this: have pleasure and Eai.rr a limit or are they among the things which admit "the mor e as well as the less"? (27E) Philebus' answer is: "Yes, among those which admi t the more; for pleasure would not be all the good, if it were not limi t less in multitude and in the (28A) The full question is replies: 'more~'" "nor would e_ain, Philebus, be all the evil. 11 Socrates d~yly This is how pain is introduced in t he discussion for the third time, and this time decisively. For Socrates adds he would grant Philebus that both, pleasure and pain, are in the tribe of the Limitless. only pleasure, .!!.Q1 pain . We note Philebus meant Socrates' addition is decisive. �-19- About Plato's Pleasure and pain are a limitless pair. E.blJl!E..l:!.~ One of the consequences of this 't finding ia that there are no ,,J~ of pleasu~e, in the strict sense o f this word. We remember that Socrates had intimated that the discussion would show in a clearer way why it would not be necessary to divide pleasure into its 6rt1. Socrates will use this term later on in dis- cussing pleasure, but it will not have to be taken in its strict sense. The next question Socrates asks Protarchus and Philebus is: tribe thoughtfulness, knowledge and (28A) (288) shall be assigned without "For I think that our risk is not a small one in finding or not finding the right answer to what is being asked now." Philabus: "You exalt your own god, Socrates, you do." Socrates: And you your goddess, my fi'.i:end. But the question calls for an answer, impiety, Socrates explains: all the sama. 11 Protarchus intervenes and urges Philebus to answer. Whereupon Philebus says: (288) vous to what my place?" This is the look back for a ".Qi!L.vou not, Protarchus, choose to reply in ~ time Philebus raises his voice. Let us moment~ At the beginning of our reading we learn that Protarchus will defend Philebus' thesis of pleasure, because Philebus himself, as Protarchus says, "has grown tired" (the Greek word is ~J.71£[eVf&<.6, a pun on the word ~ff~<fov). Philebus has an opportunity to reg~et that he spoke up again and calls upon his own goddess to witness that h~ does regret. When the "one and many" question comes up, Protarchus remarks: "It is perhaps best for the inquirer not to disturb Philebus ( 15C) in his sweet repose." And now he will be silent all the time, even [tacit re- when pleasure, his goddess, is thoroughly discussed. What is he doing ference t o all this time? Just listenicg? the prov er b: A little later PtJ l<lV(:;l"I l<oC !j~l>' 6~ lltf.µ.oovJ Protarchus has some difficulty in answering Socrates' last question, namely to what tribe knowledge and voGs should be assigned, and asks Socrates to answer this question himself . Socrates is willing. He (28C) declares : 11 \i.lhat you enjoin me to do is not difficult," and he repeats: "It is easy." (28C) Let us be ~n our guard. All wise men agree, and thereby really exalt themselves, says Socrates, that and earth. Socrates adds: \lovs is king of heaven "Perhaps they are right. 11 �About Plato 1 s E,hilebJ:!.S -20·- What follows is indeed an easy 9 but not too convincing "cosmological" account \!Jhich ends with the statement that the four tribes which was called (30E) again, "of all." answer." (30E) "~aUJ!.~ And Socrates adds: Protarchue: veru,.S belongs to that of of all. n Notice, please ~ "nowi; you have at last our "Yes, and a very sufficient one; and yet you answered without my noticing it." Socrates: "Ves, Pratarchuss for sometimes £!.ayins provides rest from serious pursuit. ir We understand: the "cosmological" account, which makes the voG$ the cause of all the other tribes, was a playful account. is the "divine vov; " We are not sure whether this Yovt mentioned before. And let us not forget that, within the confines of human life, the best voGs could obtain was the second prize. Socrates concludes this entire discussion of the four tribes by point,.. ing to ~ovs and to pleasure. He does not mention anything pertaining (31A) to "limit" and to the "mixture." Let us r&nernber, he says, "that vo-;;s was akin to cause and belonged roughly speaking (<rk~J~v) to this tribe and that pleasure was itself limitless and belonged to the tribe which, in and by itself, ~not and never will ha~ either beginning or middle or end." Wa must add that this holds also for pain. As we have seen, the dialogue , too, has neither a beginning nor an end, and for that matter, no middle. The graph of a Platonic dialogue usually-not always--looks like this: But the graph of the Philebus looks like this : --- �-21 ... The dialogue itself, taken as a drama, in wtdch we, the readers or listeners, are involved, seems to resemble pleasure and pain. it does that, it must be pleasurable and painful. If We will have to But we need not wait to register the most important wait and see ••• ~ result of the preceding discussion. All the pleasures and pains, small or great, which pervade our lives, reflect in their duality an ultimate source, one of the ~eXD(.,t , namely the "indeterminate dyad." It is thus that some of our most familiar and common experiences are tied to one of the highest points human reflection can reach. Socrates now abandons this high A new transition is made. been considered so far. and turns to a much lower one. l~vel Only about a third of the dialogue has I shall be able to proceed much faster from The next task is to see, says Socrates, where each of them, that is, Yo~j and pleasure, can be found and by means of what affection both (318) come into being, whenever they come into bein~. Note, please, that ,. the vovf mentioned here is said to come into being and cannot, therefore, be understood as the ~ternal ,... divine vovt . Socrates takes pleasure first, and immediately adds that it is impossible to examine pleasure sufficiently apart from pain. Socratesv contention is that pain and pleasure emerge in the combined tribe, the one, we remember, where the "limitless" and the "limit" join together and form a mathematical partnership conducive to balance and right measure. (310) When this balance is broken in us, living beings, "a disruption of nature and a generation of pain also take place at the same time." ''If, on the other hand, balance is being restored and is returning to its own nature, pleasure is generated." The process of destruction is pain, and the process of restoration is pleasure. When we are being emptied, we are becoming hungry and pained; when we are filling up again through eating, we are pleased. And the same can be said of thirst. It is shown later that it is �-22 ... !!