PLATO, AND THE OTHER COMPANIONS OF SOKRATES.

PLATO,

and the

OTHER COMPANIONS OF SOKRATES.

by

GEORGE GROTE,

author of the ‘history of greece’.

A NEW EDITION.

IN FOUR VOLUMES.

Vol. III.

LONDON:

JOHN MURRAY, ALBEMARLE STREET.

1888.

The right of Translation is reserved.

CONTENTS.

CHAPTER XXVI.

PHÆDRUS — SYMPOSION.

These two are the two erotic dialogues of Plato. Phædrus is the originator of both.

I put together these two dialogues, as distinguished by a marked peculiarity. They are the two erotic dialogues of Plato. They have one great and interesting subject common to both: though in the Phædrus, this subject is blended with, and made contributory to, another. They agree also in the circumstance, that Phædrus is, in both, the person who originates the conversation. But they differ materially in the manner of handling, in the comparisons and illustrations, and in the apparent purpose.

Eros as conceived by Plato. Different sentiment prevalent in Hellenic antiquity and in modern times. Position of women in Greece.

The subject common to both is, Love or Eros in its largest sense, and with its manifold varieties. Under the totally different vein of sentiment which prevails in modern times, and which recognises passionate love as prevailing only between persons of different sex — it is difficult for us to enter into Plato’s eloquent exposition of the feeling as he conceives it. In the Hellenic point of view,[1] upon which Plato builds, the attachment of man to woman was regarded as a natural impulse, and as a domestic, social, sentiment; yet as belonging to a common-place rather than to an exalted mind, and seldom or never rising to that pitch of enthusiasm which overpowers all other emotions, absorbs the whole man, and aims either at the joint performance of great exploits or the joint prosecution of intellectual improvement by continued colloquy. We must remember that the wives and daughters of citizens were seldom seen abroad: that the wife was married very young: that she had learnt nothing except spinning and weaving: that the fact of her having seen as little and heard as little as possible, was considered as rendering her more acceptable to her husband:[2] that her sphere of duty and exertion was confined to the interior of the family. The beauty of women yielded satisfaction to the senses, but little beyond. It was the masculine beauty of youth that fired the Hellenic imagination with glowing and impassioned sentiment. The finest youths, and those too of the best families and education, were seen habitually uncovered in the Palæstra and at the public festival-matches; engaged in active contention and graceful exercise, under the direction of professional trainers. The sight of the living form, in such perfection, movement, and variety, awakened a powerful emotional sympathy, blended with aesthetic sentiment, which in the more susceptible natures was exalted into intense and passionate devotion. The terms in which this feeling is described, both by Plato and Xenophon, are among the strongest which the language affords — and are predicated even of Sokrates himself. Far from being ashamed of the feeling, they consider it admirable and beneficial; though very liable to abuse, which they emphatically denounce and forbid.[3] In their view, it was an idealising passion, which tended to raise a man above the vulgar and selfish pursuits of life, and even above the fear of death. The devoted attachments which it inspired were dreaded by the despots, who forbade the assemblage of youths for exercise in the palæstra.[4]

[1] Schleiermacher (Einleit. zum Symp. p. 367) describes this view of Eros as Hellenic, and as “gerade den anti-modernen and anti-christlichen Pol der Platonischen Denkungsart”. Aristotle composed Θέσεις Ἐρωτικαὶ or Ἐρωτικάς, Diogenes Laert. v. 22-24. See Bernays, Die Dialoge des Aristoteles, p. 133, Berlin, 1863.

Compare the dialogue called Ἐρωτικός, among the works of Plutarch, p. 750 seq., where some of the speakers, especially Protogenes, illustrate and enlarge upon this Platonic construction of Eros — ἀληθινοῦ δὲ Ἔρωτος οὐδ’ ὁτιοῦν τῇ γυναικωνίτιδι μέτεστιν, &c. (750 C, 761 B, &c.)

In the Treatise De Educatione Puerorum (c. 15, p. 11 D-F) Plutarch hesitates to give a decided opinion on the amount of restriction proper to be imposed on youth: he is much impressed with the authority of Sokrates, Plato, Xenophon, Æschines, Kebês, καὶ τὸν πάντα χόρον ἐκείνων τῶν ἀνδρῶν, οἱ τοὺς ἄῤῥενας ἐδοκίμασαν ἔρωτας, &c. See the anecdote about Episthenes, an officer among the Ten Thousand Greeks under Xenophon, in Xenophon, Anabasis, vii. 4, 7, and a remarkable passage about Zeno the Stoic, Diog. Laert. vii. 13. Respecting the general subject of παιδεραστία in Greece, there is a valuable Excursus in Bekker’s Charikles, vol. i. pp. 347-377, Excurs. ii. I agree generally with his belief about the practice in Greece, see Cicero, Tusc. Disp. iv. 33, 70. Bekker quotes abundant authorities, which might be farther multiplied if necessary. In appreciating the evidence upon this point, we cannot be too careful to keep in mind what Sokrates says (in the Xenophontic Symposion, viii. 34) when comparing the Thebans and Eleians on one side with the Athenians and Spartans on the other — Ἐκείνοις μὲν γὰρ ταῦτα νόμιμα, ἡμῖν δὲ ἐπονείδιστα. We must interpret passages of the classical authors according to their fair and real meanings, not according to the conclusions which we might wish to find proved.

If we read the oration of Demosthenes against Neæra (which is full of information about Athenian manners), we find the speaker Apollodôrus distributing the relations of men with women in the following manner (p. 1386) — τὸ γὰρ συνοικεῖν τοῦτ’ ἐστίν, ὃς ἂν παιδοποιῆται καὶ εἰσάγῃ εἴς τε τοὺς δημότας καὶ τοὺς φράτορας τοὺς υἱεῖς, καὶ τὰς θυγατέρας ἐκδιδῷ ὡς αὐτοῦ οὔσας τοῖς ἀνδράσι. Τὰς μὲν γὰρ ἑταίρας, ἡδονῆς ἕνεκα ἔχομεν — τὰς δὲ παλλακάς, τῆς καθ’ ἡμέραν θεραπείας τοῦ σώματος — τὰς δὲ γυναῖκας, τοῦ παιδοποιεῖσθαι γνησίως, καὶ τῶν ἕνδον φύλακα πίστην ἔχειν.

To the same purpose, the speaker in Lysias (Ὑπὲρ τοῦ Ἐρατοσθένους φόνου — sect. 7), describing his wife, says — ἐν μὲν οὖν τῷ πρώτῳ χρόνῳ πασῶν ἦν βελτίστη· καὶ γὰρ οἰκονόμος δεινὴ καὶ φειδωλὸς ἀγαθὴ καὶ ἀκριβῶς πάντα διοικοῦσα.

