У статті докладно аналізується Аристофанів міф про андрогінів, відображений у «Бенкеті» Платона. Наголошується, що комічність природи любові полягає в тому, що пошук другої половинки в кожного неповторний, сповнений парадоксальністю, неоднозначністю, невідповідністю, а також тим, що віднаходження предмету любові супроводжується як радісними, так і сумними моментами. Трагічність любові у даному міфі [Symp.192d-e] визначається унікальністю предмету любові та зустрічі з ним; конечністю дискурсу любові; роллю та значенням розлуки і вірності в любові.

The dramatic nature of Plato’s dialogues is delightfully evident in the Symposium. The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love—from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as (...) class='Hi'>Plato concludes with one of his most skillful displays of dialectic. (shrink)

In recent years there has been a renaissance of scholarly interest in Plato's Symposium, as scholars have again begun to recognize the philosophical subtlety and complexity of the dialogue. But despite the quality and quantity of the studies that have been produced few contain an extended analysis of the speech of Aristophanes; an unusual oversight given that Aristophanes' encomium is one of the highlights of the dialogue. In contrast to the plodding and technical speeches that precede it, the father (...) of Old Comedy structures his own speech around a fantastic fable in which he tells how humans, having originally taken the form of comically grotesque ‘circlemen’, assumed their present shape after being divided in two for their impious actions against the gods. This story forms the basis of his discussion of Eros, which he claims is nothing more than a desire to return to our original form. One study on which commentators continue to draw heavily for their own interpretation of Aristophanes' encomium is that of Arlene Saxonhouse. As the title of her article suggests, central to Saxonhouse's analysis is her interpretation of the Net of Hephaestus passage, in which Aristophanes suggests that, if offered the chance to be welded together with their beloveds and so become circlemen once more, all humans would leap at the opportunity, thinking that this would be all of the fortune that they could ever desire. For Saxonhouse this passage, more than any other, demonstrates that, on Aristophanes' view, our original nature is one of perfection. According to Saxonhouse, our original form is the telos of human existence and the standard by which we judge the good life, because she understands circlemen as being self-complete beings entirely free from desire and need. Put simply, to be a circleman is to be a perfect being. Eros, on this reading, as the desire for wholeness, is to be praised because it reminds us of our deficiency, and instills in us a desire to actualize our potential for perfection. But unlike Socrates' encomium, which ends with the lover realizing their potential by possessing knowledge of the divine, Saxonhouse believes that the Net of Hephaestus passage lends a tragic end to Aristophanes' speech. For Saxonhouse it is Plato's dirty trick that he turns Aristophanes into a tragedian. (shrink)

The dramatic nature of Plato’s dialogues is delightfully evident in the Symposium. The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love—from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as (...) class='Hi'>Plato concludes with one of his most skillful displays of dialectic. (shrink)

In his celebrated masterpiece, Symposium, Plato imagines a high-society dinner-party in Athens in 416 BC at which the guests - including the comic poet Aristophanes and, of course, Plato's mentor Socrates - each deliver a short speech in praise of love. The sequence of dazzling speeches culminates in Socrates' famous account of the views of Diotima, a prophetess who taught him that love is our means of trying to attain goodness. And then into the party bursts the drunken (...) Alcibiades, the most popular and notorious Athenian of the time, who insists on praising Socrates himself rather than love, and gives us a brilliant sketch of this enigmatic character. The power, humour, and pathos of Plato's creation engages the reader on every page. This new translation is complemented by full explanatory notes and an illuminating introduction. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

In this paper, I offer a new interpretation of Aristophanes’ speech in Plato’s Symposium. Though Plato deliberately draws attention to the significance of Aristophanes’ speech in relation to Diotima’s (205d-206a, 211d), it has received relatively little philosophical attention. Critics who discuss it typically treat it as a comic fable, of little philosophical merit (e.g. Guthrie 1975, Rowe 1998), or uncover in it an appealing and even romantic treatment of love that emphasizes the significance of human individuals as love-objects (...) to be valued for their own sakes (e.g. Dover 1966, Nussbaum 1986). Against the first set of interpreters, I maintain that Aristophanes’ speech is of the utmost philosophical significance to the dialogue; in it, he sets forth a view of eros as a state of lack and a corresponding desire for completion, which is the starting-point for Diotima’s subsequent analysis. Against the second, I argue that Aristophanes’ speech contains a profoundly pessimistic account of eros. Far from being an appreciative response to the individuality of the beloved, eros, for Aristophanes, is an irrational urge, incapable of satisfaction. It is this irrationality that precludes Aristophanes’ lovers from achieving the partial satisfaction of erotic desire that is open to their Socratic counterparts through their relationship to the forms. (shrink)