£.i the body that hungers oI· thirsts or has any sL1ch the body cannot, therefore, be pained or pleased. belong to the .!£!:ll, and to the soul only. affectlon, that Pleasure and pain But sometimes, or rather often enough, as in the case of hunger and thirst, the p9dy is involved. Whenever this is the case, we face ontkind of pleasure and pain. Another kind of pleasure and pain does not involve the body at all. It arises within the soul itself as the sweet and cheering .b_oee of pleasant things to come and as the fearful and woeful expectati.Q!l of painful things to come. Both, the pleasant and the painful expectations originate within the soul in memory. Socrates proceeds to give a circumstantial description of this origin by passing from perception to memory, to forgetfulness, to recollection, and finally to desire. But he ands this passage by reverting to pleasure and pain volve the body. which in- He points to a man who is empty and suffers pain, but who, because of his memory, hopes to be filled again and enjoys (368) this hope. "At such a time, then, a man, or any other living being, has both pain and joy at once." If, however, an empty man is without hope of being filled, a twofold feeling of pain arises in him. stress is on the duality of pleasure and pain. The The possibility of a twofold pain and--although this is not mentioned--of a twofold pleasure emphasizes the duality even more. Let us not forget its ultim- ate sourqa. Looked at in this passage is also a life in which there is no feeling of pleasure or pain at all, but only thoughtfulness and VOVf. Such a life had been considered much earlier in the dialogue and had been rejected as totally undesirabia, lacking self-sufficiency and, there(338) fore, goodness. Now Socrates calls it "the most divine life." tarchus chimes in: Pro- "Certainly it is not likely that gods feel either joy or its opposite." And Socrates agrees: for either is unseemly for them." "No, it is very unlikely; Socrates adds that they may consider .... this point later on, if it would help the argument; they might give yous �credit for it in contending for the second prize. We shall be watching . A new transition takes placaa (39E40C) What follows can bs subdivided into three parts, and the title that can be given to all of them is "On false pleasures. " This is what happens in .E~t't 'l.,n.e.: Protarchus is unwilling to agree that pleasures and pains could be false; he accepts the possibility of false opinions, but rejects the possibility of false fears, false expectations, and false pleasures; a lengthy discussion follows which culminates in the assertion that a just, pious and good man, 11 a 11 fr i end of the gods, 11 has "true pleasures," while an "unjust and thoroughly bad man" can only haus "fals e pleasures," which imitate the "true pleasures" to the point of r i dicule; and the same can be said of pains. This, now, is what happens in £.§_rt two: we are reminded that pleasure and pain are a limitless pair tied to "the more as well as the less"; any one who feels pleasure in any way always really feels pleasure; but these pleasures may be felt as present pleasures and also as beJ ~!.l pleasures to in the future; the latter ones may be false because they may not come into being as expected, not as great and intense as expected; and when, in our feelings, we are trying to compare pleasures with pleasures, or pains with pains, or pleasures ~!th pains, we may reach entirely fals! results, because of the limitless and indeterminate character of both, pleasure and pain. The thircLear't of this passage does not concern false pleasures directly, but r ather pleasures falsely understood or falsely judged. The theme of pleasure and pain is a common topic in Plat o's own tims, widely discussed by outstanding men. One of the opinions about pleasure, re- jected by Socrates, is that freedom from pain is identified with pleasure. For some men this opinion amounts to the firm denial of the existence of pleasures altogether. For them that what Philebus (44C-D) and his friends call pleasures are merely escapes from pain. men are men 11 of harsh judgments." These Socrates does not mention any names, but it is highly probable that Antisthenea is one of these men. �Antisl:.henea is ii:'epLtted to have said: "should I ever meet Aphrodite,. I would strangle h::1:r.· w.ith my own ha nds. 11 I have condensed this passage of the dialogue to the utmost. But you understand that it challenges the conviction of Philebus radicallyo Lat us look at him again. listening? He has not said a word. We know , he had grown tired. Is ha re ally Has not his sweet repose mentioned by Protarchus a long time ago transformed itself .into sound sleep? And ~Elfil!t sound, dreamless sleep, l!Je should observe 9 excludes any feeling of pleasure and pain, brings about, in other words, a condition of the 11 most divine life, n ye t a .condition not compatible with Philebus' own aspirations. Yes, there he lies, the beautiful Philebus, with closed eyes and closed ears, while Socrates continues the inquiry, imposed upon him by Philebua, Protarchus, and the other young msn. A subtle transition is brought to pass inasmuch as Socrates takes those men "of harsh judgments" with whom he disagrees as alli es. He is going to describe more accurately what pleasure means to these men, who oppose it or deny its existence. Ws have already seen that pain and j oy can be felt at the same time. The point is now emphasized: pain and pleasure do not only constitute an indeterminate pair, but they also~ with each other. This is again shown by Socrates in a tripartite way. ~mixtures of pleasure and pain a:re those in which both pleasure and pain, involve the body, as, for example, 46A) }.tchi.D..9. and ~stchir:)£,, which Prcta~chus tends to consider a "mixed 47C) evil." ~mixtures are those in which the body and the soul con~ tribute the opposite elements~ "each adding pain or pleasure to the other's pleasure and pain," as, for sxample--we have heard that before-a man suffers from thirstt is pained by his bodily emptiness, but rejoices in his hope to be filled, a hope entertained only by his soul. The third kind of mixture is the mast important; it is the one in which the soul and only the soul is i nvolved. Socrates gives as sx- amplea of pains belonging to this third kind: anger 9 fear, longing, �About Plato's mourning, love, jealousy, envy; and he asks: (47E) them full of ineffable pleasures?" Eh!1-.2..