Neither of these three relations lent itself readily to the Platonic vein of sentiment and ideality: neither of them led to any grand results either in war — or political ambition — or philosophical speculation; the three great roads, in one or other of which the Grecian ideality travelled. We know from the Republic that Plato did not appreciate the value of the family life, or the purposes for which men marry, according to the above passage cited from Demosthenes. In this point, Plato differs from Xenophon, who, in his Œconomicus, enlarges much (in the discourse of Ischomachus) upon the value of the conjugal union, with a view to prudential results and good management of the household; while he illustrates the sentimental and affectionate side of it, in the story of Pantheia and Abradates (Cyropædia).

[2] See the Œconomicus of Xenophon, cap. iii. 12, vii. 5.

[3] The beginning of the Platonic Charmidês illustrates what is here said, pp. 154-155; also that of the Protagoras and Lysis, pp. 205-206.

Xenophon, Sympos. i. 8-11; iv. 11, 15. Memorab. i. 3, 8-14 (what Sokrates observes to Xenophon about Kritobulus). Dikæarchus (companion of Aristotle) disapproved the important influence which Plato assigned to Eros (Cicero, Tusc. D. iv. 34-71).

If we pass to the second century after the Christian Era, we find some speakers in Athenæus blaming severely the amorous sentiments of Sokrates and the narrative of Alkibiades, as recited in the Platonic Symposium (v. 180-187; xi. 506-508 C). Athenæus remarks farther, that Plato, writing in this strain, had little right to complain (as we read in the Republic) of the licentious compositions of Homer and other poets, and to exclude them from his model city. Maximus Tyrius, in one of his four discourses (23-5) on the ἐρωτικὴ of Sokrates, makes the same remark as Athenæus about the inconsistency of Plato in banishing Homer from the model city, and composing what we read in the Symposion; he farther observes that the erotic dispositions of Sokrates provoked no censure from his numerous enemies at the time (though they assailed him upon so many other points), but had incurred great censure from contemporaries of Maximus himself, to whom he replies — τοὺς νυνὶ κατηγόρους (23, 6-7). The comparisons which he institutes (23, 9) between the sentiments and phrases of Sokrates, and those of Sappho and Anakreon, are very curious.

Dionysius of Halikarnassus speaks of the ἐγκώμια on Eros in the Symposion, as “unworthy of serious handling or of Sokrates”. (De Admir. Vi Dic. Demosth. p. 1027.)

But the most bitter among all the critics of Plato, is Herakleitus — author of the Allegoriæ Homericæ. Herakleitus repels, as unjust and calumnious, the sentence of banishment pronounced by Plato against Homer, from whom all mental cultivation had been derived. He affirms, and tries to show, that the poems of Homer — which he admits to be full of immorality if literally understood — had an allegorical meaning. He blames Plato for not having perceived this; and denounces him still more severely for the character of his own writings — ἐῤῥίφθω δὲ καὶ Πλάτων ὁ κόλαξ, Ὁμήρου συκοφάντης — Τοὺς δὲ Πλάτωνος διαλόγους, ἄνω καὶ κάτω παιδικοὶ καθυβρίζουσιν ἔρωτες, οὐδαμοῦ δε οὐχι τῆς ἀῤῥένος ἐπιθυμίας μεστός ἐστιν ὁ ἀνήρ (Herakl. All. Hom., c. 4-74, ed. Mehler, Leiden, 1851).

[4] Plato, Sympos. 182 C. The proceedings of Harmodius and Aristogeiton, which illustrate this feeling, are recounted by Thucydides, vi. 54-57. These two citizens were gratefully recollected and extensively admired by the Athenian public.

Eros, considered as the great stimulus to improving philosophical communion. Personal Beauty, the great point of approximation between the world of sense and the world of Ideas. Gradual generalisation of the sentiment.

Especially to Plato, who combined erotic and poetical imagination with Sokratic dialectics and generalising theory — this passion presented itself in the light of a stimulus introductory to the work of philosophy — an impulse at first impetuous and undistinguishing, but afterwards regulated towards improving communion and colloquy with an improvable youth. Personal beauty (this is[5] the remarkable doctrine of Plato in the Phædrus) is the main point of visible resemblance between the world of sense and the world of Ideas: the Idea of Beauty has a brilliant representative of itself among concrete objects — the Ideas of Justice and Temperance have none. The contemplation of a beautiful youth, and the vehement emotion accompanying it, was the only way of reviving in the soul the Idea of Beauty which it had seen in its antecedent stage of existence. This was the first stage through which every philosopher must pass; but the emotion of love thus raised, became gradually in the better minds both expanded and purified. The lover did not merely admire the person, but also contracted the strongest sympathy with the feelings and character, of the beloved youth: delighting to recognise and promote in him all manifestations of mental beauty which were in harmony with the physical, so as to raise him to the greatest attainable perfection of human nature. The original sentiment of admiration, having been thus first transferred by association from beauty in the person to beauty in the mind and character, became gradually still farther generalised; so that beauty was perceived not as exclusively specialised in any one individual, but as invested in all beautiful objects, bodies as well as minds. The view would presently be farther enlarged. The like sentiment would be inspired, so as to worship beauty in public institutions, in administrative arrangements, in arts and sciences. And the mind would at last be exalted to the contemplation of that which pervades and gives common character to all these particulars — Beauty in the abstract — or the Self-Beautiful — the Idea or Form of the Beautiful. To reach this highest summit, after mounting all the previous stages, and to live absorbed in the contemplation of “the great ocean of the beautiful,” was the most glorious privilege attainable by any human being. It was indeed attainable only by a few highly gifted minds. But others might make more or less approach to it: and the nearer any one approached, the greater measure would he ensure to himself of real good and happiness.[6]

[5] Plato, Phædrus, pp. 249 E, 250 B-E.

[6] Plato, Sympos. pp. 210-211.

Respecting the Beautiful, I transcribe here a passage from Ficinus, in his Argument prefixed to the Hippias Major, p. 757. “Unumquodque è singulis pulchris, pulchrum hoc Plato vocat: formam in omnibus, pulchritudinem; speciem et ideam supra omnia, ipsum pulchrum. Primum sensus attingit opinioque. Secundum ratio cogitat. Tertium mens intuetur.

“Quid ipsum Bonum? Ipsum rerum omnium principium, actus purus, actus sequentia cuncta vivificans. Quid ipsum Pulchrum? Vivificus actus e primo fonte bonorum effluens, Mentem primo divinam idearum ordine infinité decorans, Numina deinde sequentia mentesque rationum serie complens, Animas tertio numerosis discursibus ornans, Naturas quarto seminibus, formis quinto materiam.”

