Reminder that Plato's Parmenides is the highpoint of Western thought.

[Anonymous No.17142635]

>The third passage of the Parmenides is the most profound point to which Occidental metaphysics has ever advanced. It is the most radical advance into the problem of Being and time—an advance which afterwards was not caught up with [aufgefangen] but instead intercepted [abgefangen] (by Aristotle)
- Heidegger
>If the second half of his [Plato’s] Parmenides would be performed anew with today’s methods (and not Neoplatonically), then all bad metaphysics would be overcome, and the space would be open for a pure hearing of the language of Being.
- Karl Jaspers in a letter to Heidegger:

>Let this therefore be said, and let us also say the following, as it seems appropriate. Whether or not there is a unity, the unity itself and the manifold otherness, both in relation to themselves as well as to each other—all this, in every way, both is and is not, appears [phainetai] and does not appear. —This is most true [alēthestata].
- Final passage of the Parmenides

>Maximal truth has been attained when appearance and Non-being have been included within truth and Being. The dialogue literally leads to Nothing [Nichts]. . . . Thereby the question of Being has been transformed, everything is now otherwise. The on is both hen and polla, and it is hen, insofar as it is polla and vice versa. The One and the Many are only insofar as they are in themselves negative [nichtig].
- Heidegger's conclusion of his seminar on the Parmenides

[Anonymous No.17142643]

>>17142635
And no doubt for Western literature and art too.

>Without embarking on an inquiry into the mystery just mooted, we yet must call to mind the distinction between the modern culture-poet and the naive poet of the ancient world. The latter was in the first place an inventor of Myths, then their word-of-mouth narrator in the Epos, and finally their personal performer in the living Drama. Plato was the first to adopt all three poetic forms for his "dialogues," so filled with dramatic life and so rich in myth-invention; and these scenes of his may be regarded as the foundation—nay, in the poet-philosopher's glorious "Symposium," the model unapproached—of strictly literary poetry, which always leans to the didactic. Here the forms of naive poetry are merely employed to set philosophic theses in a quasi-popular light, and conscious tendence takes the place of the directly-witnessed scene from life. To extend this "Tendence" to the acted drama, must have appeared to our great culture-poets the surest mode of elevating the existing popular play; and in this they may have been misled by certain features of the Antique Drama. The Tragedy of the Greeks having [139] evolved from a compromise between the Apollinian and the Dionysian elements, upon the basis of a system of Lyrics wellnigh past our understanding, the didactic hymn of the old-Hellenian priests could combine with the newer Dionysian dithyramb to produce that enthralling effect in which this artwork stands unrivalled. Now the fact of the Apollinian element in Greek Tragedy, regarded as a literary monument, having attracted to itself the principal notice in every age, and particularly of philosophers and didacts, may reasonably have betrayed our later poets—who also chiefly viewed these tragedies as literary products—into the opinion that in this didactic tendence lay the secret of the antique drama's dignity, and. consequently into the belief that the existing popular drama was only to be raised and idealised by stamping it therewith. Their true artistic instinct saved them from sacrificing living Drama to Tendence bald and bare: but what was to put soul into this Drama, to lift it on the cothurnus of ideality, they deemed could only be the purposed elevation of its tendence; and that the more, as their sole disposable material, namely Word-speech, the vehicle of notions (Begriffe), seemed to exclude the feasibility, or even the advisability, of an ennoblement and heightening of expression on any side but this. The lofty sentence alone could match the higher tendence; and to impress the hearer's physical sense, unquestionably excited by the drama, recourse must be had to so-called poetic diction.
- Wagner

[Anonymous No.17142657]

>>17142635
Actually Parmenides' poem is the highest point of metaphysics.

[Anonymous No.17142707]

>>17142657
Plato explains the essential ideas of it at the start of his dialogue, and then goes beyond it.

[Anonymous No.17142711]

One of many

[Anonymous No.17142739]

>>17142635
>>17142643
Plato's Parmenides is still an enigma to me but his Symposium is one of the greatest things I've read. On a side note, how common are places like the gif in OP in Europe? Imagine living there...

[Anonymous No.17142939]

>>17142635
>highpoint of Western thought
does it include racemixxing :D

[Anonymous No.17143000]

Doesn't the last passage state that if the One isn't, then the Many isn't either nor are there any possible appearances of one and many in everything else? I took it as a proof by contradiction that the One must not not be, since we (among the others) can conceive of appearances to be one or many otherwise this whole dialogue wouldn't make sense, since we wouldn't even have a concept of one and many. Plato as Parmenides never states that the One isn't, he just form the implications if it weren't.

[Anonymous No.17143025]

>>17143000
other than that Heidegger is doing some fuckery about a "seiendes nichtseiendes Eins, das sich selbst nichtet" or some shit like that

[Anonymous No.17143062]

>>17142707
There's nothing beyond it.

[Anonymous No.17144078]

>>17143062
You sound like a Neoplatonist.