~ "shall we not find He then refars--in....,EDe SJfillte~ only--to anger and to mournings and longings in order to show the mixture Of pain arid of pleasure in them. Pratarchus f ully agrees. Socrates' next question is: "And you remember, too, how people, (48A) at tra~dies, enjoy the spectacle and at the same time weee,.?" "Yes, certainly," says Protarchus. Whereupon Socrates asks: "And the condition of our souls at comedies--do you know that there, too, (48A) there is a mixture of pain and pleasure?" Protarchus' answer is: "I do not quite understand." Socrates confirms that it is not eas~ to understand such a condition under such cfrcumatancsa, and Protarchus, on hie part, confirms that it is not easy for him. It is not easy for us either. This is the short beginning of the discussion about the third kind of (508) mixture af pleasure and pain 9 which involves only the soul. And now, surprisingly, Socrates launches into a Jengthy explanation of what happens to spectators at comedies. It takes no less than four pages, and ends with Socrates' contention that pain is mixed with pleasure-not only for spectators in the theater, where tragedies and comedies are performed--but also "in all the tragedy and comedy of life." Today, we are prone to call any horrible or simply sad event a "tragedy" and a funny one a "comedy." But that was not done in ancient timeso The expression "tragedy and comedy of life" in the dialogue is highly unusual and even paradoxical. It is almost unique; a somewhat similar phrase referring to tragedy, ll£i to comedy, can be found only in Plato's ~· Why is this expression used in the Philebus? Let us hsar what Socrates sayse Ha takes up .§!.nvi first. Envy is a pain cf the soul, but we also see an envious man rejoicing in tha evils that befall those close to him. Thus envy is both pain and pleasure. ridiculous. Socrates than takes up the The ridiculous is in the main the consequence of a dis- �position in the human soul which contradi cts the famous inscription at D~lphi. A ridiculous man is a man who does not know himself. folly of not knowing oneself can have thr ee aspects: being~ than one Thi s 1) the conceit of is; 2) the conceit of bsing more .~utiful than one is; 3) the conceit of being more virtuous than one is, especially .!!!J.ser than one is ( JoJoC'tn:P{rx). most nurnerou~. This third kind of conceit. is the Now, wa tend to laugh at men t hus conceited. cases muet be distingui shed here. But t wo Those whc are laughed at may be strong and able to r evenge themselves, and a r e then p owe rful~ and hateful; far folly i n the powerful is hateful and bass. terrible, Or they are weak and unable to r evenge themselves, and then they are truly ridiculous. When we l augh at the follies of such men, who may be our friends, we feel pleasure. But to feel pleasure at the follies of our f riends is what envy brings about, s i nce it is envy that makes us rejoice in the evils that befall these our f riends, and envy i s painf ul . Therefore, when we laugh at what is ridiculous i n our friends, we .!l!!ii pleasure and pain. It is not quite clear how all this explains what happens at comedies, although Protarchue appears to be satisfied . Socrates adds that all that was said by him so far concerned only envy, mourning, and anger (he omits 101.1ging,, which was also mentioned by him in that one sentence he uttered before passing on to tragedies and comedies). And now , Socrates declares, he need not go fuxther and Protarchus ought t o accept the asser tion that there are plenty of mixtures of pain and of pleasure. But now something extraordinary happens that s heds more light on the t heme of comedy . You will remember tha t the young man, who surround Socrates, extracted from him the promise not to go home before bringing the discussion about pleas ure and thoughtf ulness to a satisfactory end. And you will also remember that Protarchus, later on, remi nded Socrates of this �-27... promise and assured him that not one of the young men would let him go before the end of the discussion was reached. Socrate~ (500) says now: midnight come? let me off." words? "Tell me then: Listen to what will you let me off, or will you let I think only a few words are needed to induce you to How strange! Why on earth does Socrates utter these Is this the Socrates, who is known for his never abating eager- ness to discuss things? Has he grown tired like Philebus? Or is it that envy has entered not only the ~o ~of , but also the stage, the "comedy of life" presented in the dialogue? Incredible as it might (cf. Apol"" seem, Socrates appears to be envious seeing Philebus asleep, "divinely" .