All men love Good, as the means of Happiness, but they pursue it by various means. The name Eros is confined to one special case of this large variety.

Such is Plato’s conception of Eros or Love and its object. He represents it as one special form or variety of the universal law of gravitation pervading all mankind. Every one loves, desires, or aspires to happiness: this is the fundamental or primordial law of human nature, beyond which we cannot push enquiry. Good, or good things, are nothing else but the means to happiness:[7] accordingly, every man, loving happiness, loves good also, and desires not only full acquisition, but perpetual possession of good. In this wide sense, love belongs to all human beings: every man loves good and happiness, with perpetual possession of them — and nothing else.[8] But different men have different ways of pursuing this same object. One man aspires to good or happiness by way of money-getting, another by way of ambition, a third by gymnastics — or music — or philosophy. Still no one of these is said to love, or to be under the influence of Eros. That name is reserved exclusively for one special variety of it — the impulse towards copulation, generation, and self-perpetuation, which agitates both bodies and minds throughout animal nature. Desiring perpetual possession of good, all men desire to perpetuate themselves, and to become immortal. But an individual man or animal cannot be immortal: he can only attain a quasi-immortality by generating a new individual to replace himself.[9] In fact even mortal life admits no continuity, but is only a succession of distinct states or phenomena: one always disappearing and another always appearing, each generated by its antecedent and generating its consequent. Though a man from infancy to old age is called the same, yet he never continues the same for two moments together, either in body or mind. As his blood, flesh, bones, &c., are in perpetual disappearance and renovation, always coming and going — so likewise are his sensations, thoughts, emotions, dispositions, cognitions, &c. Neither mentally nor physically does he ever continue the same during successive instants. The old man of this instant perishes and is replaced by a new man during the next.[10] As this is true of the individual, so it is still more true of the species: continuance or immortality is secured only by perpetual generation of new individuals.

[7] Plato, Sympos. pp. 204-205. Φέρε, ὁ ἐρῶν τῶν ἀγαθῶν, τί ἐρᾷ; Γενέσθαι, ἦν δ’ ἐγώ, αὐτῷ. Καὶ τί ἔσται ἐκείνῳ ᾧ ἂν γένηται τἀγαθά; Τοῦτ’ εὐπορώτερον, ἦν δ’ ἐγώ, ἔχω ἀποκρίνασθαι, ὅτι εὐδαίμων ἔσται. Κτήσει γάρ, ἔφη, ἀγαθῶν, οἱ εὐδαίμονες εὐδαίμονες· Καὶ οὐκέτι προσδεῖ ἐρέσθαι, ἵνα τί δὲ βούλεται εὐδαίμων εἶναι ὁ βουλόμενος, ἀλλὰ τέλος δοκεῖ ἔχειν ἡ ἀπόκρισις.… Ταύτην δὴ τὴν βούλησιν καὶ τὸν ἔρωτα τοῦτον, πότερα κοινὸν εἶναι πάντων ἀνθρώπων, καὶ πάντας τἀγαθὰ βούλεσθαι αὐτοῖς εἶναι ἀεί, ἢ πῶς λέγεις; Οὕτως, ἦν δ’ ἐγώ, κοινὸν εἶναι πάντων.

[8] Plato, Sympos. p. 206 A. ὡς οὐδέν γε ἄλλο ἐστὶν οὖ ἐρῶσιν ἄνθρωποι ἢ τοῦ ἀγαθοῦ.

[9] Plato, Sympos. p. 207 C.

[10] Plato, Sympos. pp. 207-208.

Desire of mental copulation and procreation, as the only attainable likeness of immortality, requires the sight of personal beauty as an originating stimulus.

The love of immortality thus manifests itself in living beings through the copulative and procreative impulse, which so powerfully instigates living man in mind as well as in body. Beauty in another person exercises an attractive force which enables this impulse to be gratified: ugliness on the contrary repels and stifles it. Hence springs the love of beauty — or rather, of procreation in the beautiful — whereby satisfaction is obtained for this restless and impatient agitation.[11] With some, this erotic impulse stimulates the body, attracting them towards women, and inducing them to immortalise themselves by begetting children: with others, it acts far more powerfully on the mind, and determines them to conjunction with another mind for the purpose of generating appropriate mental offspring and products. In this case as well as in the preceding, the first stroke of attraction arises from the charm of physical, visible, and youthful beauty: but when, along with this beauty of person, there is found the additional charm of a susceptible, generous, intelligent mind, the effect produced by the two together is overwhelming; the bodily sympathy becoming spiritualised and absorbed by the mental. With the inventive and aspiring intelligences — poets like Homer and Hesiod, or legislators like Lykurgus and Solon — the erotic impulse takes this turn. They look about for some youth, at once handsome and improvable, in conversation with whom they may procreate new reasonings respecting virtue and goodness — new excellences of disposition — and new force of intellectual combination, in both the communicants. The attachment between the two becomes so strong that they can hardly live apart: so anxious are both of them to foster and confirm the newly acquired mental force of which each is respectively conscious in himself.[12]

[11] Plato, Sympos. p. 206 E. ὅθεν δὴ τῷ κυοῦντί τε καὶ ἤδη σπαργῶντι πολλὴ ἡ πτόησις γέγονε περὶ τὸ καλὸν διὰ τὸ μεγάλης ὠδῖνος ἀπολύειν τὸν ἔχοντα. Ἐστὶ γὰρ οὐ τοῦ καλοῦ ὁ ἔρως, ἀλλὰ — τῆς γεννήσεως καὶ τοῦ τόκου ἐν τῷ καλῷ.

[12] Plato, Sympos. p. 209.

Highest exaltation of the erotic impulse in a few privileged minds, when it ascends gradually to the love of Beauty in genere. This is the most absorbing sentiment of all.

Occasionally, and in a few privileged natures, this erotic impulse rises to a still higher exaltation, losing its separate and exclusive attachment to one individual person, and fastening upon beauty in general, or that which all beautiful persons and beautiful minds have in common. The visible charm of beautiful body, though it was indispensable as an initial step, comes to be still farther sunk and undervalued, when the mind has ascended to the contemplation of beauty in genere, not merely in bodies and minds, but in laws, institutions, and sciences. This is the highest pitch of philosophical love, to which a few minds only are competent, and that too by successive steps of ascent: but which, when attained, is thoroughly soul-satisfying. If any man’s vision be once sharpened so that he can see beauty pure and absolute, he will have no eyes for the individual manifestations of it in gold, fine raiment, brilliant colours, or beautiful youths.[13] Herein we have the climax or consummation of that erotic aspiration which first shows itself in the form of virtuous attachment to youth.[14]

[13] Plato, Symposion, p. 211.

