Plato, perhaps now completely disgusted with politics, returned to his beloved Academy, where he lived out the last thirteen years of his life. His grave, however, has not yet been discovered by archeological investigations. There can be no doubt that Plato was also strongly influenced by Parmenides and Zeno (both of Elea), in Plato's theory of the Forms, which are plainly intended to satisfy the Parmenidean requirement of metaphysical unity and stability in knowable reality.
This is evident not only in many of the doctrines and arguments we find in Plato's dialogues, but perhaps most obviously in Plato's choice of Socrates as the main character in most of his works.
Plato's works also contain the origins of the familiar complaint that the arts work by inflaming the passions, and are mere illusions. Their political activities, however, are not seen as laudable ones by historians. Charmides' own uncle, Critias, was the leader of the Thirty.
We also are introduced to the ideal of "Platonic love:" Plato saw love as motivated by a longing for the highest Form of beauty—The Beautiful Itself, and love as the motivational power through which the highest of achievements are possible. One of Plato's uncles (Charmides) was a member of the notorious "Thirty Tyrants," who overthrew the Athenian democracy in 404 B. Plato's relatives were not exclusively associated with the oligarchic faction in Athens, however.
Dion subsequently gathered an army of mercenaries and invaded his own homeland.
But his success was short-lived: he was assassinated and Sicily was reduced to chaos. The effects of this influence can perhaps be seen in the mature Plato's conception of the sensible world as ceaselessly changing.