Introduction -- The problem of Socrates : Kierkegaard and Nietzsche -- Kierkegaard : Socrates vs. the God -- Nietzsche : call for an artistic Socrates -- Plato's Socrates -- Love, generation, and political community (the Symposium) -- The prologue -- Phaedrus' praise of nobility -- Pausanias' praise of law -- Eryximachus' praise of art -- Aristophanic comedy -- Tragic victory -- Socrates' turn -- Socrates' prophetess and the daemonic -- Love as generative -- Alcibiades' dramatic entrance -- Alcibiades' images (...) of socrates -- Alcibiades' praise of Socrates' virtues -- Aftermath -- The incompleteness of the Symposium -- Self-knowledge, love, and rhetoric (Plato's Phaedrus) -- The setting -- Non-lovers (Lysias' speech and Socrates' first speech) -- Souls and their fall -- Lovers and their ascent -- Prayer to love -- Contemporary rhetoric and politics -- A genuine art of rhetoric -- Writing -- Prayer to Pan -- Who is the friend? (the Lysis) -- Joining the group -- Getting acquainted -- Seeking a friend -- Are friends the ones loving, the ones loved, or both? -- Are likes friends? -- Are unlikes friends? -- Are those who are neither good nor bad friends to the good? -- Are the kindred friends? -- Who might friends be? -- Friendly communities -- Socratic philosophizing -- Socrates' youthful search for cause -- Socrates' second sailing and the ideas -- Piety, poetry, and friendship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 44.3 (2006) 467-468 [Access article in PDF] Richard Hunter. Plato's "Symposium". New York: Oxford University Press, 2004. Pp. xiii + 150. Cloth, $40.00. Paper, $14.95. The editors of the series in which Plato's "Symposium" appears state that its constituent texts are to be "essays in criticism and interpretation that will do justice to the subtlety and complexity of the works under (...) discussion" (vi). In the preface, Hunter identifies as his audience "those who have already read or are in the process of reading the Symposium" (ix).Plato's "Symposium" has much to offer to classics students and to the general reader. The book provides useful literary and cultural background regarding the conduct of Greek symposia (5–15). It is filled with valuable interpretive remarks, as for example when Hunter proposes that Alcibiades' depiction of Socrates "as a carved Silenus" instantiates a "common form of sympotic verbal game, the 'likeness'—'Why is X (usually one of the symposiasts) like Y (usually something nonhuman)?'" (5–6). Hunter's rich knowledge of Greek literature pays off in a range of ways, as for instance in his remarks on literary articulations of erôs (16–18). The volume's final chapter, on the history of the dialogue's reception, offers a number of figures and contexts on which to reflect.Hunter makes helpful observations regarding the seriocomic and special features of Plato's recourse to it (9–11), noting that, "in the attack upon the spoudaiogeloion, it is the spoudaiogeloion itself which is the principal weapon" (36). Hunter's orientation in this regard yields nuanced interpretations of the logoi of Pausanias and Eryximachus. Hunter observes helpfully that Aristophanes' encomium functions as "an example of a very familiar aspect of the technique of Aristophanic comedy, namely, the literalization of metaphorical language (as, for example, when 'weighing up' poetry becomes a matter of real weighing in the Frogs)" (65). In Hunter's view, Agathon's contribution, in turn, illustrates Plato's contention in the Gorgias that tragedy is a type of flattery (kolakeia). Drawing on Aristophanes' Women at the Thesmophoria, Hunter makes the useful suggestion that the comic poet's depiction "can... help to explain the extravagance of the Platonic character's speech" (76).While Plato's "Symposium" will also provide valuable background to students of philosophy, on its own the book does not do justice to Socrates' encomium, in particular the crucial "ascent passage" (210a–12a). A key point of contention among philosophical interpreters of the Symposium is whether one is to read the ascent passage as "inclusive" or "exclusive" regarding erôs as directed toward individuals. (For the formulation of the controversy in these terms, see J. M. E. Moravcsik, "Reason and Eros in the 'Ascent'-Passage of the Symposium," in Essays in Ancient Greek Philosophy, eds. Anton and Kustas [1971], 293.) The strongly exclusivist stance has had a number of exponents and is most famously associated with Gregory Vlastos (see "The Individual as an Object of Love in Plato," in Platonic Studies, 2nd ed. [1981], 31). For a contrasting view, one may consult, for example, John Brentlinger, according to whom "it does not follow from Plato's claim that we love persons (or anything else) because we believe them to be beautiful and good, that we really love the properties of beauty and goodness per se, and do not really love persons per se" (The "Symposium" of Plato [1970], 122; see also C. J. Rowe, Plato: "Symposium" [1998], 7). Hunter states that the Symposium's "apparent rejection of the value of lasting love between individuals has often seemed to modern readers to present a harshly intellectual view of erôs which ignores basic, [End Page 467] universal facts of human experience and which offers little comfort to all but a Socrates" (98). It will not, I think, be evident to readers not already familiar with pertinent philosophical literature on the ascent to just what interpretive debate this remark is (at most) a glancing gesture.Hunter quotes Symposium 210d, where Plato says that the... (shrink)

Plato's account of an important dialogue on the nature of love between Phaedrus, Pausanias, Eryximachus, Aristophanes, Agathon, Socrates and Alcibiades. English translation with notes and introduction.

In his celebrated masterpiece, Symposium, Plato imagines a high-society dinner-party in Athens in 416 BC at which the guests - including the comic poet Aristophanes and, of course, Plato's mentor Socrates - each deliver a short speech in praise of love. The sequence of dazzling speeches culminates in Socrates' famous account of the views of Diotima, a prophetess who taught him that love is our means of trying to attain goodness. And then into the party bursts the drunken (...) Alcibiades, the most popular and notorious Athenian of the time, who insists on praising Socrates himself rather than love, and gives us a brilliant sketch of this enigmatic character. The power, humour, and pathos of Plato's creation engages the reader on every page. This new translation is complemented by full explanatory notes and an illuminating introduction. (shrink)

Teaching is often framed in terms of performance: an orator stands before a crowd, attempting to capture attention and to deliver material prepared in advance. This analogy falls apart, however, when one considers the extent to which teaching is a dialogical endeavor. Looking to the Meno, the Symposium, and the Republic, this paper offers an interpretation of these texts which deepens our understanding of Plato’s theory of education. First, a Platonic view of education recommends a view of educators not (...) as imparters of wisdom upon passive recipients, but as mediators of student growth. Second, the tragic and comic nature of the above Platonic dialogues suggests that the content of a lesson will always be inflected by the personal characters of the students and teacher. This has direct implications for how philosophers approach their task as teachers, the most notable being that the personal characters and classroom dynamics are factors which must be taken into account in the formulation and development of effective pedagogical methods. (shrink)