[14] Plato, Symposion, p. 211 B. ὅταν δή τις ἀπὸ τῶνδε διὰ τὸ ὀρθῶς παιδεραστεῖν ἐπανιὼν ἐκεῖνο τὸ καλὸν ἄρχηται καθορᾷν, σχεδὸν ἄν τι ἅπτοιτο τοῦ τέλους, &c.

Purpose of the Symposion, to contrast this Platonic view of Eros with several different views of it previously enunciated by the other speakers; closing with a panegyric on Sokrates, by the drunken Alkibiades.

It is thus that Plato, in the Symposion, presents Love, or erotic impulse: a passion taking its origin in the physical and mental attributes common to most men, and concentrated at first upon some individual person — but gradually becoming both more intense and more refined, as it ascends in the scale of logical generalisation and comes into intimate view of the pure idea of Beauty. The main purpose of the Symposion is to contrast this Platonic view of Eros or Love — which is assigned to Sokrates in the dialogue, and is repeated by him from the communication of a prophetic woman named Diotima[15] — with different views assigned to other speakers. Each of the guests at the Banquet — Phædrus, Pausanias, Eryximachus, Aristophanes, Agathon, Sokrates — engages to deliver a panegyric on Eros: while Alkibiades, entering intoxicated after the speeches are finished, delivers a panegyric on Sokrates, in regard to energy and self-denial generally, but mainly and specially in the character of Erastes. The pure and devoted attachment of Sokrates towards Alkibiades himself — his inflexible self-command under the extreme of trial and temptation — the unbounded ascendancy which he had acquired over that insolent youth, who seeks in every conceivable manner to render himself acceptable to Sokrates — are emphatically extolled, and illustrated by singular details.

[15] Plat. Sympos. p. 201 D. γυναικὸς μαντικῆς Διοτίμας, ἡ ταῦτά τε σοφὴ ἦν καὶ ἄλλα πολλά, καὶ Ἀθηναίοις ποτὲ θυσαμένοις πρὸ τοῦ λοιμοῦ δέκα ἔτη ἀναβολὴν ἐποίησε τῆς νόσου, ἢ δὴ καὶ ἐμὲ τὰ ἐρωτικὰ ἐδίδαξεν.

Instead of γυναικὸς μαντικῆς, which was the old reading, Stallbaum and other editors prefer to write γυναικὸς Μαντινικῆς, also 211 D. I cannot but think that μαντικῆς is right. There is no pertinence or fit meaning in Μαντινικῆς, whereas the word μαντικῆς is in full keeping with what is said about the special religious privileges and revelations of Diotima — that she procured for the Athenians an adjournment of the plague for ten years. The Delphian oracle assured the Lydian king Krœsus that Apollo had obtained from the Μοῖραι a postponement of the ruin of the Lydian kingdom for three years, but that he could obtain from them no more (Herodot. i. 91).

Views of Eros presented by Phædrus, Pausanias, Eryximachus, Aristophanes, Agathon.

Both Phædrus[16] and Pausanias, in their respective encomiums upon Eros, dwell upon that God as creating within the human bosom by his inspirations the noblest self-denial and the most devoted heroism, together with the strongest incentives to virtuous behaviour. Pausanias however makes distinctions: recognising and condemning various erotic manifestations as abusive, violent, sensual — and supposing for these a separate inspiring Deity — Eros Pandêmus, contrasted with the good and honourable Eros Uranius[17] or Cœlestis. In regard to the different views taken of Eros by Eryximachus, Aristophanes, and Agathon — the first is medical, physiological, cosmical[18] — the second is comic and imaginative, even to exuberance — the third is poetical or dithyrambic: immediately upon which follows the analytical and philosophical exposition ascribed to Sokrates, opened in his dialectic manner by a cross-examination of his predecessor, and proceeding to enunciate the opinions communicated to him by the prophetess Diotima.

[16] Sydenham conceives and Boeckh (ad Plat. Legg. iii. 694) concurs with him, that this discourse, assigned to Phædrus, is intended by Plato as an imitation of the style of Lysias. This is sufficiently probable. The encomium on Eros delivered by Agathon, especially the concluding part of it (p. 197), mimics the style of florid effeminate poetry, overcharged with balanced phrases (ἰσόκωλα, ἀντίθετα), which Aristophanes parodies in Agathon’s name at the beginning of the Thesmophoriazusæ, Athenæus, v. 187 C.

[17] Plato, Sympos. pp. 180-181.

[18] Respecting this view of Eros or Aphrodite, as a cosmical, all-pervading, procreative impulse, compare Euripides, Frag. Incert. 3, 6, assigned by Welcker (Griech. Trag. p. 737) to the lost drama — the first Hippolytus; also the beautiful invocation with which the poem of Lucretius opens, and the fragmentary exordium remaining from the poem of Parmenides.

Discourse of Sokrates from revelation of Diotima. He describes Eros as not a God, but an intermediate Dæmon between Gods and men, constantly aspiring to divinity, but not attaining it.

Sokrates treats most of the preceding panegyrics as pleasing fancies not founded in truth. In his representation (cited from Diotima) Eros is neither beautiful, nor good, nor happy; nor is he indeed a God at all. He is one of the numerous intermediate body of Dæmons, inferior to Gods yet superior to men, and serving as interpreting agents of communication between the two.[19] Eros is the offspring of Poverty and Resource (Porus).[20] He represents the state of aspiration and striving, with ability and energy, after goodness and beauty, but never actually possessing them: a middle condition, preferable to that of the person who neither knows that he is deficient in them, nor cares to possess them: but inferior to the condition of him who is actually in possession. Eros is always Love of something — in relation to something yet unattained, but desired: Eros is to be distinguished carefully from the object desired.[21] He is the parallel of the philosopher, who is neither ignorant nor wise: not ignorant, because genuine ignorance is unconscious of itself and fancies itself to be knowledge: not wise, because he does not possess wisdom, and is well aware that he does not possess it. He is in the intermediate stage, knowing that he does not possess wisdom, but constantly desiring it and struggling after it. Eros, like philosophy, represents this continual aspiration and advance towards a goal never attained.[22]

[19] Plato, Sympos. pp. 202-203.

[20] What Sokrates says here in the Symposion about Eros is altogether at variance with what Sokrates says about Eros in Phædrus, wherein we find him speaking with the greatest reverence and awe about Eros as a powerful God, son of Aphroditê (Phædrus, pp. 242 D, 243 D, 257 A).

