This paper gives a new interpretation of the central section of Plato’s Symposium (199d–212a). According to this interpretation, the term ‘καλόν’, as used by Plato here, stands for what many contemporary philosophers call “intrinsic value”; and “love” (ἔρως) is in effect rational motivation, which for Plato consists in the desire to “possess” intrinsically valuable things – that is, according to Plato, to be happy – for as long as possible. An explanation is given of why Plato believes that “possessing” (...) intrinsically valuable things, at least for mortals like us, consists in actively creating instantiations of the intrinsic values, both in oneself and in the external world, and in knowing and loving these intrinsic values and their instantiations. Finally, it is argued that this interpretation reveals that Plato’s “eudaemonism” is a different and more defensible doctrine than many commentators believe. (shrink)
The purpose of Sheffield’s careful study is to increase scholarly appreciation of the Symposium as a ‘substantive work in Platonic ethics’ (3). Among the book’s highlights are a persuasive response to Vlastos’ criticism of Plato on love for individuals, an eminently reasonable assessment of the evidence for and against the presence of tripartite psychology in the Symposium, and a delightful interpretation of Alcibiades’ speech at the dialogue’s end—one that reveals elements of satyr play and corroborates rather than undermines (...) Diotima’s account of erôs. My review focuses on Sheffield’s account of Socrates’ speech. She devotes four of seven chapters to it. After summarizing her main argument, I raise two concerns: one about her account of immortality, the other about her interpretation of Plato as a rational eudaimonist. (shrink)
The purpose of Sheffield’s careful study is to increase scholarly appreciation of the Symposium as a “substantive work in Platonic ethics.” Among the book’s highlights are a persuasive response to Vlastos’ criticism of Plato on love for individuals, an eminently reasonable assessment of the evidence for and against the presence of tripartite psychology in the Symposium, and a delightful interpretation of Alcibiades’ speech at the dialogue’s end—one that reveals elements of satyr play and corroborates rather than undermines Diotima’s (...) account of erôs. My review focuses on Sheffield’s account of Socrates’ speech. She devotes four of seven chapters to it. After summarizing her main argument, I raise two concerns: one about her account of immortality, the other about her interpretation of Plato as a rational eudaimonist. (shrink)
At the end of the essay “Silhouettes” in Either/Or , Kierkegaard writes, “only the person who has been bitten by snakes knows what one who has been bitten by snakes must suffer.” I interpret this as an allusion to Alcibiades' speech in Plato'sSymposium. Kierkegaard invites the reader to compare Socrates to Don Giovanni, and Alcibiades to the seduced women. Socrates' philosophical method, in this light, is a deceptive seduction: just as Don Giovanni's seduction leads his conquests to (...) unhappy love—what Kierkegaard terms “reflective sorrow”—so the elenctic method leads Socrates' interlocutors to aporia, not to knowledge. I offer a critique of Socratic irony, a stance reflected in the theory of love Socrates presents in the Symposium, and suggest that philosophy should instead be modeled on Alcibiades' and the Silhouettes' approach to love. (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)
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 ...
The book consists of four chapters (1.Context; 2. Overview of Themes; 3. Reading the Text; 4. Reception and Influence) that offer the reader guidance in reading Plato'sSymposium. Secondary literature is mostly in English. The line of interpretation may be defined as partly literary and partly thematic — being aware of the philosophical significance of the adopted style. The literary part contains a detailed description of the characters and the frame story; the thematic part comprises: (…) - 12. (...) Plato 12 (2012). (shrink)
In Plato’s Symposium, the priestess Diotima, whom Socrates introduces as an expert in love, describes how the lover who would advance rightly in erotics would ascend from loving a particular beautiful body and individual to loving Beauty itself. This hierarchy is conventionally referred to as Plato’s scala amoris or ‘ladder of love’, for the reason that the uppermost form of love cannot be reached without having initially stepped on the first rung of the ladder, which is the physical attraction (...) to a beautiful body or individual. A popular interpretation of Plato’s or Diotima’s description of this ascent is that the lover is supposed to give up or abandon all the previous objects or individuals as he moves upward. In other words, previous individuals are merely the first rung of the ladder; and when the lover has climbed to higher stages of the ladder, he should kick the earlier rung, and them, away. I would like to try to argue that this popular interpretation is mistaken; that Plato does not believe that each previous stage in the ascent is left behind as the lover moves to a higher stage. Far from it, in fact; not only do I not believe that Plato wants the lover to abandon the individuals he loves, but I suggest that what his ascent does is move the lover to love previous individuals in a richer, fuller and more appropriate sense. I approach this in two parts, the second of which I hope can be seen to exemplify the first. In part one I concern myself with a close analysis of the relevant bits of text, while in part two, I move on to examine Plato’s love of Socrates. Here I hope to try to show that Plato, while going on – having presumably ascended up past the lower rungs of the ladder – to produce great works of virtue and beauty, never left the individual Socrates behind. (shrink)