ABSTRACTA simple but significant historical fact has been overlooked in interpretations of Nietzsche's eternal recurrence. In making eternal recurrence the standard for the affirmation and love of life, Nietzsche accepts an understanding of love developed in Plato's Symposium: love means ‘wanting to possess the good forever’. I argue that Plato develops two distinct types of love, which remain in tension with one another. I then show that a corresponding tension arises in Nietzsche's work when we consider eternal recurrence (...) as the love of life. By making love central in the phrase ‘love of life’, and by allowing Plato's thoughts on love to inform the love of life that Nietzsche expresses in the thought of eternal recurrence, I show that Nietzsche's dramatic presentations of the eternal recurrence do not present us with a test, but in revealing an incompatibility between loving something in life and loving life in its entirety, they present the tragic conflict in the task of life affirmation. (shrink)

In this essay, I approach the question of comedy and tragedy, as well as their relation to philosophy, in the Platonic dialogues through a focus on the comic poet Aristophanes’ speech in Plato’s Symposium. I elicit both the positive contribution of the poet’s speech as well as its limitations for an understanding of comedy, tragedy, and philosophy.

Plato, Allan Bloom wrote, is "the most erotic of philosophers," and his Symposium is one of the greatest works on the nature of love ever written. This new edition brings together the English translation of the renowned Plato scholar and translator, Seth Benardete, with two illuminating commentaries on it: Benardete's "On Plato's _Symposium_" and Allan Bloom's provocative essay, "The Ladder of Love." In the _Symposium,_ Plato recounts a drinking party following an evening meal, where the guests (...) include the poet Aristophanes, the drunken Alcibiades, and, of course, the wise Socrates. The revelers give their views on the timeless topics of love and desire, all the while addressing many of the major themes of Platonic philosophy: the relationship of philosophy and poetry, the good, and the beautiful. (shrink)

Plato's Symposium, written in the early part of the 4th century BC, is set at a drinking party attended by some of the leading intellectuals of the day, including Aristophanes, the comic dramatist, Socrates, Plato's mentor, and Alcibiades, the brilliant but treacherous politician. Each guest gives a speech in praise of the benefits of desire and its role in the good and happy human life. At the core of the work stands Socrates' praise of philosophical desire, and an (...) argument for the superiority of the philosophical life as the best route to happiness. This edition provides an accessible and engaging new translation by M. C. Howatson, and a substantial introduction, by Frisbee C. C. Sheffield, which guides the reader through the various parts of the dialogue and reflects on its central arguments. A chronology and detailed notes on the participants help to set this enduring work in context. (shrink)

Plato’s dialogues, the Symposium, and Phaedrus, provide a reasonable explanation of love. G. Vlastos and M. Nussbaum do not share such an opinion. The former contends that Plato’s view of love is about loving only a person’s beauty, but not the entire person; thus, it falls short of an appropriate explanation of love. The latter holds that a theory of love should be complete, and that Plato’s one is incomplete on the grounds that it does not account (...) for personal love. These criticisms will be re-evaluated in light of the duality of love as well as participants’ views in the Symposium; a re-assessment will weaken the mentioned objections. This paper contends that from the Symposium and Phaedrus, one can have a fruitful understanding of being in love, being out of love, falling in love, loving for its own sake and being erotically in love. In order to account for these related issues of love it is important to consider Plato’s works in terms of his “official” and “unofficial” views. The former is construed as the doctrine of the lover or loving for its own sake: this is associates with Diotima’s views which are repeated by Socrates. With reference to the latter, it is possible to explain what personal love or being in love, being out of love, falling in love, and being erotically in love involve. Erotic love will be interpreted as an extension of our philosophical conception of love, related to views of love that are mentioned in the Symposium other than Socrates’ report of Diotima’s conceptions. This paper is divided into two parts: the first one will show views of love in the Symposium. That is, being in love, being out of love, falling in love and loving for its own sake will be discussed. In addition, the forementioned criticisms will be re-evaluated. In the second section, we will show that Aristophanes’ speech expresses erotic love, and then Kant’s objections will be explained and discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Politics and Eros in Aristophanes' Speech:Symposium 191E–192A and the ComediesPaul W. LudwigFor many of Plato's modern readers, Aristophanes' encomium of eros is the most memorablnvincing speech in the Symposium. Yet a key passage in the speech is not well understood. About three–fifths of the way through the speech, Aristophanes asserts that boys who are unashamed to lie with men are the most manly boys by nature. A great (...) proof of this, he says, is the fact that they alone end up in politics, where they become "real men."1 Since the same connection between sex and politics is the object of derision in Aristophanes' comedies, 2 many commentators have seen irony in this assertion.3 More have implicitly favored a straight reading, however, relying on the strength of the speech taken at face value. The type of irony at issue, dramatic or verbal, is also open to competing interpretations. Nor have the implications of either type of irony for the rest of the speech and for the dialogue as a whole been adequately treated. Does Plato make his character Aristophanes speak more wisely than he is aware of, in playful revenge for the comedian's own distorted portrait of Socrates?4 Or does Plato make use of the professional jester to clear the way for Socratic morality, on the assumption that Aristophanes' views about male homosexual eros were sufficiently well known to leave little doubt that his explicit praise of pederasty was tongue–in–cheek? [End Page 537]I. The Passage in ContextSymp. 191e–192aThe safest exegesis would first make sense of what Aristophanes professes to mean, comparing the philosophic content, which ought to stand or fall on its own merits, with the rest of the speech and with the other speeches in the dialogue, especially Socrates'. Irony could then emerge either as an alternative or as a supplement to the face–value reading. Assessment of the dialogue's own internal logic, as well as comparison with other Platonic dialogues, should precede recourse outside the authorship of Plato, viz. to the Aristophanic comedies.Aristophanes not only legitimates male–male desire, he asserts that it is best. He argues for his assertion on the grounds that male–male desire is connected to politics. This argument resonates with two themes sounded earlier in the dialogue, by Phaedrus and by Pausanias. The former praises male–male relations by saying that if by some chance a city or armed camp could come into being made up entirely of lovers and their boyfriends, their desire to refrain from all that is shameful and to seek honor in one another's eyes would result in their city's having the best possible government. If such were to fight side by side, even if their city or army happened to be small, they would well nigh conquer all mankind. For an in love would rather die than be seen in any act of cowardice () by his boyfriend (178d 4–179a 2). In other words, lovers make the best citizen–soldiers because the private aim of impressing the beloved serves the public goal of bravery in battle.Pausanias plays a variation on the same theme. He argues that barbarian tyrants outlaw pederasty because they are afraid of strong attachments arising among their subjects. Since proud thoughts are engendered by love, Pausanias reformulates the unwillingness to tolerate disgrace in battle into an unwillingness to acquiesce in tyranny. He cites the example of Harmodius and his lover Aristogeiton, who, in popular lore, dissolved the tyranny of the Peisistratids at Athens, thus clearing [End Page 538] the way for democracy (182b 6–c 7). Like Phaedrus, he mentions unmanliness as the crucial political defect that breeds tyranny (cf. 178d 4–6 with 182c 7–d 2). Like Phaedrus, he sees manliness as the willingness to take up arms, this time not in battle, but in a tyrannicide. And like Phaedrus, he sees male–male relations as the breeding ground for manliness.Unlike Phaedrus, Pausanias is especially concerned with education. The mature lover is assumed to possess already the civic virtues as well as a modicum of philosophy.5 He can initiate his younger... (shrink)

