Cratylus
Cratylus (/krəˈtaɪləs/; Ancient Greek: Κρατύλος, Kratylos) was an ancient Athenian philosopher from the mid-late 5th century BCE, known mostly through his portrayal in Plato's dialogue Cratylus. He was a radical proponent of Heraclitean philosophy and influenced the young Plato.
Life
Little is known of Cratylus beyond his status as a disciple of Heraclitus of Ephesus, Asia Minor. The modern biographical tradition has not reached consensus on his approximate date of birth, arguing alternately for an age comparable roughly either to Plato or Socrates. Cratylus is mentioned in Aristotle's Metaphysics in a passage which seems to imply that Cratylus was an established and active philosopher in Athens during the mid-late 5th century, and that Plato himself became briefly interested in his work prior to aligning with Socrates.
Philosophy
In Cratylus' eponymous Platonic dialogue, the character of Socrates states Heraclitus' proclamation that one cannot step twice into the same stream. According to Aristotle, Cratylus went a step beyond his master's doctrine and proclaimed that it cannot even be done once. The contemporary philosophy Cratylism is based on a reconstructed version of Cratylus' theories of flux and language as they appear in Plato's dialogue and has been influential to Eastern thinkers, including Buddhist semioticians.
Cratylus (dialogue)
Cratylus (/krəˈtaɪləs/; Ancient Greek: Κρατύλος, Kratylos) is the name of a dialogue by Plato. Most modern scholars agree that it was written mostly during Plato's so-called middle period. In the dialogue, Socrates is asked by two men, Cratylus and Hermogenes, to tell them whether names are "conventional" or "natural", that is, whether language is a system of arbitrary signs or whether words have an intrinsic relation to the things they signify.
Cratylus was the first intellectual influence on Plato (Sedley). Aristotle states that Cratylus influenced Plato by introducing to him the teachings of Heraclitus, according to MW. Riley.
Summary
The subject of Cratylus is the correctness of names (περὶ ὀνομάτων ὀρθότητος), in other words, it is a critique on the subject of naming (Baxter).
When discussing a ὄνομα (onoma ) and how it would relate to its subject, Socrates compares the original creation of a word to the work of an artist. An artist uses color to express the essence of his subject in a painting. In much the same way, the creator of words uses letters containing certain sounds to express the essence of a word's subject. There is a letter that is best for soft things, one for liquid things, and so on. He comments;
Podcasts:
Matching books:
-
by Corte Ellis
-
by Corte Ellis
Money On The Floor (remix)
by: Corte Ellis[Intro: Corté Ellis]
Stuntin like a muh'fucker
I be I be I be, I be on that on that (Slaughterhouse!)
On that on that on that on that
[Crooked I (Corté):]
Yo, million dollar +Playboy+, bunny ears and all
The reason for the long ears, money hears it all
She say "I love you papa, " then I grab my chopper
Tell her pull over to box the lights, honey here's the mall
(Money on the floor) I tear it down wall-to-wall
If I'm not spendin Kobe paper at least I'm Pau Gasol
I spend to live lavish, I get to the cabbage
I'm sicker than average, I'll give your chick my stimulus package, uhh
[Corté Ellis:]
I got a lot of cars, got a lot of jewels
Spend a lot of money women say I act a fool
When I'm in the club, bottles in my hand
Stuntin like a (muh'fucker) watch me do my do my do my (dance)
Is this your girl? Cause homie if it is
Get her from my table cause you know what it is
I'm tryin to get her home, when she done with that Patrón
She don't pick up the phone, then you know what's goings on
She lookin at my watch, and not just for the time
Attracted to the shine, she attracted to the grind
I'm 'bout to make her mine, then get up in her mind
Then get up in her spine, man she better recognize I got
[Chorus x2: Corté Ellis]
(Got) Money on the floor (got) money on the floor
(Got) Money on the floor (got) money on the floor
(Got) Money on the floor (got) money on the floor
You get that girl? I get that girl; you get that girl? I get that girl
[Joe Budden]
Okay, uhh, get this paper, uhh
Look, look look; she told me she couldn't help it
So then it's a overload maybe somethin you gon' need help with
Like soon as we weld it (ohh)
Heated up, melt it (or) beat it up, welt it
When she scream that she never felt it I knew it's a job I well did
I ain't on no wealth shit but the V is like a stealth shit
(Or) Or aircraft, my share cash got her near fast
Way she wear that, I threw the dough in the air
Enough to keep you off that blow for a year, let's get it clear
Joey!
[Chorus: w/ ad libs]
[Royce Da 5'9":]
Nickel (woo!)
Nickel-Nine I'm so ghetto, fo', metal
Walk around on money like I'm Akeem and them dollars is rose petals
And I keep that dough handy - that sweet smell of money
I sniff it, I get high, I call it nose candy
Mama take a flick – 20 thousand on me
Every G that's in my pocket separated by a paper clip
Every G that's with me separated by a AK clip
We 'bout that white, okay-K-K
Step back, my niggaz throwin
[Chorus: w/ ad libs]
[Joell Ortiz:]
Uhh, first it starts in my pockets in thick rubber bands
Then it makes it's way to the bar next to my cup of Grand
Marnier, wish it would stay there but it can't parlay
When it sees a runway, it takes flight, and lands by they lingerie
Especially when they body's sweet like, crème brûlée
And that booty puts they thong away
I'm havin fun, all you haters can keep lookin
Matter fact, don't keep on lookin, I'm from Brooklyn
We gon' end up puttin money on the flo'
[Chorus: w/ ad libs]
[Corté Ellis:]
Now what I'm 'posed to do, with all this money
Ridin in a spaceship, they look at me funny
Donald Trump money, that Bill Gates money
Warren Buffett money, can't take nuttin from me
Now what I'm 'posed to do, with all this money
Ridin in a spaceship, they look at me funny
Donald Trump money, that Bill Gates money