Socrates is in prison, sentenced to die when the sun sets. In this final conversation, he asks what will become of him once he drinks the poison prescribed for his execution. Socrates and his friends examine several arguments designed to prove that the soul is immortal. This quest leads him to the broader topic of the nature of mind and its connection not only to human existence but also to the cosmos itself. What could be a better way to pass the time between now and the sunset?

Gorgias of Leontini, a famous teacher of rhetoric, has come to Athens to recruit students, promising to teach them how to become leaders in politics and business. A group has gathered at Callicles' house to hear Gorgias demonstrate the power of his art. This dialogue blends comic and serious discussion of the best life, providing a penetrating examination of ethics.

The dramatic nature of Plato's dialogues is delightfully evident in Symposium. The marriage between character and thought bursts forth as the guests gather at Agathon's house to celebrate the success of his first tragedy. With wit and insight, they all present their ideas about love - from Erixymachus' scientific naturalism to Aristophanes' comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima's ethereal climb up the staircase of love to beauty itself.

A dialogue between Socrates and Meno probes the subject of ethics. Can goodness be taught? If it can, then we should be able to find teachers capable of instructing others about what is good and bad, right and wrong, or just and unjust.

The Athenian court has found Socrates guilty and sentenced him to death. While he is waiting to be executed, his friend, Crito, comes to the prison to persuade him to escape and go into exile. Socrates responds by examining the essence of law and community, probing the various kinds of law and making distinctions that go far beyond the particular issue of whether or not Socrates should escape.

In Euthyphro, Socrates is on his way to the court, where he must defend himself against serious charges brought by religious and political authorities. On the way he meets Euthyphro, an expert on religious matters who has come to prosecute his own father. Socrates questions Euthyphro's claim that religion serves as the basis for ethics. Euthyphro is not able to provide satisfactory answers to Socrates' questions, but their dialogue leaves us with the challenge of making a reasonable connection between ethics and religion.

Laches, a general in the Athenian army, saw Socrates fight bravely in the battle of Delium. When he and Nicias, another general, are asked to explain the idea of courage, they are at a loss, and words fail them. How does courage differ from thoughtless and reckless audacity? Can a lion be said to be courageous? What about small children who have little idea of the dangers they face? Should we call people courageous who do not know whether their bravery will produce good or bad consequences?

The Republic poses questions that endure: What is justice? What form of community fosters the best possible life for human beings? What is the nature and destiny of the soul? What form of education provides the best leaders for a good republic? What are the various forms of poetry and the other arts, and which ones should be fostered and which ones should be discouraged? How does knowing differ from believing?

Socrates questions Ion, an actor who just won a major prize, about his ability to interpret the epic poetry of Homer. How does an actor, a poet, or any other artist create? Is it by knowing? Is it by inspiration? As the dialogue proceeds, the nature of human creativity emerges as a mysterious process and an unsolved puzzle.

The Dialogues of Plato rank with the writings of Aristotle as the most important and influential philosophical works in Western thought. In them Plato cast his teacher Socrates as the central disputant in colloquies that brilliantly probe a vast spectrum of philosophical ideas and issues.

Perception, memory, truth, and knowledge all play major roles in this dialogue. What is remarkable about Plato's treatment of those ideas is how contemporary are both the questions and the answers he puts in the mouths of his characters. Socrates is adamant in asserting that he does not know the answers but that his function is simply to help formulate and critically examine the doctrines presented by others.

The Greek word sumposion means a drinking party (a fact shamefully ignored by the organizers of modern symposia), and the party described in Plato's Symposium is one supposedly given in the year 416 BC by the playwright Agathon to celebrate his victory in the dramatic festival of the Lenaea. He has already given one party, the previous evening; this second party is for a select group of friends, and host and guests alike are feeling a little frail.

This simplistic and ingenious allegory from one of the fathers of Western philosophy casts light on society’s naiveté and ignorance.

Rene Descartes is often described as the first modern philosopher, but much of the content of his Meditations on First Philosophy can be found in the medieval period that had already existed for more than a thousand years. Does God exist? If so, what is his nature? Is the human soul immortal? How does it differ from the body? What role do sense experience and pure reason play in knowing?

Aristotle's Poetics is best known for its definitions and analyses of tragedy and comedy, but it also applies to truth and beauty as they are manifested in the other arts. In our age, when the natural and social sciences have dominated the quest for truth, it is helpful to consider why Aristotle claimed poetry is more philosophical and more significant than history. Like so many other works by Aristotle, the Poetics has dominated the way we have thought about all forms of dramatic performance in Europe and America ever since.