Plato's Symposium contains various myths dealing with gender and the erotic, among them Aristophanes' account of the three original sexes, which are here treated from the standpoint of modern science. In particular we see how, since the 19th century, sexology and psychoanalysis have updated concepts of a third sex and androgyny. Similarities with positions in antiquity demonstrate the relevance and force of the general propositions of myths. Differences appear to imply the effective presence of other myths of Judeo-Christian origin. (...) All things considered, the ancient tensions between Aristophanes' and Socrates' attitude are still at work. It is from that viewpoint that the conceptual relationships between androgyny and the third sex are examined. (shrink)

In this essay, I propose a reading of two contrasting passions, two kinds of erōs, in the "Symposium." On the one hand, there is the imperialistic desire for conquering and possessing that Alcibiades represents; and on the other hand, there is the productive love of immortal wisdom that Diotima represents. It’s not just what Alcibiades says in the Symposium, but also what he symbolizes. Alcibiades gives a speech in honor of Socrates and of his unrequited love for him, but even (...) here Alcibiades recounts his attempted seduction of Socrates as a failed conquest, as an unsuccessful attempt to violently take possession of something that Socrates has within him. Even more importantly, in 416 BCE (the dramatic date of Agathon’s symposium) Alcibiades was soon to encourage his fellow countrymen to set off on the ruinous Sicilian expedition. Alcibiades’s actions behind-the-scenes of the "Symposium" reveal the clearest manifestation of his imperialistic erōs (for political power in Athens). They also constitute some necessary background to the dialogue, which Plato’s Athenian readers would have had in mind. Where else can we catch a glimpse of this disastrous desire? It is best illustrated in Thucydides’s "History." I show that the beginnings of this political passion can already be seen in Pericles’s funeral oration (2.35-46, specifically 2.43.1) and that after Pericles’s death, Alcibiades stokes this erōs to such a fevered pitch that the Athenians agree to launch the tragic venture against Sicily. Opposed to this political passion, is Diotima’s. She tries to reorient this misguided erōs and presents an alternative form of desire for everlasting wisdom (philosophia). (shrink)

Scholars have recently argued that in the Symposium Plato is critical of Socrates and falls closer than his philosophic spokesman to the side of poetry in the old quarrel between philosophy and poetry. Contrary to such interpretations, I argue that on the basis of his experience of a philosophic life, Socrates responds to the poets Plato presents in that dialogue, offering a superior understanding not only of Love but of poetry itself. Far from self-sufficient, but like Love “dwell[ing] (...) always in need” and generating through teaching, Socrates both requires and supports political life. The state between poverty and resource that accounts for the pursuit of wisdom and its self-generation through questioning others also accounts for the ongoing human activities that keep political communities alive and flourishing. At issue is not simply Plato’s attitude toward Socrates, but the very nature of philosophy and its relation to the political community. (shrink)

Downton Abbey is, at its most basic, a story driven by intimate, romantic relationships: Mary and Matthew, Bates and Anna, Sybil and Branson, Lord and Lady Grantham, and many others. As viewers, we root for (or against) these characters as they fall in love, quarrel, break up, reconcile, have children, and deal with separation and death. But what do we get out of this? Is it merely an emotional “rush,” or is it something more meaningful? In this essay, I’ll attempt (...) to answer this question by examining how the relationships portrayed in Downton Abbey might look to the characters of Plato’s Symposium, one of the first (and most famous) philosophical treatments of love. The residents of Downtown Abbey provide ideal models for exploring and critiquing the various “theories of love” offered by the Symposium’s characters. Thomas’s defense of James, for example, provides a great illustration of Phaedrus’s claim about the relationship between love and courage, while Mary’s early struggles illuminate Pausanias’s suggestion that “pure” love can be achieved only by following (well-designed) social rules. By contrast, Bates and Anna help give content to Aristophanes’ s idea that love involves finding your “missing half,” while Carson’s and Mrs. Hughes’ relationship exemplify the sort of “order” celebrated by Eryximachus. Edith, for her part, seems to have fallen for Agathon’s sophistical claim that romantic love can only truly be experienced by the young and beautiful. Finally, Socrates’s famous account of the “ladder of love” can be seen most vividly in the transformative relationship of Sybil and Bronson. Along the way, we’ll consider what is really meant by “Platonic love,” and consider what the characters of Downton Abbey can teach about this invaluable philosophical concept. (shrink)