£'lY. 40C-E) asleep, without pleasure and pain. Does that not mean that Socrates is .e_ained by this envy and yet also pleased by the ridiculous aspect of Philebus' sleep, which manifests the latter's "conceit of wisdom," the Jof oC"<:J<p[ot of friend Philebus? But what about ~' who read or hear the words of the dialogue and are the spectators of this "comedy of life"? Well, we are puzzled and £leased by realizing that Socrates of all people is envious at this moment, and we are also Qained by witnessing what happens to him. We might refuse to accept that this is what is going on at this moment, but this refusal would only mean that we expect to be pained and pleased, it we accepted it. Yes, the dialogue is pleasurable and painful deed >1 (tPy't), in addi- tion to dealing with pleasure and pain in speech ()I.OJ'::')• And is there any need to mention the pain and the pleasure one feels in reading, or listening to, the dialogue in all its deliberately complex and inordinate convolution? We understand now, I think, why the title of the dialogue is Philebus. Socrates proceeds, of course. He takes up now--and this is a new transition--the pure pleasures--that is, pleasures unmixed with pain. Socrates lists five kinds of such pleasures, four of them conveyed to us by our (lSflsPs, ~ involving that which cannot be sensed. The firet four kinds of pure pleasure have their source in beautiful figures, in beautiful colors, in clear sounds and in many odors. The beautiful figures are !l£i beautiful living beings or paintings, but-- �-28- (51C) "says the argument 0 --a straight line drawn with the help of a ruler, a circular line drawn with the help of a compass, plane figures drawn with the help of these same tools, and solid figures constructed with (53A-B) the help of suitable instruments. The beautiful co~ are pure colors, in which there is no trace of any other color, are those that sand forth a single pure tone . Clear §.2~ The pleasures which these figures, colors, and sounds generate are pure pleasures, unmixed with pain. As to the pleasures of smell, they are, as Socrates playfully says, "lemdivine." The last kind of pure pleasure-and this is deeply serious--is that which has its source in the known or the knowable, accessible to human beings without hunger for learn(52A) ing and without pangs of such hunger. What Socrates means is .£9.!:!,- le~s 9 the dssi:re to know, as we feel it in the pursuit of knowledge. This pleasure of contemplation is felt by exceedingly few. templatioo (8€1.Jf(rs,), which is !lE.i preceded by The transition now made leads to a passage that again has three (53C) parts, of which again the third is the most important. The first part extends in soma way the realm of pure pleasures by the statement that what characterizes such pleasures is due measure. The second part makes us understand that the pure pleasures are, because of their purity, also ~ pleasures. In the third--the longest--part Socrates refutes 11 certain ingenious paople" while accepting one of their premises. These "ingenious people" are reduced a little later to~ man, and t here is hardly any doubt that this man is Aristippus, His prsmiss 9 which Socrates accepts, is that pleasure consists in a erocess o.f._~enerati9.!}_ and has no stable bei!J.£. What is rejected by Socrates is that such a process in itself is a good, To refute this assertion Socrates proposes to consider the relation that the process of .£2!!!i...!29. into being (J~Yl,ts) has to .E.&o.a (oJoc'Or). The question is: which one of the two is for the sake of the other? Protarchus re-phrases the question as follows: do ships exist for the sake of �Abcnit Plato 1 s PhilE!,bJ;!.!! shipbuilding or is shipbuilding for the sake of ships? Protarchus knows the answer to this question, of course, but Socrates gives the answer in an all-comprising form: (54C) for the sake of some ~ for the sake of being." "every inst.ance of _generation is or other, and ~ generation Now, the being for the sake of which the process of generation takes place is "of the order of the good," while the process of generation itself is !!21 of that order. Therefore, says Socrates, we must be grateful to him who pointed out that there is only a generation, but no being of pleasure. He makes a l aughing- stock of all those who find their highest end in pleasure and know that pleasure is nothing but a process of generation. highest end is not of the order of the good. (SSA) For their Protarchus concludes: "It is a great absurdity, as it appears, Socrates, to tell us that pleasure is a good." ... There is a new transition, in which courage, self-restraint and vov$ are mentioned and which begins to move the dialogue upwards. is now to consider vovs The task and knowledge carefully and to find out what is by nature filirest in them. We expect that their truest parts will be joined with the truest parts of pleasure in the desired mixed life. Two kinds of knowledge are distinguished. One is necessary to produce things, the other serves education and nurture . the "know how" of the producing arts a division is to be made. Some of The productive knowledge, is taken up first, and here again th~se arts are acquired by practice and toil, aided by guessing, and lack precision. They do not use sufficiently the arts of counting, measuring, and weighing. This holds, Socrates says , for music, as it is commonly practiced, for medicine, agriculture, piloting, and generalship. But in the arts of building, shipbuilding, and housebuilding, for example, there is much more precision, because measuring and the use of ingenious instruments play a much greater role in them . It is at this point that Socrates divides the arts of counting and of measuring (not, however, that of weighing) into two kinds. Some counting refers to visible and tangible units, which are all unequal; but there is also counting of units �P.bou.t Plato's that do not differ at all from each other. Ph!J.E~~ This kind of counting is the basis of the true art of numbering, of true "arithmetic." The art of measuring may also refer either to visible and tangible things or to entities that cannot be sensed. To measure, and to deal with, the latter entities means to be engaged in "geometry," not for the purpose of production and trade, but for the purpose of knowing. And this holds also for the careful study of ratios and proportions. These true arts of numbering and measuring serve education and nur- We eee that there is a kind of knowledge purer than another, as one pleasure is Qurer than another. This purity of knowledge brings abou t much greater clarity and precision and much more truth. ture. But there is, beyond that pure mathematical knowledge, the power of dialectic. It deals with Being, True being, with that which always immutablY. is. Protarchus remembers at this point the claim of Gorgias that the art of persuasion, the rhetorical