Plato: Symposium

There are many similarities in both form and content between the path Diotima described in order to reach Beauty through Eros which we encounter in Plato's Symposion dialogue and the tenets of the Anatolian Sufism which is a religion of love. Rather than investigating whether there is any organic connec-tion between the two approaches or the channels through which such a connec-tion is established, this study aims to show the two approaches in light of each other. Thus, it is argued (...) that both the Symposion dialogue and the Anatolian Sufism will be more understandable with such a relatively original interpretation. (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 Plato concludes (...) with one of his most skillful displays of dialectic. (shrink)

In Plato’s Symposium, Socrates relates what he has learned from Diotima, a foreign woman. This paper argues that her status as a foreigner helps us better understand what she taught. For example, she depicts Eros’s mother, Penia, as a political outsider who generates a new relationship between the mortal and the divine. Similarly, Diotima herself generates a new understanding of one’s relationship to one’s ideas with her claim that “all human beings are pregnant in both body and soul.” In the (...) Athens of Plato and Socrates, there was constant dispute over whether immigrant women could give birth to citizens. In this controversial context, Diotima’s expansion of the notion of pregnancy beyond corporeal reproduction operates against the culturally dominant obligation on women’s bodies to procreate. Surprisingly then, Plato’s text emphasizes how the political disadvantage of a foreign woman results in an epistemic advantage. (shrink)

In this paper, I show that Aristophanes’s speech in Plato’s Symposium is tied into an interesting and hitherto unexplored web of ideas in Plato’s ethics and psychology. The poet’s analysis of erōs as ‘leading us to what “belongs” (the oikeion)’ (193d2) and as ‘restoring us in our “original nature” (archaia phusis)’ (193d4) is not a mere negative contribution that renders him a ‘target for Diotima’s fire’ (Dover). Rather, he unwittingly communicates central ethical and psychological ideas which we find developed in (...) key passages of Plato’s dialogues. What is interesting is that Diotima in a curious passage seems to dismiss his contribution of the oikeion as unrelated to our good (agathon) and irrelevant to the analysis of desire (205d10–206a1). I argue that this interpretation of Diotima’s response to Aristophanes, which would render her position an ethical anomaly in Plato’s dialogues, should be rejected. Instead, it is more plausible to read her response as proposing a revisionary conception of the oikeion, relying on the idea that our agathon is our true oikeion. In addition, I tentatively suggest that the theory of psychic pregnancy may be seen as presenting the agathon of wisdom of virtue produced in the ascent as an oikeion. Just as fascinating as Diotima’s stance on the oikeion is the question how her teachings relate to the concept of an archaia phusis of the soul. The idea that the soul’s self-perfection constitutes a return to a temporally prior condition of excellence, which in two places other than the Symposium (Republic X, Timaeus) is called the ‘archaia phusis’, is pervasive and centrally important to Plato’s psychology. I address the question whether Diotima’s ascent passage constitutes a psychological anomaly in portraying self-perfection as unrelated to the concept of the archaia phusis. I argue that an answer to this depends on the stance we take on the Symposium’s position regarding the immortality of the soul. While a reading that posits a rejection of immortality in the Symposium must indeed deny a role for the concept in Diotima’s speech, I show that a reading allowing for immortality as a theoretical commitment in the background has an interesting interpretative option: along with Timaeus 90d5, it may fruitfully interpret the ascent as an ordering of the soul ‘in accordance with its archaia phusis’. (shrink)