Scholarly efforts to detect playfulness in the address to Apollodorus at Pl. Symp. 172a are reviewed and found unsatisfactory. In keeping with the dialogue’s erotic theme and comic spirit, a small supplemental emendation of the address’s Φαληρεύς is proposed to effect a phallic mock-demotic à la Aristophanes, Φαλ ηρεύς.

Our first encounter with Socrates in the Symposium is bizarre. Aristodemus, surprised to run into Socrates fully bathed and with his sandals on, asks him where he is going “to have made himself so beautiful (kalos)” (174a4, Rowe trans.). Socrates replies that he is on his way to see the lovely Agathon, and so that “he has beautified himself in these ways in order to go, a beauty to a beauty (kalos para kalon)” (174a7–8). Why does Socrates, who in just (...) a few moments will be lost in contemplation out on the front porch, care about being beautiful? His remark to Aristodemus is clearly in some sense ironic, but on the other hand, he really has taken unusual care with his physical appearance. Later, in his encomium to love, he will claim that beauty has this effect on lovers: the beauty of the beloved causes the lover to disdain his former way of life and “give birth” to beautiful “offspring.” Is the image of the squat and snub-nosed Socrates all freshly scrubbed and kitted out a comic foreshadowing, or a debunking, of his serious speech? Does Socrates really believe in the transformative power of beauty? (shrink)

I attempt in this paper to argue a thesis that is the opposite of the standard reading of Plato’s Symposium. I maintain that it is not the persuasive speech of thecomic or tragic poets that is criticized and undermined in the dialogue, but Socratic dialectic and dialogical argumentation. This is to say, it is not Aristophanes’ and Agathon’s speeches that are the object of Plato’s critique, but Socrates’ minimalist and rather unpoetic elenchos. My anaysis leads to the conclusion (...) that Diotima’s speech is meant to be recognized as Plato’s own invention in order to highlight the abstraction and utter unmusicality of Socratic dialectic. (shrink)

Our first encounter with Socrates in the Symposium is bizarre. Aristodemus, surprised to run into Socrates fully bathed and with his sandals on, asks him where he is going “to have made himself so beautiful (kalos)” (174a4, Rowe trans.). Socrates replies that he is on his way to see the lovely Agathon, and so that “he has beautified himself in these ways in order to go, a beauty to a beauty (kalos para kalon)” (174a7–8). Why does Socrates, who in just (...) a few moments will be lost in contemplation out on the front porch, care about being beautiful? His remark to Aristodemus is clearly in some sense ironic, but on the other hand, he really has taken unusual care with his physical appearance. Later, in his encomium to love, he will claim that beauty has this effect on lovers: the beauty of the beloved causes the lover to disdain his former way of life and “give birth” to beautiful “offspring.” Is the image of the squat and snub-nosed Socrates all freshly scrubbed and kitted out a comic foreshadowing, or a debunking, of his serious speech? Does Socrates really believe in the transformative power of beauty? (shrink)

A new translation of selections from one of the great philosophical works about love, Plato's Symposium.

A new and accessible translation of Plato's Symposium with a substantial introduction.