art, surpasses all other arts. Socrates replies that he was not thinking of the art that sur- passes all others by being the "greatest," the "best," and the "most useful" to men; he was thinking of the art or the knowledge which is most concerned about clearne~, .e..recision, and thg most true, however little and of little use it might be. Socrates asks Protarchus to look neither at the usefulness nor at the reputation of the various sciences, but to consider whether there is a power in our souls which is in love with Truth and does everything for the sake of Truth. Would this power possess thoughtfulness (~eoiHJCi'<.f) and greatest purity? vovs in the Protarchus concedes that this must be so. To be in love with Truth does not mean to possess it or to contemplate it. It means to pursue it, to try to find it, indefatigably, unre- mittingly; to pursue it means to submit to the power of discourse, a power that is able to discover in the spoken or silent words that which make speaking and thinking ultimately possible, namely the unchange- able and, thereby, ~ beings. But, ae Socrates points out, the many �·~3 1"" existing arts end the men engaged in them do not submit to the power of discourse, but are satisfied with their opinions. If a man sees fit to investigate nature, he spends his life in studying this world of ours--that is to say, tries to find out how it came into being, how By doing t hat, that man toils to discover transient productions of the present, the futur e and the past, not what unchangeably always is . And Socr ates asks: 11 How can we gain anything gable about things which have [lO s t ability whatsoever?" The argument compels us thus to see that the stable, pure, and true, can only be found i n what is eternally the same without change or mixture or , Socrates surprisingly adds, "in what i s most akin ta it." He may mean the moving , but never changing celestial bodies. it is acted upon and how it acts itself. (598) (59C) This passage which deals with t he peated reference to vcu f most. ~ and This reference is the pure s~ knowledge ends with the re- 4' ft~ v'!llLS , ttihich have to be honored ~ transition in the dialogue to the passage of t he dialogue. This last passage is about t he most fulness and pleasure are mixed. desi~able life , in which thought- Socr ates undertakes now to make t his mixture with the help of Protarchus . We expected and still expect tha t the .eure plaasu:i:·ss and the QUrest kno1JJledge wi.ll be joined in this mixture. Before the mixing begins , Socrates reminds Protarchus and us of what had been said before. Philsbus had claimed that pleasure was the true goal of every living being and that these two wor ds, "good" and "pleasant, 11 mean the same thing. calirned that 11 Socratsst on the other hand, gaod" and "pleasant" mean d.i.ffersnt t hings and that the share of thoughtfulness in the good is greater than pleasure's. They had agreed , Socrates continues, that any living being , in whom t he �About Plato's £.hilebus good is present always, altogether, and in all ways, has no further need of anything, but is perfectly self-s ufficient; but that neither a lifa of pleasure unmixed with thoughtfulness nor a thoughtful life unmixed with pleasure was a desirable life. Directly related to the task of making the mixture is the t as k of winning a clear understanding of the good in the well mixed l ife, .£!:. (61A) at least an outline of it, so as to be better able to find out J?.e. what in the well mixed life the second prize should be assigned. remember that Socrates had raised the question before. We At that time the possible recipients of the s econd prize were va~s and pleasure. Note that in this last passage of the dialogue vovs has not been mentioned so far. This is now what Socrates eays jovially and playfully just before he begins to make the mixture: "Lat us make t he mixture, Protarchus, (518/C) with a proper prayer to the gods, Dionysus or Hephaestus, or whoever ha be who presides over the mixing." Dionysus leads on revellers and presides over orgies; he stands here for pleasure. is known for his thoughtful and sober craftsmanship. tinues: (6 1C) Hephaestus Socrates con- "We are like wine pourers, and beside us are fountains-- that of pleasure may be likened to a fount of honey, and the sober, winelesa fount of thoughtfulness to one of pure, health-giving water of which we must do our best to mix as well as possible." The first question is: should Socrates and Protarchus mix sure with all thoughtfulness? be safe. ill plea- Socrates observes that this would not It would bs better to mix first that pleasure which was more truly pleasure with that knowledge which wa.a m9st true and .J2!9Ci~. Protarchus agrees. But Socrates is not satisfied. ~ let ua assume , he says, a man who is thought ful about justice itself·-that is, about the ~!/os of justice, and is guided in his reasoning about �everything that. t n .:ly_ :ts by his app:t ehenslon of the intE1lligible ~ by his VOEtV , (it ia the fil'st t.ime that passage of the dialogue). vovs is mentioned in this last If this man is fully cognizant of the mathematical circle and the all-embr acing celestial sphere, but is ignorant of our human sphere and J:iJ:!..man circles, w.ill this man have sufficient knowledge? No, says Protarchus, it would be ritii~ulous "Do you mean," Socrates asks, "that the unstable and impure art of the untrue rule and circle is to be put with the other arts into the mixture? '' Yes, says Protarchus, that is necessary, if any man is ever ta find his way home. Socrates and Protarchus go farther. They put music, which they said a while ago was full of guesswork and lacked purity, and all the deficient kinds of knowledge mingling with the pure into the mixture. for a man to be concerned only with divine knowledge. (628) Then Socrates turns to the pleasures. Here again the pure and true pleasures are not the only ones to be put into the mixture. For the first and only time in the dialogue Socrates mentions "necessary plea(62E) sures," by which he means pleasures connected with the satisfaction of vital needs~ arises: and adds thsmto the