Sometimes it can be intellectually appealing to fixate on an element of a myth, fable, fairy tale, or similar cultural lore as if it were a puzzle to be solved rather than as something to be taken for granted that moves the story along. By not simply taking the narrator’s say-so on faith, one might don the mantle of a philosopher, instead of that of a mythologist or folklorist. In Plato’s Symposium a speech is given by Aristophanes in which he (...) recounts the mythic origin of our desire to love another human being, where this desire is conceived as a search for our “missing half”. I interrogate the “inciting incident” that is the catalyst for this quest. I contend that Aristophanes has thereby inadvertently presented us with a type of conundrum, familiar enough to philosophers nowadays, but not recognized until the 20th Century, no doubt after having been inspired by teleportation in science fiction and half-brain and commissurotomy cases in real life. I offer the conundrum as a brain-teaser for mythologists, folklorists, and other scholars and aficionados of cultural lore. My aim here is not to solve the puzzle inherent in Aristophanes’s myth, but to provide enough insight into the issue to give mythologists and folklorists some tasty new food for thought. (shrink)

Review of Joe Sachs's new translations of Plato's Symposium and Phaedrus.

"Stoic erôs" sounds like a contradiction in terms. The ancient Stoics are notorious for their claim that the ideal human life is free of passion. So when it comes to arguably the most passionate emotion of all, we might expect them to take a uniformly dim view. Just like anger, fear, grief, and the other passions censured by Stoic theory, erotic love would seem to have no place in the best human life. -/- In fact the Stoics distinguish two forms (...) of erôs. In vicious agents erôs is indeed a passion and thus born out of a defective rational judgment about what is needed for happiness. But there is also a positive form of erotic love, practiced by the Sage on the basis of knowledge, which aims to reproduce his virtuous condition in others. I show how the Stoics' wider theoretical commitments in ethics, epistemology, aesthetics, and psychology support their duplex account of erôs. I also consider the influence of Plato's Symposium on the Stoic account, arguing for hitherto unrecognized links with Socratic moral psychology. I conclude with an assessment of how the Stoic erotic ideal fares in relation to our intuitions about the non-egoistic and particularized nature of love. (shrink)

Alors que l’unité et la définition du platonisme antique demeure problématique, de nombreux et divers « platonismes » ont progressivement été identifiés et étudiés, que l’on peut regrouper sous la distinction entre un « platonisme doctrinal » (platonisme ancien, médioplatonisme, et néoplatonisme) et un « platonisme diffus » (notamment dans les Rhapsodies Orphiques, les Oracles Chaldaïques, et le gnosticisme). Or de Platon au Pseudo-Denys l’Aréopagite, en passant par Plutarque, Plotin et Proclus, ce qui réunifie selon nous l’ensemble de ces platonismes, (...) ce n’est pas tant un accord doctrinal les érigeant en système définitif qu’une dynamique dialectique propre faisant de toute réflexion philosophique une aspiration vers son principe : Éros. C’est que sa nature intermédiaire et synthétique lui octroie une remarquable flexibilité conceptuelle (éros psychique, éros cosmique, voire éros divin), laquelle se manifeste aussi dans sa grande polymorphie linguistique (erōs, epithumia, philia, hormē, ephesis, orexis, agapē…). Ainsi, notre hypothèse de recherche est double. D’un point de vue conceptuel, Éros – en tant que désir du Bien – est selon nous la puissance (dunamis) fondamentale de contemplation et production, conversion et procession, réunion et multiplication ; en ce sens il est l’âme de tous les platonismes. D’un point de vue historique, l’Éros-daimōn à puissance conversive depuis Platon s’est progressivement métamorphosé en un Éros cosmique à puissance démiurgique sous l’influence orphique, chaldaïque, et gnostique, voire en un Éros divin à puissance providentielle par concurrence ou syncrétisme avec le christianisme. Au travers de l’étude de ces dynamiques platoniciennes d’Éros, nous aimerions parvenir à mieux comprendre le phénomène du platonisme antique dans son unité philosophique tout en reconnaissant ses diverses mutations historiques durant près d’un millénaire. (shrink)

Democratizing the syllabus has been discussed in the fields of sociology and political science but rarely in philosophy. In this paper I will draw upon my experience of teaching Philosophy of Love in an online modality to examine the impact on motivation when students fill in the gaps presented in a democratic syllabus.

