ABSTRACT
As mentioned above, understanding the dialogues does not have to be directed by the hermeneutics of the archaic literary miniature forms of the oracle and
riddle ( , ), but must start from the more developed large-scale form of drama. In fact, Plato has all the techniques of developed dramaturgy at his disposal, and he knows how to deploy them judiciously in order to present his concept of philosophy. A complete description of Plato’s dramatic techniques is not my intention here: any such attempt would require a second book of at least the length of this one. All that can be offered here are a few examples which can demonstrate the old insight that the form of the Platonic dialogues is not a superficial thing, but is essential to their content. Indeed, many interpreters of recent generations have declared their support for this insight, but that has remained mainly lip-service; the unity of content and form, announced so programmatically, has rarely had any concrete consequences for interpreting Plato. Many an astonishing insight can be won here by an accurate observation of Plato’s literary methods and an examination of them in the light of the critique of writing.85
