Search results for ""Author Nalin Ranasinghe""

Nalin Ranasinghe has a strong affection for the Socrates he finds in four of Plato's most influential dialogues. This engagingly humane book traces Plato's struggle to simultaneously understand and convey the erotic presence of Socrates. Most commentators suppose that Plato assumes an ironic distance from Socrates. Ranasinghe claims, rather, that the dialogues reflect Plato's awe and frustration before the enigmatic figure whose conduct fascinated and bewildered Classical Athens. In original readings of the Republic, the Protagoras, the Phaedo, and the Symposium, Ranasinghe uncovers the profound literary and thematic unity of each work and shows new connections among the dialogues. From this re-reading, Ranasinghe proposes new answers to such perennial problems as the invalidity of the four proofs of the soul's immortality in the Phaedo, the draconian nature of the perfect regime described in the Republic, and the nature of Socrates' dalliance with Alcibiades in the Symposium. The book begins with an exegesis of the Republic that defends Socrates against the charge that he offers the blueprint for a totalitarian state—this slander must be refuted, Ranasinghe argues, before Plato can be understood as a liberal humanist. The chapter on the Protagoras examines the roots of sophistry and explicates a startling similarity between Protagoras and the nihilistic intellectual of the present day. The chapter on the Phaedo attacks the depiction of Plato as an otherworldly mystic who despised human existence. Two final chapters on the Symposium reveal the true Socrates. He is, Ranasinghe finds, an exemplary citizen and a human being passionately devoted to his mission of reconciling the mind to the desires. Ranasinghe's readings bring the distant and inscrutable figure of Socrates to life. They offer a vivid account of philosophical virtue that resonates over the centuries: how to live with integrity and grace in a world of uncertainty.

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Socrates and the Gods is the first book-length treatment of the Apology and its two supporting dialogues: the Euthyphro and Crito. These works are closely read and analyzed in a way that both takes into account their historic-cultural context (Homer, Greek tragedy, and the Peloponnesian War) and recognizes how Socrates refuses to be determined by material or mimetic necessity. The carefully argued interpretations arrived at are not distorted or skewed by a priori assumptions held by most political or analytic philosophers; it is not assumed that Socrates is either a cynical atheist who despised and deceived the rabble or an unsophisticated crank with little to offer a post-humanist Philosopher of Mind. Socrates’ distinctive take on the gods is essential to understanding the meaning of Socrates’ life, death, and self-proclaimed divine mission. The Euthyphro shows how Socrates overturns Homeric religion in a way that subtly but definitively establishes the philosophical basis of Christian Revelation. Determined to allow the Apology of Socrates to speak for itself, Plato uses the persona of Euthyphro, who almost certainly did not exist, to represent Meletus and the problem of religious literalism in a godless age. Socrates’ reinterpretation of Homer is shown to overcome the pervasive Oedipal antagonisms of the Iliad and bequeath posterity a healthier view of the respective roles played by divine and human elements in the Cosmos. Only the Euthyphro prepares the reader to approach Plato’s Apology with an adequate understanding of the issues, philosophical and politico-theological, at stake. Decisively refuting the currently fashionable dogma of Socrates’ atheism, Socrates’ mission consists in confounding false or reified claims to divine knowledge that are used to deny the ability of the human person to practice virtue. Socrates simultaneously affirms revelation and denies the capacity of prophets to serve as exegetes of their own winged utterances. The Apology will be shown to recover the better part of Homer’s legacy: the resilient soul of Odysseus, Socrates’ preferred alter ego, and to firmly establish the soul’s essential capacities to practice moral virtue and engage in exegetical interaction with inspired texts. The Crito is a dramatic treatment of the problem of Socrates’ intellectual and spiritual legacy. Socrates is anxious to show Crito that the pursuit of philosophy does not end with his death but rather must be seen as a capacity present in every human soul. Socrates’ existential proof to Crito, his last human judge, of the soul’s power to judge and be ruled by criteria of good and evil rather than pleasure and pain or honor and shame – must be seen to co-exist with his firm belief that the gods will not allow a good man to be harmed, as opposed to be killed, by those worse than he. Subtly echoing Aeschylus’ Eumenides, the Crito founds a tradition of mutually entwined revelation and interpretation that is recognizable and retrievable in our day. Recovery of our Socratic origins is crucial to the West’s survival.

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This is a posthumously published collection of Nalin Ranasinghe's sharp analyses of Shakespeare's five heavy dramas: Hamlet, King John, Julius Caesar, King Lear, and Antony and Cleopatra. True to form, Ranasinghe serves up philosophical and literary genius for the reader's benefit and delight. "I will try to claim that Shakespeare offers an esoteric vindication of the human soul itself, not merely poetry, against the looming backdrop of the Counter-Reformation in Europe and the Puritan perversion of English Anglicanism. Neither the Scholasticism of the former nor the fundamentalism of the latter had any sympathy for the claims of men like Bottom or the Bastard to see beyond the confines of scripture and sacred social structures. While poetry could indulge in metaphysical fantasy, it could not take on the status quo without the assistance of more learned allies; this Shakespeare seems to do by his re-telling of Classical and English history. As disingenuous as Bottom (or Erasmus) in this artful use of ignorance and folly to conceal his serious goals, Shakespeare is thus tying poetry to history and giving us an alternate, if playful, account of Western Civilization."

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