"Sorcerer Love" is the name that Luce Irigaray gives to the demonic function of love as presented in Plato'sSymposium. 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)
Oxford Approaches to Classical Literature (Series Editors: Kathleen Coleman and Richard Rutherford) introduces individual works of Greek and Latin literature to readers who are approaching them for the first time. Each volume sets the work in its literary and historical context, and aims to offer a balanced and engaging assessment of its content, artistry, and purpose. A brief survey of the influence of the work upon subsequent generations is included to demonstrate its enduring relevance and power. All quotations from the (...) original are translated into English. Plato'sSymposium tells of a dinner party at a crucial point in Athenian history at which the guests decide that they will each in turn deliver a speech in praise of love. The humorous and brilliant work that follows points the way towards all Western thinking about love. The Symposium is also one of Plato's most sophisticated meditations on the practice of philosophy. This book introduces the literary and historical context of Plato's work, surveys and explains the arguments, and considers why Plato has cast this work in a highly unusual narrative form. A final chapter traces the influence of the Symposium from antiquity to the modern day. (shrink)
Irigaray's reading of Plato'sSymposium in Ethique de la difference sexuelle illustrates both the advantages and the limits of her textual practise. Irigaray's attentive listening to the text allows Diotima's voice to emerge from an overlay of Platonic scholarship. But both the ahistorical nature of that listening and Irigaray's assumption of feminine marginality also make her a party to Plato's sabotage of Diotima's philosophy. Understood in historical context, Diotima is not an anomaly in Platonic discourse, but the (...) hidden host of Plato's banquet, speaking for a pre-Socratic world view against which classical Greek thought is asserted. Understood in historical context, Plato is not the authoritative founder of Western thought against whom only marginal skirmishes can be mounted, but a rebellious student who manages to transform Diotima's complex teaching on personal identity, immortality, and love into the sterile simplicities of logical form. (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)
While many scholarly interpretations of Plato’s Symposium express skepticism toward the content of Alcibiades’ speech, this essay argues Alcibiades’ portrait of Socrates is credible on the whole, is consistent with the portrayal of Socrates elsewhere, and is of great significance for our understanding of philosophical eros as exemplified in Socrates’ philosophical activity. Furthermore, by putting Socrates on trial for hybris, Alcibiades’ speech raises important philosophical questions as to whether the contempt with which he treated Alcibiades is not part and (...) parcel of the wholesale contemning of human particularity implicit in Diotima’s teaching about eros. (shrink)
This paper draws attention to the Symposium's concern with epideictic rhetoric. It argues that in the Symposium, as in the Gorgias and the Phaedrus, a contrast is drawn between true and false rhetoric. The paper also discusses the dialogue's relationship to drama. Whereas both epideictic rhetoric and drama were directed to a mass audience, the speeches in the Symposium are delivered to a small, select group. The discussion focuses on the style of the speeches delivered by Aristophanes, (...) Agathon, Socrates and Alcibiades. Aristophanes speaks in the simple style of comedy, fable and folktale, also used by Protagoras in Plato's Protagoras. Agathon speaks in the high-flown style of Gorgias. Socrates' speech is a miniature Platonic dialogue, and both Alcibiades' speech and Socrates' speech may be compared to satyr play. The paper concludes with a suggestion that the claim at 223D, that the same person should be able to write both comedy and tragedy, refers to style as well as subject-matter. (shrink)
Frisbee Sheffield argues that the Symposium has been unduly marginalized by philosophers. Although the topic, eros, and the setting at a symposium have seemed anomalous, she demonstrates that both are intimately related to Plato's preoccupation with the nature of the good life, with virtue, and how it is acquired and transmitted. For Plato, analyzing our desires is a way of reflecting on the kind of people we will turn out to be and on our chances of leading (...) a worthwhile and happy life. In its focus on the question why he considered desires to be amenable to this type of reflection, this book explores Plato's ethics of desire. (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)
In the Symposium Socrates shows how Diotima initiated him into the mysteries of love in two stages. Yet, at first sight, the teachings offered at the two stages seem divergent and discontinuous. In this article I argue that we can understand the continuity between them if we regard Diotima’s notions of spiritual pregnancy and birth-giving as metaphors suggesting that the metaphysical horizon looming in the background of her teaching is that of Plato’s theory of recollection.Socrate explique dans le Banquet (...) comment Diotime l’a initié aux mystères de l’amour en suivant deux niveaux. Pourtant, de prime abord, les enseignements dispensés à ces deux niveaux semblent divergents et séparés par une solution de continuité. Je soutiens dans cet article qu’il est possible de comprendre la continuité entre ces deux niveaux si on considère les notions de grossesse spirituelle etd’enfantement avancées par Diotime comme des métaphores qui laissent entrevoir la théorie de la réminiscence à l’horizon métaphysique de cet enseignement. (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)