El Banquete de Platón escenifica una subversión lúdica de la paiderastía por parte de la philosophía a través de sucesivos discursos interconectados. Fedro y Agatón elogian a Érōs como un dios que preside las relaciones homoeróticas, ya sea en la guerra o en la paz. Pausanias y Erixímaco distinguen entre dos Érōtes, ansiosos por supervisar estas comunidades pederásticas e incluso la armonía cósmica. Pero Aristófanes subvierte su perspectiva al introducir al Andrógino, una combinación de hombre y mujer, el cual, siendo (...) expuesto por Sócrates-Diotima, dará finalmente a luz al Érōs-Daímōn. Solo él nos asegurará una verdadera comunidad humana al permitirnos una verdadera comunión con lo divino, como atestigua el elogio final de Alcibíades a Sócrates. (shrink)

One of the ways in which Plato has captured the popular imagination is with the claim that the philosopher can feel erôs, passionate love, for the objects of knowledge. Why should Plato make this claim? In this chapter, I explore Plato’s treatment of philosophical erôs along three dimensions. First, I consider the source of philosophical erôs. I argue that it is grounded in our mortality and imperfection, which give rise to a desire for immortality and the immortal. Second, I turn (...) to the object of philosophical erôs. I suggest that it is an arresting response to beauty, through which we come to value the ideal properties of the forms. Finally, I address the nature of erôs. I claim that it is a focusing desire, that overrides other concerns and causes us to overwhelmingly focus on its object. I conclude the chapter by considering the problem Vlastos famously raises for Plato’s account of erôs: can it do justice to disinterested, interpersonal love? In agreement with Vlastos, I claim that one who comes to grasp the forms will cease to feel interpersonal love; however, I also suggest that erôs can give rise to philia, beneficent concern with the wellbeing of others. (shrink)

In dialogues ranging from the Symposium to the Timaeus, Plato appears to propose that the philosopher’s grasp of the forms may confer immortality upon him. Whatever can Plato mean in making such a claim? What does he take immortality to consist in, such that it could constitute a reward for philosophical enlightenment? And how is this proposal compatible with Plato’s insistence throughout his corpus that all soul, not just philosophical soul, is immortal? In this chapter, I pursue these questions by (...) applying the distinction between general and earned immortality to the Phaedo and the Symposium. I argue that, while Plato attributes general immortality to all soul in the Phaedo, in the Affinity Argument, he proposes that the philosopher’s soul can achieve earned immortality through contemplating forms. It is this form of immortality that Plato claims is unavailable to humankind in the flux passage of the Symposium. At the same time, in the ascent passage, he holds out the possibility – albeit with significant reservations – that the philosopher’s soul may transcend its humanity and achieve earned immortality through its communion with the form. (shrink)

Le texte du Banquet de Platon constitue l’un des témoignages les plus importants de ce que fut l’institution pédérastique en Grèce antique. Le dialogue sur l’amour, qui prend la forme d’une réunion au cours de laquelle les différents protagonistes feront successivement l’éloge d’Éros, pose toutefois problème dans la mesure où la position de l’auteur est éminemment ambigüe. Bien que la position de Diotime semble plus cohérente avec le reste de la doctrine platonicienne, il serait malgré tout réducteur de considérer celle (...) de Pausanias comme un simple détour rhétorique opéré par Platon. Ainsi, il s’agira de montrer dans quelle mesure la position de Pausanias mérite une attention particulière. Il semble en effet que la thèse platonicienne, bien que réticente à encourager les relations homosexuelles charnelles, ne consiste pas en une réfutation complète des conclusions de Pausanias. (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)