[21] Plato, Symposion, pp. 199-200. Ὁ Ἔρως ἔρως ἐστὶν οὐδενὸς ἣ τινός; Πάνυ μὲν οὖν ἔστιν.… Πότερον ὁ Ἔρως ἐκείνου οὗ ἔστιν ἔρως, ἐπιθυμεῖ αὐτοῦ ἢ οὔ; Πάνυ γε.… Ἀνάγκη τὸ ἐπιθυμοῦν ἐπιθυμεῖν οὖ ἐνδεές ἐστιν, ἢ μὴ ἐπιθυμεῖν, ἐὰν μὴ ἐνδεὲς ᾖ.

[22] Plato, Sympos. p. 204 A. Τίνες οὖν οἱ φιλοσοφοῦντες, εἰ μήτε οἱ σοφοὶ μήτε οἱ ἀμαθεῖς;… Οἱ μεταξὺ τούτων ἀμφοτέρων, ὧν αὖ καὶ ὁ Ἔρως. Ἐστὶ γὰρ δὴ τῶν καλλίστων ἡ σοφία, Ἔρως δ’ ἐστὶν ἔρως περὶ τὸ καλόν· ὥστε ἀναγκαῖον Ἔρωτα φιλόσοφον εἶναι, φιλόσοφον δὲ ὄντα μεταξὺ εἶναι σοφοῦ καὶ ἀμαθοῦς.

Analogy of the erotic aspiration with that of the philosopher, who knows his own ignorance and thirsts for knowledge.

It is thus that the truly Platonic conception of Love is brought out, materially different from that of the preceding speakers — Love, as a state of conscious want, and of aspiration or endeavour to satisfy that want, by striving after good or happiness — Philosophy as the like intermediate state, in regard to wisdom. And Plato follows out this coalescence of love and philosophy in the manner which has been briefly sketched above: a vehement impulse towards mental communion with some favoured youth, in the view of producing mental improvement, good, and happiness to both persons concerned: the same impulse afterwards expanding, so as to grasp the good and beautiful in a larger sense, and ultimately to fasten on goodness and beauty in the pure Idea: which is absolute — independent of time, place, circumstances, and all variable elements — moreover the object of the one and supreme science.[23]

[23] Plato, Symposion, pp. 210-211.

Eros as presented in the Phædrus — Discourse of Lysias, and counter-discourse of Sokrates, adverse to Eros — Sokrates is seized with remorse, and recants in a high-flown panegyric on Eros.

I will now compare the Symposion with the Phædrus. In the first half of the Phædrus also, Eros, and the Self-Beautiful or the pure Idea of the Beautiful, are brought into close coalescence with philosophy and dialectic — but they are presented in a different manner. Plato begins by setting forth the case against Eros in two competing discourses (one cited from Lysias,[24] the other pronounced by Sokrates himself as competitor with Lysias in eloquence) supposed to be addressed to a youth, and intended to convince him that the persuasions of a calm and intelligent friend are more worthy of being listened to than the exaggerated promises and protestations of an impassioned lover, from whom he will receive more injury than benefit: that the inspirations of Eros are a sort of madness, irrational and misguiding as well as capricious and transitory: while the calm and steady friend, unmoved by any passionate inspiration, will show himself worthy of permanent esteem and gratitude.[25] By a sudden revulsion of feeling, Sokrates becomes ashamed of having thus slandered the divine Eros, and proceeds to deliver a counter-panegyric or palinode upon that God.[26]

[24] Plato, Phædrus, p. 230 seq.

[25] Plato, Phædrus, p. 237 seq.

[26] Eros, in the Phædrus, is pronounced to be a God, son of Aphroditê (p. 242 E); in the Symposion he is not a God but a Dæmon, offspring of Porus and Penia, and attendant on Aphroditê, according to Diotima and Sokrates (p. 203).

Panegyric — Sokrates admits that the influence of Eros is a variety of madness, but distinguishes good and bad varieties of madness, both coming from the Gods. Good madness is far better than sobriety.

Eros (he says) is, mad, irrational, superseding reason and prudence in the individual mind.[27] This is true: yet still Eros exercises a beneficent and improving influence. Not all madness is bad. Some varieties of it are bad, but others are good. Some arise from human malady, others from the inspirations of the Gods: both of them supersede human reason and the orthodoxy of established custom[28] — but the former substitute what is worse, the latter what is better. The greatest blessings enjoyed by man arise from madness, when it is imparted by divine inspiration. And it is so imparted in four different phases and by four different Gods: Apollo infuses the prophetic madness — Dionysus, the ritual or religious — The Muses, the poetical — and Eros, the erotic.[29] This last sort of madness greatly transcends the sober reason and concentration upon narrow objects which is so much praised by mankind generally.[30] The inspired and exalted lover deserves every preference over the unimpassioned friend.

[27] Plato, Phædrus, pp. 265-266. τὸ ἄφρον τῆς διανοίας ἕν τι κοινῇ εἶδος.… τὸ τῆς παρανοίας ὡς ἓν ἐν ἡμῖν πεφυκὸς εἶδος. Compare p. 236 A.

[28] Plato, Phædrus, p. 265 A. Μανίας δέ γε εἴδη δύο· τὴν μέν, ὑπὸ νοσημάτων ἀνθρωπίνων, τὴν δέ, ὑπὸ θείας ἐξαλλαγῆς τῶν εἰωθότων νομίμων γιγνομένην. Compare 249 D.

[29] Plato, Phædrus, p. 244 A. εἰ μὲν γὰρ ἦν ἁπλοῦν τὸ μανίαν κακὸν εἶναι, καλῶς ἂν ἐλέγετο· νῦν δὲ τὰ μέγιστα τῶν ἀγαθῶν ἡμῖν γίγνεται διὰ μανίας, θείᾳ μέντοι δόσει διδομένης.

Compare Plutarch, Ἐρωτικός, c. 16. pp. 758-759, &c.

[30] Plato, Phædrus, p. 245 B. μηδέ τις ἡμᾶς λόγος θορυβείτω δεδιττόμενος ὡς πρὸ τοῦ κεκινημένου τὸν σώφρονα δεῖ προαιρεῖσθαι φίλον.

P. 256 E; ἡ δὲ ἀπὸ τοῦ μὴ ἐρῶντος οἰκειότης, σωφροσύνῃ θνητῇ κεκραμένη, θνητά τε καὶ φειδωλὰ οἰκονομοῦσα, ἀνελευθερίαν ὑπὸ πλήθους ἐπανουμένην ὡς ἀρετὴν τῇ φίλῃ ψυχῇ ἐντεκοῦσα, &c.

Poetical mythe delivered by Sokrates, describing the immortality and pre-existence of the soul, and its pre-natal condition of partial companionship with Gods and eternal Ideas.

