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This paper examines the discussion about false pleasures in the Philebus (36 c3-44 a11). After stressing the crucial importance of this discussion in the economy of the dialogue, it attempts to identify the problematic locus of the possibility of true or false pleasures. Socrates points to it by means of an analogy between pleasure and doxa. Against traditional interpretations, which reduce the distinction drawn in this passage to a distinction between doxa and pleasure on the one hand and their object on the other, it is argued that, rather, Socrates distinguishes between the mere fact of having a doxa or a pleasure, on the one hand, and the content of these acts, on the other hand. Consequently, the possibility for a pleasure to be false does not concern its relation to an object, but the affective content which defines it. In order to show how the affective content of a pleasure can be false, it is necessary to examine the three species of false pleasures described by Socrates in their relation to appearance and imagination. Appearance is not identical with perception for Plato: it consists in a mixture of perception and doxa. As for imagination, it consists in "illustrating" a doxa present in the soul by means of a "quasi-perception". It is the presence of a doxa in each of these processes which makes it possible for them to be true or false, while mere perception cannot be either true or false. It is then argued that according to the Philebus pleasure can be false precisely because its affective content is not a mere perception, but either an appearance or an imagination.

Not very long ago, Plato's Sophist was often presented as a dialogue devoted to the problem of being and not-being, entangled with limited success in an inquiry into the nature of the sophist. Thanks to the renewal of interest in the dramatic form of Plato's dialogues, recent works have shown that this entanglement is far from ill-conceived or anecdotal. However, the inquiry into the sophist is itself introduced by another question, concerning the nature of the Stranger from Elea himself. I would like to show that this question and the way in which it is raised in the prologue may themselves shed light on the relations between the many threads which run across this very complex dialogue.

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