pure ones. And the further question is it not advantageous and harmless to let all pleasures be a part of the mixture, just as it was harmless and adv antageous to let ~ the arts and all knowledge be such a part? Whereupon Socrates says: "there is no use in asking us, Protarchus; we must ask the 53 ( A/B) pleasures themselves and the different kinds of thoughtfulness about one another." (638) That's what Socrates does. He asks first the pleasures: "would you choose to dwell with the whole of thoughtfulness or with none at all?" And Socrates lets them answer that for any tribe to be soli- tary and unalloyed is neither possible nor profitable; ''we think the best to live with is the knowledge of all other things and, so far as (638/C) is possible, the perfect knowledge of ourselves." it is Socrates whom we hear speaking. Let us not forget, It is highly doubtful whether the pleasures can speak--and can have any knowledge of themselves. �And now Socrates turns to thoughtfulness and Vovs.(!t is the second time that vo~s ie mentioned in this last passage of the dialogue). Socrates asks then whether they want the greatest and most intense pleasures to dwell with them in addition to the true and pure pleasures. And Socrates replies for them--that is, for thoughtfulness and that the true and pure pleasures are almost their own~ Yous , and also those which are united to health and self-restraint and all those which are handmaids of virtue; they should be added to the mixture; as to the pleasures which madden the souls of men, which are the companions of folly and of all the other vices , it would be senseless to mix them with the Yo vs . This is the third time that voCs is mentioned in the passage, while thoughtfulness (~e~v,~cs), which was also addressed by Socrates, is left out. ... vaus (64A) When Socrates has finished replying in the name of both ' and 4tt<>t17(l'£$, he says to Protarchus: this reply which the vo~s has now made for itself and memory and right opinion is thoughtful and sensible?" so." Which vo~s "Shall we not say that is this vo~j ? And Protarchus says: "Very much Ia it t he "divine voGs " that Soc- rates contrasted wit h his 6wn in his reply to Philebus a long time ago? No, it is Socrates who was speaking guided by his own It is !JE.i the vo:is vov$. that the "easy" cosmological account found to be "the cause of all" and that the sagas, in exalting themselves, declare to be "king of heaven and earth." It is not the fourth tribe of the Promethean gift, which Socrates introduced, fearing to appear ridiculous by doing that . i~ure Soc:r.ates' own vo vs is responsible for the kind of mix- he makes to produce the life which combines thoughtfulness and pleasure , is the cause of this l ife. It is neither the cause of the commixture of the "limitless" and of the "limit, 11 nor the cause of these first two tribes of the Promethean gift. What does the original introduction of the voCr as the "cause of all" and the subsequent somewhat veiled rejection of this vovS mean? I �-35- think it means a subtle mocking of Plato's great pupil Aristotle~ Aristotle's thoughts must certainly have been familiar to Plato in (Cods)< Mar·cianus) his lata years. A passage in an ancient manuscript ~ that informs us about Aristotle's life, hints at lively controversies between Plato .... and Aristotle. Plato appears to have nicknamed Ar.istotle o" vovs and to have once said, when Aristotle was not present at a meeting: "The vo~s is absent; dullness reigns in the lecture room." know that the investigation of the different meanings of (~~~~~ ) and of the divine vous works. We do ~ plays a decisive role in Aristotle's What the dialogue intimates is that vo;J,J is above all a .b.!:!- man posssssi onf and that Socrates is the embodiment of this vo~s o Socrates compl etes the mi><ture by pointing to the necessity that trutJJ. must be a part of it, and then asks what is the most precious in it and the £.~ief cau~ for this mixed l ife to be most lovable. The answer is: due measure and JE.9.£.0rtion which bring a.b out beauty and excellence. body is ignorant of this. We should more properly~ No- howe\/er , consider these three 9 beau~~ truth~ due measure , as the components of the goodWe sea , first: vo~s ness of the mixture. pleasure; secondly: is more akin to t r uth than not hing could be found mor e immoderate than plea- sure and nothing is more in harmony with due measure t han voCs and v oCs has a greater share in beauty than knowledge ; and thirdly : pleasure . And now, finally , Socrates gives a list of the bsst human possessions fiE.tl something like Measurep Due in their proper order. Measure~ Propriety, and like ever ything which must be considered of the same order. ~cQ!J.fllJ!_ comes what is well proportioned, beautiful, has been completed and i s suffi ciant 9 and all that belongs to that very family. (668) Socrates continues: insist on yov~ "As to the thit.9.- -this is my prophesy--if you I' and <Pe a ..; '1 n~ , you will not wander far from the truth . " I s vavs relegated to the third place? No, it is elevated to the �-36- proper rank, if you consider the role the t.r!fili played in the entire Foutth.'l;.v come the different kinds of knowledge, the arts, dialogue. the true opinions; and f:lfthll, the painless pure pleasures of the soul, some of which accompany and some of llihich--as we ~CL~ have ssen-- accompany £2..rce_g~ (observe that knowledge was not mentioned before among the pure pleasures, presumably because the . gurs4ll of knowledge involves the desi~ in which pain and pleasure are mixed)o to know, involves There is no sixth place, says He reminds us that neither Socrates , quoting Orpheus. ~ G(><.J$ , voCs nor plea- sure is the good itself , since both are devoid of self-sufficiency . But within the mixed life , which is the victor , vous has now been given the second prize , while pleasure--as Socrates' own voCf had predicted a long time ago--is farther behind than the third place . Note that this holds even for pure pleasure and that the satisfaction of vital needs is not mentioned at all . Pleasure is fifth . We should be. aware that, according to the tradition 9 the people called "Pytha- goreans" associated the goddess Aphrodite Lilith the number five. The list given by Socrates is strangely unprecise and inordinate . It is indeed only an The >I rJ.rf'(:-1..