Symposium

      Plato

      Benjamin Jowett

      INTRODUCTION.

      Of all the works of Plato the Symposium is the most perfect in form, and may be truly thought to contain more than any commentator has ever dreamed of; or, as Goethe said of one of his own writings, more than the author himself knew. For in philosophy as in prophecy glimpses of the future may often be conveyed in words which could hardly have been understood or interpreted at the time when they were uttered (compare Symp.)—which were wiser than the writer of them meant, and could not have been expressed by him if he had been interrogated about them. Yet Plato was not a mystic, nor in any degree affected by the Eastern influences which afterwards overspread the Alexandrian world. He was not an enthusiast or a sentimentalist, but one who aspired only to see reasoned truth, and whose thoughts are clearly explained in his language. There is no foreign element either of Egypt or of Asia to be found in his writings. And more than any other Platonic work the Symposium is Greek both in style and subject, having a beauty 'as of a statue,' while the companion Dialogue of the Phaedrus is marked by a sort of Gothic irregularity. More too than in any other of his Dialogues, Plato is emancipated from former philosophies. The genius of Greek art seems to triumph over the traditions of Pythagorean, Eleatic, or Megarian systems, and 'the old quarrel of poetry and philosophy' has at least a superficial reconcilement. (Rep.)

      An unknown person who had heard of the discourses in praise of love spoken by Socrates and others at the banquet of Agathon is desirous of having an authentic account of them, which he thinks that he can obtain from Apollodorus, the same excitable, or rather 'mad' friend of Socrates, who is afterwards introduced in the Phaedo. He had imagined that the discourses were recent. There he is mistaken: but they are still fresh in the memory of his informant, who had just been repeating them to Glaucon, and is quite prepared to have another rehearsal of them in a walk from the Piraeus to Athens. Although he had not been present himself, he had heard them from the best authority. Aristodemus, who is described as having been in past times a humble but inseparable attendant of Socrates, had reported them to him (compare Xen. Mem.).

      The narrative which he had heard was as follows:—

      Aristodemus meeting Socrates in holiday attire, is invited by him to a banquet at the house of Agathon, who had been sacrificing in thanksgiving for his tragic victory on the day previous. But no sooner has he entered the house than he finds that he is alone; Socrates has stayed behind in a fit of abstraction, and does not appear until the banquet is half over. On his appearing he and the host jest a little; the question is then asked by Pausanias, one of the guests, 'What shall they do about drinking? as they had been all well drunk on the day before, and drinking on two successive days is such a bad thing.' This is confirmed by the authority of Eryximachus the physician, who further proposes that instead of listening to the flute-girl and her 'noise' they shall make speeches in honour of love, one after another, going from left to right in the order in which they are reclining at the table. All of them agree to this proposal, and Phaedrus, who is the 'father' of the idea, which he has previously communicated to Eryximachus, begins as follows:—

      He descants first of all upon the antiquity of love, which is proved by the authority of the poets; secondly upon the benefits which love gives to man. The greatest of these is the sense of honour and dishonour. The lover is ashamed to be seen by the beloved doing or suffering any cowardly or mean act. And a state or army which was made up only of lovers and their loves would be invincible. For love will convert the veriest coward into an inspired hero.

      And there have been true loves not only of men but of women also. Such was the love of Alcestis, who dared to die for her husband, and in recompense of her virtue was allowed to come again from the dead. But Orpheus, the miserable harper, who went down to Hades alive, that he might bring back his wife, was mocked with an apparition only, and the gods afterwards contrived his death as the punishment of his cowardliness. The love of Achilles, like that of Alcestis, was courageous and true; for he was willing to avenge his lover Patroclus, although he knew that his own death would immediately follow: and the gods, who honour the love of the beloved above that of the lover, rewarded him, and sent him to the islands of the blest.

      Pausanias, who was sitting next, then takes up the tale:—He says that Phaedrus should have distinguished the heavenly love from the earthly, before he praised either. For there are two loves, as there are two Aphrodites—one the daughter of Uranus, who has no mother and is the elder and wiser goddess, and the other, the daughter of Zeus and Dione, who is popular and common. The first of the two loves has a noble purpose, and delights only in the intelligent nature of man, and is faithful to the end, and has no shadow of wantonness or lust. The second is the coarser kind of love, which is a love of the body rather than of the soul, and is of women and boys as well as of men. Now the actions of lovers vary, like every other sort of action, according to the manner of their performance. And in different countries there is a difference of opinion about male loves. Some, like the Boeotians, approve of them; others, like the Ionians, and most of the barbarians, disapprove of them; partly because they are aware of the political dangers which ensue from them, as may be seen in the instance of Harmodius and Aristogeiton. At Athens and Sparta there is an apparent contradiction about them. For at times they are encouraged, and then the lover is allowed to play all sorts of fantastic tricks; he may swear and forswear himself (and 'at lovers' perjuries they say Jove laughs'); he may be a servant, and lie on a mat at the door of his love, without any loss of character; but there are also times when elders look grave and guard their young relations, and personal remarks are made. The truth is that some of these loves are disgraceful and others honourable. The vulgar love of the body which takes wing and flies away when the bloom of youth is over, is disgraceful, and so is the interested love of power or wealth; but the love of the noble mind is lasting. The lover should be tested, and the beloved should not be too ready to yield. The rule in our country is that the beloved may do the same service to the lover in the way of virtue which the lover may do to him.

      A voluntary service to be rendered for the sake of virtue and wisdom is permitted among us; and when these two customs—one the love of youth, the other the practice of virtue and philosophy—meet in one, then the lovers may lawfully unite. Nor is there any disgrace to a disinterested lover in being deceived: but the interested lover is doubly disgraced, for if he loses his love he loses his character; whereas the noble love of the other remains the same, although the object of his love is unworthy: for nothing can be nobler than love for the sake of virtue. This is that love of the heavenly goddess which is of great price to individuals and cities, making them work together for their improvement.

      The turn of Aristophanes comes next; but he has the hiccough, and therefore proposes that Eryximachus the physician shall cure him or speak in his turn. Eryximachus is ready to do both, and after prescribing for the hiccough, speaks as follows:—

      He agrees with Pausanias in maintaining that there are two kinds of love; but his art has led him to the further conclusion that the empire of this double love extends over all things, and is to be found in animals and plants as well as in man. In the human body also there are two loves; and the art of medicine shows which is the good and which is the bad love, and persuades the body to accept the good and reject the bad, and reconciles conflicting elements and makes them friends. Every art, gymnastic and husbandry as well as medicine, is the reconciliation of opposites; and this is what Heracleitus meant, when he spoke of a harmony of opposites: but in strictness he should rather have spoken of a harmony which succeeds opposites, for an agreement of disagreements there cannot be. Music too is concerned with the principles of love in their application to harmony and rhythm. In the abstract, all is simple, and we are not troubled with the twofold love; but when they are applied in education with their accompaniments of song and metre, then the discord begins. Then the old tale has to be repeated of fair Urania and the coarse Polyhymnia, who must be indulged sparingly, just as in my own art of medicine care must be taken that the taste of the epicure be gratified without inflicting upon him the attendant penalty of disease.

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