Plato then illustrates, by a highly poetical and imaginative mythe, the growth and working of love in the soul. All soul or mind is essentially self-moving, and the cause of motion to other things. It is therefore immortal, without beginning or end: the universal or cosmic soul, as well as the individual souls of Gods and men.[31] Each soul may be compared to a chariot with a winged pair of horses. In the divine soul, both the horses are excellent, with perfect wings: in the human soul, one only of them is good, the other is violent and rebellious, often disobedient to the charioteer, and with feeble or half-grown wings.[32] The Gods, by means of their wings, are enabled to ascend up to the summit of the celestial firmament — to place themselves upon the outer circumference or back of the heaven — and thus to be carried round along with the rotation of the celestial sphere round the Earth. In the course of this rotation they contemplate the pure essences and Ideas, truth and reality without either form or figure or colour: they enjoy the vision of the Absolute — Justice, Temperance, Beauty, Science. The human souls, with their defective wings, try to accompany the Gods; some attaching themselves to one God, some to another, in this ascent. But many of them fail in the object, being thrown back upon earth in consequence of their defective equipment, and the unruly character of one of the horses: some however succeed partially, obtaining glimpses of Truth and of the general Ideas, though in a manner transient and incomplete.

[31] Plato, Phædrus, pp. 245-246. Compare Krische, De Platonis Phædro, pp. 49-50 (Göttingen, 1848).

Plato himself calls this panegyric in the mouth of Sokrates a μυθικός τις ὕμνος (Phædr. p. 265 D).

[32] The reader will recollect Homer, Iliad, xvi. 152, where the chariot and horses of Patroklus are described, when he is about to attack the Trojans; the mortal horse Pedasus is harnessed to it alongside of the two immortal horses Xanthus and Balius.

Operation of such pre-natal experience upon the Intellectual faculties of man — Comparison and combination of particular sensations indispensable — Reminiscence.

Those souls which have not seen Truth or general Ideas at all, can never be joined with the body of a man, but only with that of some inferior animal. It is essential that some glimpse of truth should have been obtained, in order to qualify the soul for the condition of man:[33] for the mind of man must possess within itself the capacity of comparing and combining particular sensations, so as to rise to one general conception brought together by reason.[34] This is brought about by the process of reminiscence; whereby it recalls those pure, true, and beautiful Ideas which it had partially seen during its prior extra-corporeal existence in companionship with the Gods. The rudimentary faculty of thus reviving these general Conceptions — the visions of a prior state of existence — belongs to all men, distinguishing them from other animals: but in most men the visions have been transient, and the power of reviving them is faint and dormant. It is only some few philosophers, whose minds, having been effectively winged in their primitive state for ascent to the super-celestial regions, have enjoyed such a full contemplation of the divine Ideas as to be able to recall them with facility and success, during the subsequent corporeal existence. To the reminiscence of the philosopher, these Ideas present themselves with such brilliancy and fascination, that he forgets all other pursuits and interests. Hence he is set down as a madman by the generality of mankind, whose minds have not ascended beyond particular and present phenomena to the revival of the anterior Ideas.

[33] Plato, Phædrus, pp. 249-250. πᾶσα μὲν ἀνθρώπου ψυχὴ φύσει τεθέαται τὰ ὄντα — ἢ οὐκ ἂν ἦλθεν εἰς τόδε τὸ ζῶον· ἀναμιμνήσκεσθαι δ’ ἐκ τῶνδε ἐκεῖνα οὐ ῥᾴδιον ἁπάσῃ, &c.

[34] Plato, Phædrus, p. 249 B. Οὐ γὰρ ἥ γε μή ποτε ἰδοῦσα τὴν ἀλήθειαν εἰς τόδε ἥξει τὸ σχῆμα. Δεῖ γὰρ ἄνθρωπον ξυνιέναι κατ’ εἶδος λεγόμενον, ἐκ πολλῶν ἰὸν αἰσθήσεων εἰς ἓν λογισμῷ ξυναιρούμενον. Τοῦτο δέ ἐστιν ἀνάμνησις ἐκείνων, ἅ ποτ’ εἶδεν ἡμῶν ἡ ψυχὴ συμπορευθεῖσα θεῷ καὶ ὑπεριδοῦσα ἃ νῦν εἶναί φαμεν, καὶ ἀνακύψασα εἰς τὸ ὂν ὄντως.

Reminiscence is kindled up in the soul of the philosopher by the aspect of visible Beauty, which is the great link between the world of sense and the world of Ideas.

It is by the aspect of visible beauty, as embodied in distinguished youth, that this faculty of reminiscence is first kindled in minds capable of the effort. It is only the embodiment of beauty, acting as it does powerfully upon the most intellectual of our senses, which has sufficient force to kindle up the first act or stage of reminiscence in the mind, leading ultimately to the revival of the Idea of Beauty. The embodiments of justice, wisdom, temperance, &c., in particular men, do not strike forcibly on the senses, nor approximate sufficiently to the original Idea, to effect the first stroke of reminiscence in an unprepared mind. It is only the visible manifestation of beauty, which strikes with sufficient shock at once on the senses and the intellect, to recall in the mind an adumbration of the primitive Idea of Beauty. The shock thus received first develops the reminiscent faculty in minds apt and predisposed to it, and causes the undeveloped wings of the soul to begin growing. It is a passion of violent and absorbing character; which may indeed take a sensual turn, by the misconduct of the unruly horse in the team, producing in that case nothing but corruption and mischief — but which may also take a virtuous, sentimental, imaginative turn, and becomes in that case the most powerful stimulus towards mental improvement in both the two attached friends. When thus refined and spiritualised, it can find its satisfaction only in philosophical communion, in the generation of wisdom and virtue; as well as in the complete cultivation of that reminiscent power, which vivifies in the mind remembrance of Forms or Ideas seen in a prior existence. To attain such perfection, is given to few; but a greater or less approximation may be made to it. And it is the only way of developing the highest powers and virtues of the mind; which must spring, not from human prudence and sobriety, but from divine madness or erotic inspiration.[35]

[35] Plato, Phædrus, p. 256 B. οὗ μεῖζον ἀγαθὸν οὔτε σωφροσύνη ἀνθρωπίνη οὔτε θεία μανία δυνατὴ πορίσαι ἀνθρώπῳ. — 245 B: ἐπ’ εὐτυχία τῇ μεγίστῃ παρὰ θεῶν ἡ τοιαύτη μανία δίδοται.

The long and highly poetical mythe, of which I have given some of the leading points, occupies from c. 51 to c. 83 (pp. 244-257) of the dialogue. It is adapted to the Hellenic imagination, and requires the reader to keep before him the palæstræ of Athens, as described in the Lysis, Erastæ, and Charmidês of Plato — visited both by men like Sokrates and by men like Kritias (Xenoph. Memor. i. 2, 29).

