Personal and Objective Ethics: How to Read the Crito

Dominant interpretations of Plato's Crito attempt to reconstruct the text deductively, taking the arguments in the famous Laws’ speech as consisting solely in the application of general principles to facts. It is thus conceived that the principles and facts are grasped independently of each other, and then the former are applied to the latter, subsequently reaching the conclusion that Socrates must not escape. Following the lead of Cora Diamond, who argues against this ‘generalist interpretation’, I argue that the Laws’ speech essentially involves an exercise of our moral imagination through which both principles and the facts to which they apply are grasped. This is not to say that a deductive argument is absent from the Laws’ speech. Rather, for the first time, we understand how the deductive arguments in the Laws’ speech can function through imagining a life in which these arguments make sense. The Crito is an attempt to exercise the readers’ imagination, thereby presenting ethics that is both personal and objective. Understanding the Laws’ arguments essentially requires the readers’ imaginative involvement with Socrates’ personal story, but they still have objective import.

Authority and Revelation

This chapter tracks the ascetic ideal from its religious point of origin to some of its key manifestations in the realms of morality and aesthetics. It relates Nietzsche’s original critique to Kierkegaard’s critical advocacy of Christianity, and uses Cavell to show how the latter can help us to understand twentieth-century artistic modernism as genealogically related to religious and moral concerns. It also argues that contemporary debates between moral individualists and moral philosophers influenced by Wittgenstein (such as Raimond Gaita and Cora Diamond) can be understood as arguments over contemporary manifestations of the ascetic ideal in both religion and morality. The central themes of the chapter are then brought together in a reading of a novel by William Golding.

The Unutterable as a Mode of Utterance: Wittgenstein’s Two Remarks on “Count Eberhard’s Hawthorn” by Ludwig Uhland

Uhland’s poem has found fame as a litmus test in philosophical debates about Wittgenstein’s Tractatus. Like many works of art, the poem is dynamically produced in its effort to resolve a fundamental conflict. The poem’s conflict arises from the difficulty to connect the count’s life and his daydream. In the end, the poem as a whole serves to embody a critique of the capacity of a daydream to recover memories faithfully. Wittgenstein makes two remarks in a 1917 letter to Paul Engelmann that pertain to the poem. They are to be read in keeping with a resolute reading (James Conant, Cora Diamond) of the Tractatus; Wittgenstein’s first remark imitates the very movement of thought we find in the poem – and in doing so Wittgenstein makes good on his claim to talk about the poem: “the unutterable is, – unutterably – contained in what is uttered.” His second remark has, thus far, played no role in literature – Wittgenstein speaks of Engelmann’s dreams, yet he does not explicitly formulate the poem’s bearing on them. Here, too, he reenacts, in the formulation of his remark, the core conflict of the poem. My interpretation of the poem, finally, distinguishes three interpretive approaches (symbolistic, realistic, critical) in order to capture the understanding of the poem embodied in Wittgenstein's remarks.