Plato's Symposium is an exceptionally multi-layered dialogue. At once a historical document, a philosophical drama that enacts abstract ideas in an often light-hearted way, and a literary masterpiece, it has exerted an influence that goes well beyond the confines of philosophy. The essays in this volume, by leading scholars, offer detailed analyses of all parts of the work, focusing on the central and much-debated theme of erōs or 'human desire' - which can refer both to physical desire or desire for (...) happiness. They reveal thematic continuities between the prologue and the various speeches as well as between the speeches themselves, and present a rich collection of contrasting yet complementary readings of Diotima's speech. The volume will be invaluable for classicists and philosophers alike, and for all who are interested in one of Plato's most fascinating and challenging dialogues. (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)

This essay interprets the epoché of ancient scepticism as the perpetual conversion of the love of one into the love of two. The process of one becoming two is represented in Plato’s Symposium by Diotima’s description of the second rung of ‘the ladder,’ by which one ascends to the highest form of philosophical devotion (Pl. Sym. 209e-210e). Diotima’s ladder offers a vision of philosophy as a total conversion of both the lover and the object of love (or philosopher and object (...) of knowledge). I suggest that scepticism, however, is found in the frustration of Platonic ascension, which results in a partial conversion. Because the process of conversion (from the love of one to the love of One) remains suspended midway, the sceptic’s transformation is erotic—this is to say, driven by a desire that is characterised by a split (which may be identified between subject and object, between incompatible objects of desire or knowledge, or within the subject herself). (shrink)

In Plato’s Symposium, the mysterious Apollodorus recounts to an unnamed comrade, and to us, Aristodemus’ story of just what happened at Agathon’s drinking party. Since Apollodorus did not attend the party, however, it is unclear what relevance he could have to our understanding of Socrates’ speech, or to the Alcibiadean “satyr and silenic drama” (222d) that follows. The strangeness of Apollodorus is accentuated by his recession into the background after only two Stephanus pages. What difference—if any—does Apollodorus make to the (...) Symposium? Does his inclusion call the dramatic and philosophical unity of the work into question? I argue that despite initial appearances, Plato has important philosophical reasons for including Apollodorus as a character. Far from being an odd appendage to an otherwise complete narrative, the figure of Apollodorus is useful for our understanding of Socrates’s conception of eros later in the work. (shrink)

By comparing the role of harmony in Eryximachus’ discourse with other Platonic passages, especially from the Timaeus, this article aims to provide textual evidence concerning Plato’s conception of cosmological medicine as “harmonic techne”. The comparison with other dialogues will enable us to demonstrate how Eryximachus’ thesis is consistent with Plato’s cosmology — a cosmology which cannot be reduced to a physical conception of reality but represents the expression of a dialectical, and erotic cosmos, characterized by the agreement of parts. Arguably, (...) Eryximachus’ discourse is expression of the Platonic tendency to translate onto the philosophical plane the implications of a model peri physeos. Harmonic techne is thus always linked to the theme of moral responsibility: the philosopher is also doctor, musician and demiurges in his harmonizing activity. The speech of Eryximachus can be approached as a Platonic step which is fundamental for establishing the need for a “medicine” to cure disorder, with a view to obtaining a cosmos ordered according to the harmonic principle. (shrink)

A commentary on the Symposium as a challenge and a gift to Athens. I begin with a reflection on three dates: 416 bce, the date of Agathon’s victory party, c. 400, the approximate date of Apollodorus’ retelling of the party, and c. 375, the approximate date of the ‘publication’ of the dialogue, and I argue that Plato reminds his contemporary Athens both of its great poetic and legal and scientific traditions and of the historical fact that the way late fourth (...) century Athens appropriated them in some way led to the city’s demise at the turn of the century; thus the dialogue is Plato’s challenge to his contemporary Athens to recognize and overcome its flawed relation to its cultural resources. Heard in this way, the key moments are Aristophanes’ implied critique of Pausanias and Eryximachus and Socrates’ implied critique of Aristophanes and Agathon. Proceeding by a close reading, I argue that Plato exposes, for those moved to rise to his challenge, the failure of his great predecessors to conceive the divine in a way that, worthy of the height and otherness divinity requires, can provide substantive orientation for the burgeoning new reason that animates the city’s culture. (shrink)