Like Aristophanes’ Frogs, Plato’s Symposium stages a contest between literary genres. The quarrel between Socrates and Aristophanes constitutes the primary axis of this contest, and the speech of Alcibiades echoes and extends that of Aristophanes. Alcibiades’ comparison of Socrates with a satyr, however, contains the key to understanding Socrates’ implication, at the very end of the dialogue, that philosophy alone understands the inner connectedness, and hence the proper nature, of both tragedy and comedy. I argue that Plato reflects in (...) the character of Socrates the primordial wisdom embodied in satyric drama. I conclude with a brief consideration of Nietzsche’s challenge to Plato’s Dionysian wisdom. (shrink)
The paper argues that the ontology of Self behind Descartes’s paradigmatic modern account of passion is an obstacle to interpreting properly the account Socrates gives in the Symposium of the truth of Eros’s origin, nature, and gift to the philosophical initiate into his truth. The key to interpreting this account is located in the relation between Eros and the arithmos-structure of the community of kinds, which is disclosed in terms of the Symposium’s dramatic mimesis of the two Platonic (...) sources of being, the One Itself and the indeterminate dyad. This interpretation’s focus is the vulgar and philosophical dimensions of the phallic pun at the beginning of the dialogue. Both dimensions of the dialogue’s opening joke manifest the appearance of Eros in the dialogue as a distorted imitation of the koinonia of the greatest kinds: Being, Rest, Motion, the Same, and the Other. (shrink)
On the day eros was conceived, the gods were having a party to celebrate the birth of Aphrodite. His father-to-be, Poros (resource), was having a grand old time, and in fact got so carried away with the nectar that he passed out cold in Zeus’ garden. His mother-to-be, Penia (poverty), had not made the guest list, and was skulking around the gates. She was poor but cunning, and on seeing Poros sprawled on the ground, hatched a plot to relieve her (...) poverty. She would sleep with him—after all, Poros was too drunk to know what was going on—and conceive a child who would enable her to escape her penury. The name of this child was Eros. This is the story of the origins of erōs which Diotima offers in her speech .. (shrink)
Author Steven Berg offers an interpretation of this dialogue wherein all the speakers at the banquetwith the exception of Socratesnot only offer their views on ...
Introductory dialogue (172a-178a) -- Speeches on love (erôs) -- The speech of Phaedrus (178a-180c) -- The speech of Pausanias (180c-185e) -- The speech of Eryximachus (185c-188e) -- The speech of Aristophanes (189a-193e) -- The speech of Agathon (194e-198a) -- Socrates questions Agathon (199c-201c) and the speech of Socrates (202b-212b) -- The entrance and speech of Alcibiades (212c-222c).
O Banquete de Platão serve-se de recursos dramáticos diversos, tais como a história-moldura, a organização dos discursos e o ensino de Diotima enquanto meios de orientação do leitor pela mensagem filosófica subjacente, a qual inclui um exame do sistema socrático de educação. Os discípulos de Sócrates demonstram notável entusiasmo pela filosofia, mas parecem incapazes de distinguir o amor por Sócrates do amor pela sabedoria. Agatão ocupa posição de destaque: devido a um trocadilho com o seu nome, a jornada do jantar (...) em sua casa se tornará na ascensão em direção ao Bem. Além disso, ele representa a educação sofística e poética, assim como cada um dos oradores representa algum tipo particular de conhecimento, o que implica que não se deveria simplesmente impingir pedantismo a Eurixímaco, ou tomar o discurso de Aristófanes enquanto um interlúdio cômico. Eles formam, antes, uma complexa rede intertextual. Alcibíades exibe as fraquezas de um homem inábil ou relutante em seguir a totalidade do ensino socrático. Sua solicitação de ser conduzido por Agatão simboliza a incapacidade de encontrar o próprio caminho do Bem, ao passo que a interrupção da ordem bem organizada do banquete pelos boêmios lembra a atitude dos tiranos e de outros homens hostis à filosofia. Apesar dessa crítica aos estudantes de Sócrates, o Banquete finaliza com uma nota positiva. As ações finais de Sócrates ocupam-se das outras pessoas – uma crítica implícita a quem sustenta que a filosofia subverte os laços sociais. (shrink)
In this paper I argue that Plato's Apology is the principal text on which Kierkegaard relies in arguing for the idea that Socrates is fundamentally an ironist. After providing an overview of the structure of this argument, I then consider Kierkegaard's more general discussion of irony, unpacking the distinction he draws between irony as a figure of speech and irony as a standpoint. I conclude by examining Kierkegaard's claim that the Apology itself is “splendidly suited for obtaining a clear (...) concept of Socrates' ironic activity,” considering in particular Kierkegaard's discussion of Socrates' remarks about death and his use of Friedrich Ast's commentary to help his readers to discover the irony that he contends runs throughout Socrates' defense speech. (shrink)
A review of Plato's Parmenides, The Conversion of the Soul, by Mitchell H. Miller Junior. The Parmenides is seen as offering readers a chance to appropriate fully by critical and conceptual inquiry what was given in the Republic in the modes of image and analogy.