Plato’s Symposium contains two accounts of eros which explicitly aim to reach a telos. The first is the technocratic account of the doctor Eryximachus, who seeks an exhaustive account of eros, common to all things with a physical nature. For him medical techne can create an orderly erotic harmony; while religion is defined as the curing of disorderly eros. Against this Socrates recounts the priestess Diotima finding a telos, not in technical exhaustiveness, but in a dialectical definition of eros (...) in the light of the good. What is common to all human beings is the desire to be in eternal relation to the good. All technai are forms of poiesis, by which things pass from being to not being. The erotic harmony recommended by Eryximachus, no less than the Aristophanes” recommendation of eros as “of a half, or of a whole’, is subject to the question whether “it happens to be good’. A self-harmonisation produced by techne can no more evade the sovereignty of good, than can projects of self-completion with a beloved in our likeness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Something to do with Demeter:Ritual and Performance in Aristophanes' Women at the ThesmophoriaAngeliki TzanetouLike his character the Kinsman, Aristophanes invades Athenian women's religious space. He puts onstage for the whole city a religious festival restricted to women. He suggests that women use this occasion to drink and plot against men, and he portrays them as carrying on adulterous affairs and duping their husbands. As a result of this negative (...) portrayal of women, scholars have concluded that the play undermines women's position in the festival and in the city. Elizabeth Bobrick (1997), for example, argues that the play misrepresents women's experience in ritual. Lauren Taaffe (1993) insists the play shows that women are only men in disguise, that it is not really about women at all but rather uses them to highlight male concerns. And Angus Bowie (1993, 227) concludes that in this play Aristophanes demonstrates that comedy, not tragedy, has the right to "give an accurate and fulsome picture of female villainy."On the face of it, Women at the Thesmophoria satirizes women's real ritual experience and does not respectfully depict the Thesmophoria-a very important festival celebrated throughout Greece, which promoted agricultural and human fertility. And yet, despite the Kinsman's invasion and his mockery of women, the role of women in ritual is not really undercut in this play. The female characters who inhabit the comic stage and protest their portrayal in drama do not aim to redefine their social roles as wives and mothers. Instead, they use the authority of their roles to mount a successful attack against Euripides because he undermines these functions. In fact, the play acknowledges and validates women's contribution to the fertility of the polis in two different ways.After the Kinsman is unmasked and taken captive by the women, four different strategies for rescuing him are staged. After all these strategies, derived from plays by Euripides, fail, a fifth strategy succeeds. As scholars have noted, the Kinsman's captivity and rescue parallel the founding myth of the Thesmophoria festival, the story of Persephone's [End Page 329] abduction and imprisonment by Hades and her rescue by her mother Demeter.1 My reading of Women at the Thesmophoria builds on this analysis by demonstrating how each of the Euripidean parodies moves closer to the myth of Demeter and Persephone. Moreover, with each of the parodies the actors become increasingly feminized. In the final scene of the play every character onstage but one is wearing female dress. Ironically, structurally and theatrically, Aristophanes' play celebrates women's power, as it is demonstrated in Demeter's rescue of her daughter and the rebirth of human and agricultural fertility.Moreover, the play affirms the centrality of women to the fertility of Athenian drama. Earlier studies have seen Women at the Thesmophoria as a competition between Euripides and Aristophanes and between tragedy and comedy (e.g., Hubbard 1991, Henderson 1996, Zeitlin 1996b, Gibert 1999-2000). The play's movement from male to female, especially in the arrangement of the parodies, is also a move from Dionysus to Demeter. The captivity/rescue plot is associated with not only Demeter and Persephone but also Dionysus, the presiding deity of Athenian theater. The stories of Dionysus' captivity and rescue are different, however; in these the god rescues himself and punishes his captors (e.g., Pentheus and Lycurgus). As the rescue strategies in Women at the Thesmophoria [End Page 330] unfold, they move from the Dionysian pattern of self-liberation and punishment of opponents to a Demetrian one of cooperation and reconciliation. This is also a movement from tragedy to comedy, in which tragedy fails to liberate while comedy succeeds. The four parodies and the final scenario move from explicitly tragic situations, including the threat of human sacrifice, to love/marriage plots and finally to men dressing as women to deceive a parodically hypermasculine male, thereby achieving a return to normality. By the end of the play, male cross-dressing does not show how easy it is to become female, but how essential women are to comedy-not only to creating laughter but also to the basic function of comedy: affirming and celebrating the... (shrink)

In order to articulate an account of erotic love that does not attempt to transcend its personal features, Robert Solomon and Martha Nussbaum lean on the speeches by Aristophanes and Alcibiades in Plato’s Symposium. This leads them to downplay the sense in which love is not only for another person, but also for the good. Drawing on a distinction between relative and absolute senses of speaking about the good, I mediate between two features of love that at first may (...) seem irreconcilable. The first is the sense in which love is deeply personal in character. The second is the sense in which we in love come to articulate ethical demands. With the help of the Diotimian ascent of love that Socrates presents in his speech, I submit that these two can come together in the realization that our personally conditioned responses in love are transformed to accommodate demands that carry an unconditional meaning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.2 (2001) 151-176 [Access article in PDF] Beyond the Comedy and Tragedy of Authority: The Invisible Father in Plato's Republic Claudia Baracchi They say that, when asked who the noble are, Simonides answered: those with ancestral wealth. --Aristotle, fr. 92 Rose When the victor of the mule-race offered him only a small recompense, Simonides would not compose a poem, for he could not endure poetizing (...) in honor of half-asses; but on being offered an adequate amount he wrote, "Greetings, daughters of storm-footed horses!" Yet, they were daughters of the asses also. --Aristotle, Rhet. 1405b Socrates was driving them to agree that the same man could know how to compose both comedy and tragedy and that a skillful tragic poet could also be a comic poet. They were thus driven, though hardly following and getting drowsy; Aristophanes fell asleep first and, as day was breaking, Agathon also. --Plato, Symp. 223d Introductory remarks What follows is a reading of Plato's Republic in the light of Aristophanes' Clouds. More precisely, what is here offered is the bare outline of such a reading--a set of preliminary notes that, by illuminating the inceptive stages of the Republic (especially book 1), constitutes a propaedeutic to the interpretation of the Platonic dialogue as a whole. Questions that one would typically be expected to raise in this context, questions regarding the relation of philosophy to poetry, the nexus between the Aristophanean and the Platonic Socrates, or Aristophanes' comedy in connection with the fate of the historical Socrates, will here remain unaddressed or will be touched upon only marginally (and obliquely). Far from accidental, this qualified [End Page 151] silence reflects a certain reluctance simply to take up these issues in their time-honored formulations and to speak under the force of their dictation. In this way, perhaps (and only perhaps), motifs of the Platonic discourse that would otherwise remain almost imperceptible if not altogether inaccessible--despite their pervasiveness--may come to show themselves.Leo Strauss wrote that Plato's Socrates may be seen, at least in part, as "a reaction or response to the Aristophanean Socrates" (1966, 316 n 20). The present study articulates the suggestion that the dialogue on the Republic may be understood as a response to Aristophanes' Clouds. Indeed, we shall see how the dialogue makes its own the problems delineated in the comedy, how it rewrites them, and how it unfolds in an attempt to address them. In spite of its remoteness from the tone and mode of the comedy, the Platonic text offers a meticulously punctual, even contrapuntal transcription of the main thematic features of the Clouds--as if an infinitely compelling provocation were to be found there, calling for thinking. The philosophical venture seems to be called forth and stem from such ground--as if comedy were the matter (indeed, the subject matter) of philosophy.Emerging from this interpretive approach to the Republic is the centrality of the figure of paternity, namely, of authority and instituted power. The Clouds depicts fatherhood in its dejection and loss of credibility. What this caricatured remnant of paternity signals is the simultaneous collapse of the orders of the divine, of ancestral authority, and of legality. This is the plexus of problems taken up in the Platonic dialogue.But the question of decay and the dying of the city mark the opening of the dialogue in a rather inconspicuous, even unapparent way. In the Republic, all terms are reversed. Indeed, the rendition of paternity one finds in the Republic is virtually opposite to the risible father of the comedy. Here, a dignified old man commanding respect seems to safeguard the integrity of the family, and hence the stability of the polis, both in its intrapolitical-juridical structures (regulating communal interaction) and in its relation to the gods, to its beyond. Yet, in spite of this inversion, it will become apparent that paternal authority has become an empty simulacrum. Simultaneously, the relation to the gods has become mere commerce, ancestral authority is invoked as a... (shrink)