Despite Diotima’s irresistible virtues and attractiveness across the millennia, she spells trouble for philosophy. It is not her fault that she has been misunderstood, nor is it Plato’s. Rather, I suspect, each era has made of Diotima what it desired her to be. Her malleability is related to the assumption that Plato invented her, that she is a mere literary fiction, licensing the imagination to do what it will. In the first part of my paper, I argue against three contemporary (...) ‘majority views’ about Diotima that I regard as false. The first is that we can be certain she is fictional;1 a second is that Diotima is our best evidence for Plato’s feminism; the third, that she is Plato’s mouthpiece for the higher mysteries in the Symposium. After I have set aside what I regard as false, I proceed in the second half of my paper to develop Diotima’s positive contribution to philosophical psychology, her naturalistic account of the psyche as mortal, unified, and developmental. Whether the view Plato assigns to her is one that he held I do not pretend to know; but it is a powerful, defensible, and coherent view that inspired positive aspects of Freudian psychology in the twentieth century. Freud’s insight, in fact, makes clear how erōs can be developed in relation to the bad as well as the good. (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)

A partir du renvoi à la « maxime de Platon » insérée dans l’avant dernière page de la première édition de L’interprétation du rêve, l’auteur expose d’abord les convergences entre la conception du rêve de Platon présentée dans La République et les intuitions qui fondent l’édifice métapsychologique freudien. A la lumière des sources textuelles citées par Freud et de ses intérêts, l’auteur avance ensuite l’hypothèse selon laquelle Freud aurait non seulement omis de reconnaître la généalogie théorétique platonicienne de la « (...) via regia menant à la connaissance de l’inconscient », mais aussi utilisé le dialogue antique comme source d’inspiration tacite pour la composition de L’Interprétation du rêve. (shrink)

In this paper I argue that Plato’s Alcibiades is the embodiment of what I call the epithumetic comportment, a way of life made possible by the naïve ontological assumption that appearance is all that is. In the first part of the paper, I read select portions of the Alcibiades I and establish a distinction between the epithumetic comportment, which desires gratification in exchange for flattery, and the erotic comportment, which desires care of the soul. In the second half of the (...) paper I turn to the Symposium and argue that Alcibiades fails in his seduction of Socrates because his inability to abandon the epithumetic comportment makes it impossible for him to be a Socratic interlocutor and subsequently know philosophical Forms. Through an interrogation of Alcibiades’s character we see that his failure is to be blamed neither on ‘Platonic love’ nor on Socrates himself but should be understood as a consequence of his inability to truly care for himself. I conclude by analyzing the consequences of my argument for typical interpretations of Alcibiades’s encomium to Socrates. (shrink)

Scholars have puzzled over the fact that Plato’s criticisms of poetry are themselves contained in mimetic works. This paper sheds light on that phenomenon by examining an analogous one. The Symposium contains one fable which is criticised by means of another which is thought to represent Plato’s own view. Diotima’s fable, however, is suspended within a larger narrative that invites us to examine and question it. The Symposium thus affords opportunity to observe Plato’s criticisms of a genre and the qualifications (...) that must be made regarding his own use of it. In particular, the Symposium emphasises that stories have no automatic claim to authority, whether they are told by a poet, or a priest or a philosopher. The upshot for Plato’s dialogues is that they remain always a starting point for philosophy: they are neither specimens of philosophical poetry nor philosophy per se. (shrink)

The Symposium addresses the relation between desire, beauty and the good life, while indicating the fascination that strong teaching arouses in followers. For Plato, unlike for moderns, power, desire and ethics are interrelated. This article takes Socrates as a case study for the Platonic understanding of this interrelation and it will put into play the grounds involved in their modern separation. It focuses on the three speakers in the dialogue who were followers of Socrates as a way of addressing the (...) role of desire in the teacher–student relation. The article demonstrates how the radical interpretive method brings to life the challenges a strong engagement with Eros risks, especially those related to Socrates’ strong and influential teaching, while addressing and exemplifying theorizing’s need for ironic intoxication. (shrink)

