Digitized by the Internet Archive in 2014 https://archive.org/details/platoniscritoedwOOplat A. C PLATONIS CRITO Eontom: C. J. CLAY AND SONS, CAMBRIDGE UNIVERSITY PRESS WAREHOUSE, AVE MARIA LANE. aCambrtUge: DEIGHTON, BELL, AND CO. 3Leip>ts: F. A. BROCKHAUS. $ork: M ACHILLA N AND CO. f xtt f rtss S*rbs. PLATONIS CRITO WITH INTRODUCTION NOTES AND APPENDIX BY J. ADAM M.A. FELLOW AND TUTOR OF EMMANUEL COLLEGE CAMBRIDGE Second Edition EDITED FOR THE SYNDICS OF THE UNIVERSITY PRESS CAMBRIDGE AT THE UNIVERSITY PRESS 1893 [All Rights reserved] ev eixprjixiq. XPV rekevrav. (Phaed. 117 D.) (£ambrttrge : PRINTED BY C. J. CLAY, M.A. AND SONS, AT THE UNIVERSITY PRESS. TABLE OF CONTENTS. PAGE PREFACE iii INTRODUCTION v TEXT I NOTES . . . . . . . . 21 APPENDIX 81 INDEX . o 83 PREFACE TO THE SECOND EDITION. The second edition has been revised throughout. I have been convinced by the arguments of several reviewers that my view of the difficult passage in 44 b re- quires modification, and I have modified it accordingly. In one or two other passages I have expressed myself (I hope) more clearly : otherwise there is no change. I desire to thank the reviewers in England and in Germany for their courceous and considerate reception of this little work. Emmanuel College, Cambridge, February 21, 1 891. PREFACE. No apology is needed for a new edition of the Crito. The only edition in English which possesses more than a purely ephemeral value is Dyer's reproduction of Cron (Boston, 1885). And to my mind the Crito is one of the finest of Plato's minor dialogues, breathing the most ex- alted morality, full of the deepest historical interest, and above all (as I think I have shewn in my Introduction) perfect as a work of art. As in the Apology, so here, I have followed on the whole the readings of the Bodleian. But I am as far as possible from wishing to disparage the second family of manuscripts, and it will be seen from my critical appendix that I have not infrequently pre- ferred a reading traceable to it. The editors to whom I am most indebted in the for- mation of the text are Schanz and Krai : for the interpre- tation I have found Cron's edition far the most valuable. I have also consulted the editions by Wohlrab and Gobel, and other critical contributions to the study of the dialogue referred to in my notes. But J have frequently iv PREFACE. ventured to differ from the other editors in the inter- pretation of the dialogue : and a large part of the com- mentary is my own. I have again gratefully to acknowledge my obligations to Mr Neil. Emmanuel College, November 25, 1887. INTRODUCTION. The Crito is one of the Socratic tetralogy of dialogues, embracing the Euthyphro, the Apology, the Crito and the Phaedo. The justification for grouping these together is that each of them is concerned with the circumstances of Socrates' trial, imprisonment and death. At the outset of the Euthyphro, we are favoured with a description of Socrates' accuser, together with a brief account of the indictment: while in the rest of the dialogue Plato proceeds to refute by anticipation the charge of impiety, shewing how infinitely more reverent is the scepticism of Socrates than the unre- flecting orthodoxy of which Euthyphro is the exponent. The Apology was intended by Plato to be a triumphant vindication of the whole faith and practice of his master in society, religion and politics. In the Crito and the Phaedo we are brought face to face with issues which are at once narrower and wider: narrower, inasmuch as they deal with one particular aspect of Socrates' personality, the Crito with his political, the Phaedo with his eschatological views, freely developed and expanded by Plato: wider, be- cause in both we are introduced to problems of more universal interest, in the Crito to the relation between the individual and the State, in the Phaedo to the immortality of the soul. vi INTRODUCTION. If we regard the Euthyphro as a kind of prologue to the great trilogy of which Socrates is the central figure, we shall see in the Crito as it were the second drama, related to the first and last much as the Choephori is related to the Agamemnon and the Eumenides. From one point of view, indeed, there might seem to be a closer connection between the Crito and the Phaedo than between it and the Apology : for while in the first member of the trilogy we have Socrates' Apologia pro vita sua, the other two set before us his Apologia pro morte sua: in the Crito we have the citizen's justification for remaining to die, in the Phaedo the philosopher's, the hope of immortality. But on a closer examination we shall see that our dialogue is rather an epilogue to the Apology than a prologue to the Phaedo. There is little in the doctrine of the two first dialogues that travels beyond the standpoint of the historical Socrates, whereas in the purely philosophical sections of the Phaedo, Socrates speaks for Plato rather than for himself. And in the second place, we are introduced in the Crito to an elaborate refutation of the political prejudice against Socrates which lent such fatal force to the indictment 1 , a prejudice touched upon, it is true, in the Apology 2 , but for the first time thoroughly exposed and rebutted in our dialogue. So far from being the enemy of his country and the corrupter of his fellow-citizens, the Crito sets before us Socrates as the only true patriot, faithful to his country and her laws even at a moment when average Athenian morality as interpreted by the mouth of Crito pronounced it to be not only ex- 1 See my Introduction to the Apology, pp. xxiv — xxv. 2 Chapters xix — xxii. INTRO D UCTION. vii disable but his imperative duty to break the laws and save his life 1 . The structure of the dialogue is admirably adapted for the purpose .of exhibiting the patriotism of Socrates, and reveals throughout a close analogy to the actual circumstances of Socrates' trial, defence and condemnation. As the correct appre- hension of this analogy will bring still more clearly into view the real scope and meaning of the Crito, I will endeavour to trace it in detail: the subject-matter of our dialogue will be considered later. In the trial of Socrates, there were three parties concerned — the prosecution, represented by Meletus and his associates, Socrates himself as the defendant, and the judges. The charge was virtually one of High Treason : Socrates, it was alleged, had been unfaithful to his country by endeavouring to demoralise her youth and refusing to recognise her gods. A verdict of guilty was returned and Socrates condemned to death: this much the Apology gives us. In the Crito, as it appears to me, the semblance of a trial is still preserved, under the mask of dialogue. This time Socrates is judge, Crito prosecutor, the State prisoner at the bar. The charge is wrong-doing (aStKctv): the verdict one of acquittal. I see frequent indications of such a juridical structure throughout the Crito, such as the personification of the Laws, the use of aTToXXvvai vofjiovs as a figurative expression for breaking the laws (50 a, 50 d, 51 a, 54 c), perhaps also the use of elarjytLO-OaL in 48 A (ovk 6p6poi/Ti- 4'etV 7T€pt TCOJ/ SlKOUtol/ KOtl KdXlOU KOLL dya0<2v KOLL T aXXo>s T€ koll pyjriDp, €i7T€