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The hidden music in Plato’s dialogues

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Tarbet forwarded a couple of links to me about a scholar who has found hidden musical qualities in the structure of some of Plato’s dialogues. This YouTube is a short interview with the scholar, where he sketches out the basic idea:

And this link is to one of his papers in which he shows more concretely what he’s talking about, in connection to the Symposium:


1 Comment

  1. Al says:

    Yeah, yeah – it sounds like Dan Brown’s “Da Plato Code.” But every single line in Plato does seem to hide onion-like layers of secretive irony. The essence of Socrates is irony, and the years of Pythagorean geometry and wine-drunk poetry symposiums complement that in an interestingly musical way. Puns abound. Every dialogue is a weirdly geometrical masterpiece – after all, that’s the point, isn’t it! – so maybe there’s something to it.

    But for those in Kant and the 19th C., this is pretty interesting in relation to Schopenhauer. I’m convinced our favorite shock-haired, imp-eyed pessimist does find a place for Plato’s Forms between Kant and the Hindu Vedas. But the whole thing relies on music. He admits in “The World as Will and Representation” that it the project may as well be called “The World as Music and Representation.”

    He ought to have named it “The Will as Cosmic Bass Player.”

    The whole thing started with “And a one, a two, a three, a four…”


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