After arriving drunk (‘plastered’ in one translation) at Agathon's party, Alcibiades offers to praise Socrates instead of love, the object of the other characters' praise. In praising Socrates, Alcibiades says that he will have to use images (εἰκόνων, 215a4–5). He assures his companions, however, that this ‘is no joke: the image will be for the sake of the truth’ (ἔσται δ' ἡ εἰκὼν τοῦ ἀληθοῦς ἕνεκα, οὐ τοῦ γελοίου, 215a6). Alcibiades goes on to present his famous images of a Socrates (...) who is full of divine images (ἀγάλματα), and who casts spells with his words (λόγοι). Later, Alcibiades describes those words themselves as ‘bursting with images of virtue’ (ἀγάλματ' ἀρετῆς, 222a3–4). (shrink)

The prospect of human immortality is manifest in many of Plato's writings, appearing as early as the Apology and the Crito, and as late as Book 12 of the Laws. But nowhere is immortality given so much attention, nor as central a place in Plato's philosophical projects, as in what have traditionally been referred to as his Middle Period works, so it is hardly surprising that we find an extensive treatment of the subject of immortality in Socrates’ own encomium in (...) the Symposium. Eros, Socrates tells us, is not merely a desire to possess the good, but one that pushes us towards possessing the good forever and, because of this, eros is necessarily a desire for immortality. However, it is evident that Socrates’ presentation of immortality in the Symposium is fundamentally different from those found in other dialogues. This is not merely because in this work alone Socrates attributes the desire for immortality to eros; rather it is also because the nature of the immortality that Socrates recommends here, and the means by which he suggests it is achieved, are wholly unique to this work. Whereas in other dialogues Plato casts his discussions in terms of the persistence of the soul in some super-sensible realm, here he offers a picture of lovers achieving human immortality by creating memorials that will outlast them. (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 discussion on the nature of eros (love as sexual desire) in Plato’s Symposium offers us special insights concerning the potential role played by love in social and political life. While about eros, the dialogue also claims to offer a true image of Socrates, generating a complex puzzle. This article offers a solution to this puzzle by reconstructing and interpreting Plato’s theatrical presentation of his argument, making use of the structure of the plays of Aristophanes, a protagonist in the dialogue. (...) The new image of Socrates, it is argued, signals Plato’s move beyond the way he envisioned so far his master, best visible in his introducing Diotima, a prophetess who takes over the role of guide from Socrates; and by his presenting the truth about Socrates through Alcibiades, cast into the role of a boastful intruder, a central figure in Aristophanes’ comedies. Eros and Socrates are both ‘in-between’ or liminal figures, indicating that Socrates is still entrapped in the crisis of Athenian democracy. The way out, according to the new philosophy of Plato, lies in redirecting eros from the hunting of beautiful objects that are to be possessed, to elevating the soul to the essence of beauty as a primary means for further generating beauty, in particular through engendering and educating children, thus reasserting a harmonious coexistence with the order of the cosmos. (shrink)

Despite increasing interest in the figure of Socrates and in love in ancient Greece, no recent monograph studies these topics in all four of Plato's dialogues on love and friendship. This book provides important new insights into these subjects by examining Plato's characterization of Socrates in Symposium, Phaedrus, Lysis and the often neglected Alcibiades I. It focuses on the specific ways in which the philosopher searches for wisdom together with his young interlocutors, using an art that is 'erotic', not in (...) a narrowly sexual sense, but because it shares characteristics attributed to the daimon Eros in Symposium. In all four dialogues, Socrates' art enables him, like Eros, to search for the beauty and wisdom he recognizes that he lacks and to help others seek these same objects of erôs. Belfiore examines the dialogues as both philosophical and dramatic works, and considers many connections with Greek culture, including poetry and theater. (shrink)

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)