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Edelstein Ludwig Temkin Owsei & Temkin C. Lilian “The Relation of Ancient Philosophy to Medicine.” Ancient Medicine: Selected Papers of Ludwig Edelstein 1967b Baltimore Johns Hopkins University Press 349 366

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See Luna and Segonds 2012: 1546–1657 for Proclus; for Iacobus see Goulet 2000: 821–823; also Keyser and Irby-Massie 2009: 429–430.

White 1989: 41–43. On the ontological implications of katharsis and “philosophizing correctly” in the Phaedo see Slaveva-Griffin 2013: 525–542.

Nutton 2004: 103. See also Mitchell-Boyask 2008 and Wickkisser 2008.

Respectively, Vita Plotini 10.21–5 and Vita Procli 38. To understand the significance of this focused attention on the body and medical matters in Proclus’ life, we need no more than recall the markedly different attitude to the body in Porphyry’s Life of Plotinus, the illustrious predecessor of Marinus’ Vita in the “genre” of Neoplatonic biographies. Both works begin with episodes centered on the bodies of their philosophers. The Life of Plotinus opens with the much-famed scene in which Plotinus renounces the making of his portrait on the grounds of the classical Platonic understanding of the inferiority of the body as a physical image of higher ontological principles (Vita Plotini 1). The scene sets the dismissive tone towards the body in the rest of the narrative. Plotinus’ chronic illness anchors Porphyry’s portrayal of his teacher’s divine soul. The graphic details of the last stages of Plotinus’ illness underline the readiness of his soul to complete its flight from the body to the divine (Vita Plotini 2). Despite Plotinus’ kinship with the divine, Asclepius and his cult do not play an explicit role in the Vita Plotini. For implicit Asclepian connotations of Plotinus’ death scene see Slaveva-Griffin 2009: 93–117. In Proclus’ biography, composed almost 200 years later, the picture is completely different, as will be demonstrated next.

Respectively, Vita Plotini 10.21–5 and Vita Procli 38. To understand the significance of this focused attention on the body and medical matters in Proclus’ life, we need no more than recall the markedly different attitude to the body in Porphyry’s Life of Plotinus, the illustrious predecessor of Marinus’ Vita in the “genre” of Neoplatonic biographies. Both works begin with episodes centered on the bodies of their philosophers. The Life of Plotinus opens with the much-famed scene in which Plotinus renounces the making of his portrait on the grounds of the classical Platonic understanding of the inferiority of the body as a physical image of higher ontological principles (Vita Plotini 1). The scene sets the dismissive tone towards the body in the rest of the narrative. Plotinus’ chronic illness anchors Porphyry’s portrayal of his teacher’s divine soul. The graphic details of the last stages of Plotinus’ illness underline the readiness of his soul to complete its flight from the body to the divine (Vita Plotini 2). Despite Plotinus’ kinship with the divine, Asclepius and his cult do not play an explicit role in the Vita Plotini. For implicit Asclepian connotations of Plotinus’ death scene see Slaveva-Griffin 2009: 93–117. In Proclus’ biography, composed almost 200 years later, the picture is completely different, as will be demonstrated next.)| false
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Edwards 2000: 99–103.