This collection features Plato's writings on sex and love in the preeminent translations of Stanley Lombardo, Paul Woodruff and Alexander Nehamas, D. S. Hutchinson, and C. D. C. Reeve. Reeve's Introduction provides a wealth of historical information about Plato and Socrates, and the sexual norms of classical Athens. His introductory essay looks closely at the dialogues themselves and includes the following sections: Socrates and the Art of Love; Socrates and Athenian Paiderastia; Loving Socrates; Love and the Ascent to (...) the Beautiful; The Art and Psychology of Love Explained; and Writing about Love. (shrink)

A superb example of the bookmaker's and translator's art, this new edition of Plato's "Symposium" exhibits aesthetic, literary, and intellectual excellences rarely found together in a single volume.Tom Griffith's translation of this foundation work of Western culture is unsurpassed for the balance it achieves between readability and fidelity to Plato's Greek. For felicity of phrasing, freshness, care to match the sense of the Greek rather than its wording, and for its idiomatic rendering of the spoken word, it has (...) no peer.Originally published in a limited edition with facing Greek and color wood engravings, Griffith's translation is here presented in reduced format that retains the aesthetic quality of the original version at an affordable price. (shrink)

This new edition of Plato's_ Symposium_ provides beginning readers and scholars alike with a solid, reliable translation that is both faithful to the original text and accessible to contemporary readers. In addition, the volume offers a number of aids to help the reader make his or her way through this remarkable work: A concise introduction sets the scene, conveys the tenor of the dialogue, and introduces the reader to the main characters with a gloss on their backgrounds and a (...) comment on their roles in the dialogue. It also provides a list of basic points for readers to keep in mind as they read the work. A thought-provoking interpretive essay offers reflections on the themes of the dialogue, focusing especially on the dialogue as drama. A select bibliography points to works, both classic and contemporary, that are especially relevant to readers of the Symposium. Two appendices consist of a line drawing that depicts the spacial layout and positioning of characters in the Symposium, and a chart that shows the relation of the first six speeches to number, age, parentage and the function of Eros. (shrink)

Loving and Dying is a reading of three dialogues which, using the figure of Socrates conversing in three different concrete situations, in complementary fashion address death, love, and reflection, as matters central to finding and understanding life's meaning and to sharing in the kind of immortality that is open to a human being. The intent of the work is simply to bring to attention how the dialogues register as drama and how they achieve this provocation of the reader to reflection (...) on these central matters in human life. (shrink)

I argue that the speech of Socrates-Diotima in Plato’s Symposium is in major part addressed to the questions, ‘How good is erōs?’ and ‘Is erōs a good thing or not?’; erōs being characterized as, precisely, the state of the human soul which is the desire for beauty and beautiful things. I conclude that, according to Plato, erōs is not, by itself, good-directed, or, by itself, bad-directed. Rather, erōs is capable of going either way, and which way it will (...) actually go will depend on what relation it enters into with a distinct state of the human soul, namely, sophia. I arrive at this conclusion through an analysis of Diotima’s account of erōs as situated between and mid-way between goodness and badness. I argue that, when spelled out, this account defends two striking claims. First, erōs does not, by itself and intrinsically, have the power to direct itself towards things that are actually good. Secondly, erōs is a non-rational state of the soul, in that it does not, by itself and intrinsically, have the power to give reasons; and it is set against sophia, the state of the soul which is intrinsically rational. (shrink)

In this celebrated masterpiece Plato imagines a high-society dinner party in Athens in 416 B.C. at which the guests each deliver a short speech in praise of love.

"Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are. Plato's retelling of the discourses between Socrates and his friends on such (...) subjects as love and desire, truth and illusion, spiritual transcendence and the qualities of a good ruler, profoundly affected the ways in which we view human relationships, society and leadership - and shaped the whole tradition of Western philosophy."--Publisher's website. (shrink)

Introduction.--The Phaedo myth.--The Gorgias myth.--The myth of Er.--The Politicus myth.--The Protagorus myth.--The Timaeus.--The Phaedrus myth.--The two Symposium myths. I. The myth told by Aristophanes. II. The discourse of Diotima.--General observations on myths which set forth the nation's, as distinguished from the individual's, ideals and categories.--The Atlantis myth.--The myth of the earth-born.--Conclusion: The mythology and metaphysics of the Cambridge Platonists.