Such is the general tenor of the dialogue Phædrus, in its first half: which presents to us the Platonic love, conceived as the source and mainspring of exalted virtue — as the only avenue to philosophy — as contrasted, not merely with sensual love, but also with the sobriety of the decent citizen who fully conforms to the teaching of Law and Custom. In the Symposion, the first of these contrasts appears prominently, while the second is less noticed. In the Phædrus, Sokrates declares emphatically that madness, of a certain sort, is greatly preferable to sobriety: that the temperate, respectable, orthodox citizen, is on the middle line, some madmen being worse than he, but others better: that madness springing from human distemper is worse, but that when it springs from divine inspiration, it is in an equal degree better, than sobriety: that the philosophical œstrus, and the reminiscence of the eternal Ideas (considered by Plato as the only true and real Entia), is inconsistent with that which is esteemed as sobriety: and is generated only by special inoculation from Eros or some other God. This last contrast, as I have just observed, is little marked in the Symposion. But on the other hand, the Symposion (especially the discourse of Sokrates and his repetition of the lessons of Diotima), insists much more upon the generalisation of the erotic impulse. In the Phædrus, we still remain on the ground of fervent attachment between two individuals — an attachment sentimental and virtuous, displaying itself in an intercourse which elicits from both of them active intelligence and exalted modes of conduct: in the Symposion, such intercourse is assimilated explicitly to copulation with procreative consequences, but it is represented as the first stage of a passion which becomes more and more expanded and comprehensive: dropping all restriction to any single individual, and enlarging itself not merely to embrace pursuits, and institutions, but also to the plenitude and great ocean of Beauty in its largest sense.

Elevating influence ascribed, both in Phædrus and Symposion, to Eros Philosophus. Mixture in the mind of Plato, of poetical fancy and religious mysticism, with dialectic theory.

The picture here presented by Plato, of the beneficent and elevating influence of Eros Philosophus, is repeated by Sokrates as a revelation made to him by the prophetess Diotima. It was much taken to heart by the Neo-Platonists.[36] It is a striking manifestation of the Platonic characteristics: transition from amorous impulse to religious and philosophical mysticism — implication of poetical fancy with the conception of the philosophising process — surrender of the mind to metaphor and analogy, which is real up to a certain point, but is forcibly stretched and exaggerated to serve the theorising purpose of the moment. Now we may observe, that the worship of youthful masculine beauty, and the belief that contemplation of such a face and form was an operative cause, not only raising the admiration but also quickening the intelligence of the adult spectator, and serving as a provocative to instructive dialogue — together with a decided attempt to exalt the spiritual side of this influence and depreciate the sensual — both these are common to Plato with Sokrates and Xenophon. But what is peculiar to Plato is, that he treats this merely as an initial point to spring from, and soars at once into the region of abstractions, until he gets clear of all particulars and concomitants, leaving nothing except Beauty Absolute — τὸ Καλὸν — τὸ αὐτὸ-καλὸν — the “full sea of the beautiful”. Not without reason does Diotima express a doubt whether Sokrates (if we mean thereby the historical Sokrates) could have followed so bold a flight. His wings might probably have failed and dropped him: as we read in the Phædrus respecting the unprepared souls who try to rise aloft in company with the Gods. Plato alone is the true Dædalus equal to this flight, borne up by wings not inferior to those of Pindar[37] — according to the comparison of Dionysius of Halikarnassus.

[36] Porphyry, Vit. Plotini, 23.

Plato’s way of combining, in these two dialogues — so as to pass by an easy thread of association from one to the other — subjects which appear to us unconnected and even discordant, is certainly remarkable. We have to recognise material differences in the turn of imagination, as between different persons and ages. The following remark of Professor Mohl, respecting the Persian lyric poet Hafiz, illustrates this point. “Au reste, quand même nous serions mieux renseignés sur sa vie, il resterait toujours pour nous le singulier spectacle d’un homme qui tantôt célèbre l’absorption de l’âme dans l’essence de Dieu, tantôt chante le vin et l’amour, sans grossièreté, il est vrai, mais avec un laisser aller et un naturel qui exclut toute idée de symbolisme — et qui généralement glisse de l’une dans l’autre de ces deux manières de sentir, qui nous paraissent si différentes, sans s’apercevoir lui-même qu’il change de sujet. Les Orientaux ont cherché la solution de cette difficulté dans une interprétation mystique de toutes ses poésies; mais les textes s’y refusent. Des critiques modernes ont voulu l’expliquer en supposant une hypocrisie de l’auteur, qui lui aurait fait mêler une certaine dose de piété mystique, à ses vers plus légers, pour les faire passer: mais ce calcul parait étranger à la nature de l’homme. Je crois qu’il faut trouver le mot de l’énigme dans l’état général des esprits et de la culture de son temps: et la difficulté pour nous est seulement de nous réprésenter assez vivement l’état des esprits en Perse à cette époque, et la nature de l’influence que le Soufisme y exerçait depuis des siècles sur toutes les classes cultivées de la nation.” — Mohl (Rapport Annuel à la Société Asiatique, 1861, p. 89.)

[37] Dionys. Hal. De Adm. Vi Dic. in Demosth., p. 972, Reiske.

Various remarks may be made, in comparing this exposition of Diotima in the Symposion with that which we read in the Phædrus and Phædon.

Differences between Symposion and Phædrus. In-dwelling conceptions assumed by the former, pre-natal experiences by the latter.

First, in the Phædrus and Phædon (also in the Timæus and elsewhere), the pre-existence of the soul, and its antecedent familiarity, greater or less, with the world of Ideas, — are brought into the foreground; so as to furnish a basis for that doctrine of reminiscence, which is one of the peculiar characteristics of Plato. The Form or Idea, when once disengaged from the appendages by which it has been overgrown, is said to be recognised by the mind and welcomed as an old acquaintance. But in the Symposion, no such doctrine is found. The mind is described as rising by gradual steps from the concrete and particular to the abstract and general, by recognising the sameness of one attribute as pervading many particulars, and by extending its comparisons from smaller groups of particulars to larger; until at length one and the same attribute is perceived to belong to all. The mind is supposed to evolve out of itself, and to generate in some companion mind, certain abstract or general conceptions, correlating with the Forms or Concepta without. The fundamental postulate here is, not that of pre-existence, but that of in-dwelling conceptions.

Nothing but metaphorical immortality recognised in Symposion.

Secondly, in the Phædrus and Phædon, the soul is declared to be immortal, à parte post as well as à parte ante. But in the Symposion, this is affirmed to be impossible.[38] The soul yearns for, but is forbidden to reach, immortality: or at least can only reach immortality in a metaphorical sense, by its prolific operation — by generating in itself as long as it lasts, and in other minds who will survive it, a self-renewing series of noble thoughts and feelings — by leaving a name and reputation to survive in the memory of others.