[?oll , outliD~ of the good in the most desirable life. the "limitless , " the "indeterminate," reigns, though not supremely , in the dialogue . I shall not koep you until midnight. a discussion ••• Good night! But there will be � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 36 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource About Plato's Philebus Description An account of the resource Typescript of a lecture delivered May 20, 1971, by Jacob Klein as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Klein, Jacob, 1899-1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1971-05-20 Rights Information about rights held in and over the resource The Greenfield Library holds the literary rights to Jacob Klein's work. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Plato. Philebus Socrates Language A language of the resource English Identifier An unambiguous reference to the resource within a given context lec Klein 1971-05-20 Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/624b90912b9d40522bf49bc61014019c.jpg fac3fab61fd5b23b2c184a73d25995b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 18 x 12.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0732 Title A name given to the resource Academic Procession Exiting Mellon Hall in Celebration of the 275th Convocation during Homecoming, St. John's College, Annapolis, Maryland, October 1971 Description An account of the resource 1 photographic print : b&w Subject The topic of the resource Homecoming (St. John's College, Annapolis, MD), 1971 Convocation (St. John's College, Annapolis, MD) Date A point or period of time associated with an event in the lifecycle of the resource 1971-10 Creator An entity primarily responsible for making the resource Parran, Tom Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Homecoming https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/fd97a10c9b1c6776bb79bc8c407de225.jpg 3af82d31675b28ddd4a855b4d92172cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 13 x 18 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0315 Title A name given to the resource Academic Procession for February Convocation with Eva T. H. Brann, James Tolbert, Barbara H. Leonard and Thomas Parran, McDowell Hall, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1972 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Convocation (St. John's College, Annapolis, MD) St. John's College (Annapolis, Md.). -- Deans St. John's College (Annapolis, Md.). -- Assistant Deans St. John's College (Annapolis, Md.). -- Faculty. Brann, Eva T. H. Tolbert, James Leonard, Barbara Hopkins Parran, Thomas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource pdf Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni Deans Honorary Alumni Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a5711a60cb6086d82a08b01490fdd95c.jpg 2b664f48ca1630a5855ff317659b0fd6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1265 Title A name given to the resource Academic Procession in Academic Robes, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Elzey, Craig C. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/374bab0166716503ab461753a58637b6.jpg e59df229af778b667a4643ce2a2a974b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20.5 x 25.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1266 Title A name given to the resource Academic Procession with J. Winfree Smith, Richard D. Weigle, Curtis A. Wilson and other Faculty Members, Annapolis, Maryland, 1976 Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1976-05 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Weigle, Richard Daniel 1912- Smith, J. Winfree. Wilson, Curtis. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/f95b3ee226b0772b116c919423f64d21.jpg 33c88cfaf36e5c9ff0a3aaca4c373c61 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 12 x 9.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0525 Title A name given to the resource Actor on Stage in Costume during the King William Players Production of "Thomas Cranmer of Canterbury" by Charles Williams, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1951 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource King William Players (St. John's College, Annapolis, MD) Cranmer, Thomas, 1489-1556 --Drama. Rickolt, Paul Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/6f7f19cd481e893ca86c55dd9ca296c0.jpg faaa0eaccf608204146afca5ca339bbc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 16.5 x 11 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0646 Title A name given to the resource Actors and Stage Crew on Stage during the King William Players Rehearsal of "Androcles and the Lion" by George Bernard Shaw, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Subject The topic of the resource King William Players (St. John's College, Annapolis, Maryland) Shaw, Bernard, 1856-1950. Plays. Date A point or period of time associated with an event in the lifecycle of the resource 1948-06 Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/e9214691528d276f58765b9d889b006a.jpg 6a5a7060181e287ff86e7eb9579ec57d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 9 x 12.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2482 Title A name given to the resource Actors Dressed as Fur Traders during a Reenactment of the American Revolutionary War on Front Campus of St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : color Date A point or period of time associated with an event in the lifecycle of the resource 1982-01 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2c2391153f69a0513a18423f92fce04b.jpg 4536f93c354698de056c9c60dc8181f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 9 x 12.