Was the philosopher Socrates of Athens a hero?

Yes

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by Bertie Radcliffe

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As one would expect, Plato's portrayal of Socrates in those parts of the Phaedo that I have read is immensely positive. In the time before Socrates execution, Plato seems to attempt to show how far from being a dangerous, unwanted element; Socrates is the paragon of all things good about Athenian values and customs. Plato achieves this in three ways: the portrayal of Socrates as pious; the display of Socrates prodigious intelligence and courage; and the demonstration of his worth as a friend and teacher.

Despite the fact that one of the two charges of which Socrates was found guilty was that of believing in different gods to those of the state, in the Phaedo, Plato portrays Socrates as an incredibly pious man. In his last days on earth, Socrates is shown in the Phaedo to be ensuring that he has carried out the will of the gods, as expressed in his recurring dream, to its full extent. Whereas before he had interpreted the command to "make art" as encouragement to continue with philosophy, "the greatest art of all", now he knows that the end is near, he covers other possibilities, writing a Hymn to Apollo and poems based on Aesop's fables in an attempt to make sure that he has pleased the gods. Similarly, Socrates condemns suicide, because "they say that this is not right". He does this despite the fact that he is of the belief that he would be better off dead. This, again, shows Socrates piety and religious orthodoxy. This display of piety is doubtless one that outlines Socrates, as he is in the Phaedo, as an intensely pious man, a very important facet of the picture that emerges from the dialogue.

Of Socrates formidable intelligence there can be no doubt. He was, after all, recognised as the greatest philosopher of his time. Indeed, his intelligence is such that he has been able to attract pupils from other parts of Greece: Cebes at one stage speaks in his own, foreign, dialect. This is not the only evidence of Socrates wisdom. In the Phaedo, it seems that Socrates pronounces statements that seem to be illogical, draw out the objections of his friends, but are in fact, as Socrates always manages to prove, correct. A good example of such an ostensibly false conclusion is that at the beginning of the dialogue, when Socrates claims that "those who would be better off dead may not without sin do themselves a good turn. Despite this seemingly illogical conclusion, Socrates proceeds to demonstrate to his sceptical students the validity of his argument. Additionally, Socrates' intelligence is shown by the reactions of his friends to his arguments, usually or , depending upon whether Socrates is looking for a positive or negative response, but he always, in the end, overcomes any objections to his theories.

Socrates, however, is not simply a persuasive orator and philosopher, rather his intelligence also spills over into "art in the popular sense". While Socrates has been imprisoned and awaits his execution, delayed by the festival of Apollo, it transpires that he has written a Hymn to Apollo and put into verse the fables of Aesop. About these creations Socrates is incredibly modest, saying that he has not been trying to out-do Evenus since he "knew that wouldn't be easy". Thus, Socrates combination of wisdom and modesty about his wisdom is demonstrated in the Phaedo, another part of the picture that emerges from the dialogue.

In the Phaedo Socrates' courage and certainty of the rewards awaiting him after death are also displayed, showing another aspect of Socrates character. In the face of what most would see as impending doom, Socrates maintains his aura of calm. The best display of this is the rather bathetic interjection of Crito, who tells Socrates that the executioner doesn't want Socrates to get worked up in case this means he needs either a double or triple dose of hemlock. Socrates' dismissive reply is that Crito should ignore him and "let him prepare his stuff so as to give two or even three doses if need be". Here, Socrates admirably shows that he would rather spend the "time until sundown" talking with his friends, even if that means a much more painful death. His stoicism is compounded by Crito's remark that he "pretty well knew" that Socrates would answer in this manner. In this way, Socrates shows his lack of fear in the face of an excruciatingly painful death, about to be made worse by his determination to continue philosophising. Not only does Socrates remain unfazed by his impending death, but is in fact able to make jokes, at one point reducing Simmias to laughter with an argument that he was surely aware had a comic side to it.

Furthermore, Socrates displays considerable courage in his convictions, remaining absolutely certain that he will be better dead, even referring to his executioner as "a benefactor" who will release Socrates from his prison of flesh into a new freedom in which he hopes to be able to contemplate the beauty of the forms: Socrates retains an absolute conviction that he will "enter the presence of the gods" after his death. Thus, Socrates' courage, both in terms of his waiting for his execution, and his unfaltering belief in himself, emerges from the dialogue.

Next, it would not be surprising if someone of Socrates' intelligence and understanding was somewhat aloof or haughty among those more ignorant than himself. Socrates, in direct contrast to this, remains, despite his death sentence and at times slightly slow pupils, to be good tempered and proud of those he has taught. "There goes Cebes, always hunting down arguments and not at all willing to accept at once what anyone might say" says Socrates after his argument was attacked by Cebes. In this moment of dialogue, the knowing master and keen pupil relationship that existed between Socrates and his friends is at its most poignant as Socrates' pride and delight in the inquisitive spirit that he has engendered in his pupils is apparent.

Similarly, Socrates allows his pupils to attempt to argue in his fashion. The clearest instance of this is in the argument from recollection' when Cebes "attempts" to persuade Cebes that what is commonly called "learning is nothing other than recollection". This shows how Socrates is intent not only on having rigorous academic discussions, but also to ensure that his pupils will be able to once he has been executed. This is a sentiment that is compounded at the end of the section of the Phaedo that I have read, where Socrates makes it clear that Simmias and Cebes must try to find some other great Philosopher, either in Greece or in foreign lands. Socrates does, however, mention that they are unlikely to find anyone better than themselves. This shows Socrates' pride in his pupils, another facet of the picture of Socrates that emerges from the dialogue.

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