INTRODUCTION

THE subject of the Symposium is love. Five set speeches are made upon this theme besides that of Alcibiades, which, though professedly about Socrates, is also really about love. Phædrus dwells especially upon love as an incentive to courageous deeds. Pausanias distinguishes between the heavenly and the earthly love. Eryximachus, the physician, seeks to show a common principle in the love of the body and the love of the mind. Aristophanes, the writer of comedy, under the guise of an extravagant myth, suggests that man cannot live in isolation, that love is the necessary mediator between men, and that the love of the world is a type of the higher love. Agathon, as becomes the master of tragedy, makes a noble poem in eloquent praise of love the divine. The earthly love is repeatedly discussed in these speeches with a frankness which seems to our ears very gross. Each of the speeches, however, makes some contribution to the theme, which Plato considers of value. Socrates pretends to have been instructed as to the sober truth about love by a wise woman, Diotima. In a word, he believes that love is a principle which ranges all the way from animal desire to the hunger and thirst after wisdom, and that in the highest as well as in the lowest form of love, the soul longs to beget the likeness of itself in others. True love is not love of the beautiful for itself or for oneself alone, but it is love of the "birth in beauty" in others. In such fashion does Plato realize the idea o love for God and for man.

But the Symposium is not simply a series of arguments. It is perhaps more evidently than any other of Plato's writings, a dramatic portrayal of the theme and of the varied views of men about the theme. The five speeches preceding that of Socrates are doubtless to be regarded as dramatic in this sense. Besides this, many incidents of the story illustrate the theme. In a variety of ways it is suggested that Socrates is so wholly a lover of truth that the things of this world are nothing to him. He stands in the snow without feeling it. He conducts himself in battle without fear. He drinks and is not made drunk. He is assailed with temptation to vice, but is not really tempted. Above all he passes at times (two instances are mentioned in the dialogue) into an ecstatic state where the search of his soul after truth makes him for hours completely oblivious to all earthly things. The best illustration of the nature and power of true love is given in the speech of Alcibiades.1 Here is shown in the most perfect way that strong and genuine love of wisdom and holiness is, inevitably, also strong and genuine desire and power to allure others toward wisdom and holiness.

A word of warning should be given. As Jowett says, "if it be true that there are more things in the Symposium than any commentator has dreamed of, it is also true that many things have been imagined which are not really to be found there." Do not pigeon-hole the Symposium after one reading. It is "full of divine and golden images," with which a life-time is not too long to make full acquaintance.

1 See General Introduction, page xxx.

For the day

172

I BELIEVE that I am prepared with an answer. before yesterday I was coming from my own home at Phalerum to the city, and one of my acquaintance, who had caught a sight of the back of me at a distance, Steph. in merry mood commanded me to halt: Apollodorus, he cried, O thou man of Phalerum, halt ! So I did as I was bid; and then he said, I was looking for you, Apollodorus, only just now, that I might hear about the discourses in praise of love, which were delivered by Socrates, Alcibiades, and others, at Agathon's supper. Phoenix the son of Philip told another person, who told me of them, and he said that you knew; but he was himself very indistinct, and I wish

1 Apollodorus (å-põl'lo-dō'rus). friend and disciple of Socrates, and present at his death. See Phædo, 59 and 117.

Phædrus see the dialogue Phædrus.

Pausanias: see Protagoras, 315 and note 22.

Eryximachus: a physician. See Protagoras, 315 and note 18; Phædrus,

268.

Aristophanes: comic poet. See Apology, note 5.

Agathon (ag'a-thon, -400 B.C.): an Athenian tragic poet, called the "fair Agathon" on account of his extreme beauty. See Protagoras, 315.

Alcibiades: see Protagoras, note 1.

Phalerum (fa-lē'rum): one of the harbors of Athens.

that you would give me an account of them. Who but you should be the reporter of the words of your friend? And first tell me, he said, were you present at this meeting?

Your informant, Glaucon, I said, must have been very indistinct indeed, if you imagine that the occasion was recent, or that I could have been present.

Why, yes, he replied, that was my impression.

But how is that possible? I said. For Agathon has not been in Athens for many years (are you aware of that?), and my acquaintance with Socrates, of whose every action and word I now make a daily study, is not as yet of three years' standing. I used to be running about the world, thinking that I was doing something, and would have done anything rather than be a philosopher: I was almost as miserable as you are now.

173

Well, he said, cease from jesting, and tell me when the meeting occurred.

In our boyhood, I replied, when Agathon won the prize with his first tragedy,3 on the day after that on which he and his chorus offered the sacrifice of victory.

That is a long while ago, he said; and who told you-did Socrates?

4

No indeed, I replied, but the same person who told Phonix; he was a little fellow, who never wore any shoes, Aristodemus, of the deme of Cydathenæum. He had been at this feast; and I think that there was no one in those days who was a more devoted admirer of Socrates. Moreover, I asked Socrates about the truth of some parts of his narrative, and he confirmed them. Then, said Glaucon, let us have the tale over again; is not the road to Athens made for conversation? And so we walked, and talked of the discourses on love; and therefore, as I said at first, I am prepared with an answer, and will have another rehearsal, if you like. For I love to speak or to hear others speak of philosophy; there is

3 The Greek drama had its origin in one of the chief religious festivals of the people-the Dionysia (di'o-ng'si-a). It was originally a chorus, sung in honor of the god Dionysus (di'o-ny'sus). Later, actors were introduced, but the chorus was retained. The drama became an important part of the festival. Three days were given to the public presentation of new dramas. The State offered prizes to the contesting authors. The first prize was a crown, publicly presented. This was the highest distinction that could be conferred on a dramatic author at Athens.

♦ Aristodemus (a-ris'to-de'mus). Cydathenæum (sid-ath-e-ne'um).