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2483 Title A name given to the resource Actors Dressed as Soldiers during a Reenactment of the American Revolutionary War on Front Campus of St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : color Date A point or period of time associated with an event in the lifecycle of the resource 1982-01 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/79eeb10fa10fbc71833ff91306680b04.jpg e51b05b5cf49a4091f524d7e91f0003a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 9 x 12.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2484 Title A name given to the resource Actors Dressed as Soldiers with Cannon during a Reenactment of the American Revolutionary War on Back Campus of St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : color Date A point or period of time associated with an event in the lifecycle of the resource 1982-01 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/f9577cd7d914feabc93ffe302fa7ee88.jpg 7ae76bb3dc929ac43382b3406a1a7442 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 13 x 17.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0659 Title A name given to the resource Actors on Stage duing the King William Players Production of "Henry IV, Part I" by William Shakespeare, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Subject The topic of the resource King William Players (St. John's College, Annapolis, Maryland) Henry IV, King of England, 1367-1413 -- Drama. Date A point or period of time associated with an event in the lifecycle of the resource 1970-11 Creator An entity primarily responsible for making the resource Villere, James Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/c8f2c6c76acea76b87b4506ed2947142.jpg fa6e3533c8d14c5a71883032b3202399 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 6 x 8 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0527 Title A name given to the resource Actors on Stage in Costume during the King William Players Production of "The Physician in Spite of Himself" by Moliere, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1945-05 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource King William Players (St. John's College, Annapolis, MD) Moliere, 1622-1673. Medecin malgre lui. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1512bb3108418e0f9ae28afba1ef88ee.jpg 87543982069fd3feb14ce9955e11ea2d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 12 x 9.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0524 Title A name given to the resource Actors on Stage in Costume during the King William Players Production of "Thomas Cranmer of Canterbury" by Charles Williams, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1951 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource King William Players (St. John's College, Annapolis, MD) ; Cranmer, Thomas, 1489-1556 --Drama. Rickolt, Paul Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/bc3c807910df9076604bfab439644fc9.jpg e319a3d27b9284d63c079ed6a04c7e0c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 7.5 x 10 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0526 Title A name given to the resource Actors on Stage, Sganarelle Pictured, in Costume during the King William Players Production of "The Physician in Spite of Himself" by Moliere, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1945-05 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource King William Players (St. John's College, Annapolis, MD ) Moliere, 1622-1673. Medecin malgre lui. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8dd97f52e92471718997cb56eef3ebf6.mp3 59d7a70b4ca3b9a665f1d52a7486f3d0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data CD Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:08:09 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Adam Smith's politics : pragmatist or ideologue Description An account of the resource Audio recording of a lecture given on April 29, 2016 by Lauren Brubaker as part of the Dean's Lecture and Concert Series. Creator An entity primarily responsible for making the resource Brubaker, Lauren Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2016-04-29 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Smith, Adam, 1723-1790. Language A language of the resource English Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/6356a46b8bc98643a5a69457472ad514.pdf 1192c57fbef50a4794d752b6f7fb204d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches, presentations, and other lectures Description An account of the resource Speeches, presentations, and other lectures given at St. John's College. These include convocation addresses delivered in both Annapolis, MD and Santa Fe, NM.<br /><br />Click on <strong><a title="Speeches, presentations, and other lectures" href="http://digitalarchives.sjc.edu/items/browse?collection=15">Items in the Speeches, presentations, and other lectures Collection</a></strong> to <span>view and sort all items in the collection.</span> Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context speechespresentationsotherlectures Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context John Owens Address for Weigle Inauguaration Title A name given to the resource Address of John W. Owens at the Inauguration of Richard D. Weigle Date A point or period of time associated with an event in the lifecycle of the resource 1950-10-28 Description An account of the resource Address of John W. Owens at the Inauguration of St. John's College President Richard D. Weigle on October 28, 1950. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Creator An entity primarily responsible for making the resource John W. Owens Publisher An entity responsible for making the resource available St. John's College Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource inauguration Inauguration https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/fea14aa6cde415cd7b447f2e490955fd.jpg 22c503f1740c2b9b51f9c136d7d8ae44 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 12.5 x 9 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-2073 Title A name given to the resource Administrative Office in Woodward Hall Library, St. John's College, Annapolis, Maryland Description An account of the resource 1 Kodachrome print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1969-10 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Woodward Hall Library