Abstract Scholarship on the Symposium is dominated by a debate on interpersonal love started by Gregory Vlastos in his article, `The Individual as an Object of Love in Plato.' This paper argues that this debate is a misguided one, because it is not reflective of the central concerns of this text. Attention needs to be turned to the broader ethical questions posed about the ends of life, the nature of human happiness, and contemplation. Failure to do so will mean (...) that the Symposium continues to be eclipsed as a key resource in central debates in Platonic ethics. (shrink)

"Symposium" gives an account of the sparkling society that was Athens at the height of her empire. The other dialogues collected here under the title "The Death of Socrates" tell the tale of how Socrates was put on trial for impiety, found guilty and sentenced to death.

The Symposium and the Phaedrus are combined here because of their shared theme: a reflection on the nature of erotic love, the love that begins with sexual desire but can transcend that origin and reach even the heights of religious ecstasy. This reflection is carried out explicitly in the speeches and conversations in the dialogues, and implicitly in the dramatic depiction of actions and characters. Thus, the two dialogues deal with a theme of enduring interest and are interesting for both (...) their literary and their philosophical character. In addition to the introduction, the book contains substantial commentaries and thorough endnotes. Key Greek terms are discussed for readers who are unfamiliar with the language. A special feature is a discussion on the importance of the dramatic and literary aspects of the dialogues for interpreting their philosophical content. The introductions deal with the nature of the dialogues themselves as philosophical texts and with Plato’s philosophical assumptions and key concepts, as well as with the necessary background of Athenian society. The endnotes clarify any ambiguities and obscurities in the original text, identifying all references to people, places, gods, et cetera. The commentaries are designed to open up the dialogues for the reader, showing the issues that have been debated by commentators and considering some of the responses to them. They are designed to stimulate further reflection. (shrink)

Benjamin Jowett's translations of Plato have long been classics in their own right. In this volume, Professor Hayden Pelliccia has revised Jowett's renderings of five key dialogues, giving us a modern Plato faithful to both Jowett's best features and Plato's own masterly style. Gathered here are many of Plato's liveliest and richest texts. Ion takes up the question of poetry and introduces the Socratic method. Protagoras discusses poetic interpretation and shows why cross-examination is the best way (...) to get at the truth. Phaedrus takes on the nature of rhetoric, psychology, and love, as does the famous Symposium. Finally, Apology gives us Socrates' art of persuasion put to the ultimate test--defending his own life. Pelliccia's new Introduction to this volume clarifies its contents and addresses the challenges of translating Plato freshly and accurately. In its combination of accessibility and depth, Selected Dialogues of Plato is the ideal introduction to one of the key thinkers of all time. (shrink)

Plato, the great philosopher of Athens, was born in 427 BCE. In early manhood an admirer of Socrates, he later founded the famous school of philosophy in the grove Academus. Much else recorded of his life is uncertain; that he left Athens for a time after Socrates' execution is probable; that later he went to Cyrene, Egypt, and Sicily is possible; that he was wealthy is likely; that he was critical of 'advanced' democracy is obvious. He lived to be (...) 80 years old. Linguistic tests including those of computer science still try to establish the order of his extant philosophical dialogues, written in splendid prose and revealing Socrates' mind fused with Plato's thought. In Laches, Charmides, and Lysis, Socrates and others discuss separate ethical conceptions. Protagoras, Ion, and Meno discuss whether righteousness can be taught. In Gorgias, Socrates is estranged from his city's thought, and his fate is impending. The Apology, Crito, Euthyphro, and the unforgettable Phaedo relate the trial and death of Socrates and propound the immortality of the soul. In the famous Symposium and Phaedrus, written when Socrates was still alive, we find the origin and meaning of love. Cratylus discusses the nature of language. The great masterpiece in ten books, the Republic, concerns righteousness. Of the six so-called dialectical dialogues Euthydemus deals with philosophy; metaphysical Parmenides is about general concepts and absolute being; Theaetetus reasons about the theory of knowledge. Of its sequels, Sophist deals with not-being; Politicus with good and bad statesmanship and governments; Philebus with what is good. The Timaeus seeks the origin of the visible universe out of abstract geometrical elements. The unfinished Critias treats of lost Atlantis. Unfinished also is Plato's last work of the twelve books of Laws, a critical discussion of principles of law which Plato thought the Greeks might accept. The Loeb Classical Library edition of Plato is in twelve volumes. (shrink)

“Sorcerer Love” is the name that Luce Irigaray gives to the demonic function of love as presented in Plato's Symposium. She argues that Socrates there attributes two incompatible positions to Diotima, who in any case is not present at the banquet. The first is that love is a mid-point or intermediary between lovers which also teaches immortality. The second is that love is a means to the end and duty of procreation, and thus is a mere means to immortality (...) through which the lovers lose one another. Irigaray argues in favor of the first position, a conception of love as demonic intermediary. E.K. (shrink)

In this paper I investigate the understanding of eros expressed in the speeches of Phaedrus and Agathon in Plato’s Symposium, two speeches often neglected in the literature. I argue that they contain crucial insights about the nature of eros that reappear in Diotima’s speech. Finally, I consider the relation of Socrates and Alcibiades in light of these insights, arguing that the figure of Alcibiades should be seen as a negative illustration of the notion of erotic education described by Diotima.

The origin of virtue (Protagoras 320c-323a) -- The judgement of souls (Gorgias 523a-527a) -- The androgyne (Symposium 189c-193e) -- The birth of love (Symposium 201d-212c) -- The other world (Phaedo 107c-115a) -- The cave (Republic 514a-517a) -- ER's journey into the other world (Republic 614b-621d) -- The winged soul (Phaedrus 246a-257a) -- The two cosmic eras (Statesman 268d-274e) -- Atlantis and the ancient city of Athens (Timaeus 20d-25d; Critias 108e-121c).