[38] Plato, Sympos. pp. 207-208.

Form or Idea of Beauty presented singly and exclusively in Symposion.

Thirdly, in Phædrus, Phædon, Republic, and elsewhere, Plato recognises many distinct Forms or Ideas — a world or aggregate of such Entia Rationis[39] — among which Beauty is one, but only one. It is the exalted privilege of the philosophic mind to come into contemplation and cognition of these Forms generally. But in the Symposion, the Form of Beauty (τὸ καλὸν) is presented singly and exclusively — as if the communion with this one Form were the sole occupation of the most exalted philosophy.

[39] Plat. Repub. v. 476. He recognises Forms of ἄδικον, κακόν, αἰσχρόν, as well as Forms of δίκαιον, ἀγαθόν, καλόν, &c.

Eros recognised, both in Phædrus and Symposion, as affording the initiatory stimulus to philosophy — Not so recognised in Phædon, Theætêtus, and elsewhere.

Fourthly, The Phædrus and Symposion have, both of them in common, the theory of Eros as the indispensable, initiatory, stimulus to philosophy. The spectacle of a beautiful youth is considered necessary to set light to various elements in the mind, which would otherwise remain dormant and never burn: it enables the pregnant and capable mind to bring forth what it has within and to put out its hidden strength. But if we look to the Phædon, Theætêtus, Sophistês, or Republic, we shall not find Eros invoked for any such function. The Republic describes an elaborate scheme for generating and developing the philosophic capacity: but Eros plays no part in it. In the Theætêtus, the young man so named is announced as having a pregnant mind requiring to be disburthened, and great capacity which needs foreign aid to develop it: the service needed is rendered by Sokrates, who possesses an obstetric patent, and a marvellous faculty of cross-examination. Yet instead of any auxiliary stimulus arising from personal beauty, the personal ugliness of both persons in the dialogue is emphatically signified.

I note these peculiarities, partly of the Symposion, partly of the Phædrus along with it — to illustrate the varying points of view which the reader must expect to meet in travelling through the numerous Platonic dialogues.

Concluding scene and speech of Alkibiades in the Symposion — Behaviour of Sokrates to Alkibiades and other handsome youths.

In the strange scene with which the Symposion is wound up, the main purpose of the dialogue is still farther worked out. The spirit and ethical character of Eros Philosophus, after having been depicted in general terms by Diotima, are specially exemplified in the personal history of Sokrates, as recounted and appreciated by Alkibiades. That handsome, high-born, and insolent youth, being in a complete state of intoxication, breaks in unexpectedly upon the company, all of whom are as yet sober: he enacts the part of a drunken man both in speech and action, which is described with a vivacity that would do credit to any dramatist. His presence is the signal for beginning to drink hard, and he especially challenges Sokrates to drink off, after him, as much wine as will fill the large water-vessel serving as cooler; which challenge Sokrates forthwith accepts and executes, without being the least affected by it. Alkibiades instead of following the example of the others by delivering an encomium on Eros, undertakes to deliver one upon Sokrates. He proceeds to depict Sokrates as the votary of Eros Philosophus, wrapped up in the contemplation of beautiful youths, and employing his whole time in colloquy with them — yet as never losing his own self-command, even while acquiring a magical ascendency over these companions.[40] The abnormal exterior of Sokrates, resembling that of a Satyr, though concealing the image of a God within — the eccentric pungency of his conversation, blending banter with seriousness, homely illustrations with impressive principles — has exercised an influence at once fascinating, subjugating, humiliating. The impudent Alkibiades has been made to feel painfully his own unworthiness, even while receiving every mark of admiration from others. He has become enthusiastically devoted to Sokrates, whom he has sought to attach to himself, and to lay under obligation, by tempting offers of every kind. The details of these offers are given with a fulness which cannot be translated to modern readers, and which even then required to be excused as the revelations of a drunken man. They present one of the boldest fictions in the Greek language — if we look at them in conjunction with the real character of Alkibiades as an historical person.[41] Sokrates is found proof against every variety of temptation, however seductive to Grecian feeling. In his case, Eros Philosophus maintains his dignity as exclusively pure, sentimental, and spiritual: while Alkibiades retires more humiliated than ever. We are given to understand that the like offers had been made to Sokrates by many other handsome youths also — especially by Charmides and Euthydemus — all of them being treated with the same quiet and repellent indifference.[42] Sokrates had kept on the vantage-ground as regards all:— and was regarded by all with the same mixture of humble veneration and earnest attachment.

[40] Plato, Sympos. p. 216 C-D.

[41] Plato, Sympos. p. 219. See also, respecting the historical Alkibiades and his character, Thucyd. vi. 15; Xenoph. Memor. i. 1; Antisthenes, apud Athenæum, xii. 534.

The invention of Plato goes beyond that of those ingenious men who recounted how Phrynê and Lais had failed in attempts to overcome the continence of Xenokrates, Diog. L. iv. 7: and the saying of Lais, ὡς οὐκ ἀπ’ ἀνδρός, ἀλλ’ ἀπ’ ἀνδρίαντος, ἀνασταίη. Quintilian (viii. 4, 22-23) aptly enough compares the description given by Alkibiades — as the maximum of testimony to the “invicta continentia” of Sokrates — with the testimony to the surpassing beauty of Helen, borne by such witnesses as the Trojan δημογέροντες and Priam himself (Hom. Iliad iii. 156). One of the speakers in Athenæus censures severely this portion of the Platonic Symposion, xi. 506 C, 508 D, v. 187 D. Porphyry (in his life of Plotinus, 15) tells us that the rhetor Diophanes delivered an apology for Alkibiades, in the presence of Plotinus; who was much displeased, and directed Porphyry to compose a reply.

[42] Plato, Symp. p. 222 B.

In the Hieron of Xenophon (xi. 11) — a conversation between the despot Hieron and the poet Simonides — the poet, exhorting Hieron to govern his subjects in a mild, beneficent, and careful spirit, expatiates upon the popularity and warm affection which he will thereby attract to himself from them. Of this affection one manifestation will be (he says) as follows:— ὥστε οὐ μόνον φιλοῖο ἄν, ἀλλὰ καὶ ἐρῷο, ὑπ’ ἀνθρώπων· καὶ τοὺς καλοὺς οὐ πειρᾷν, ἀλλὰ πειρώμενον ὑπ’ αὐτῶν ἀνέχεσθαι ἄν σε δέοι, &c.

These words illustrate the adventure described by Alkibiades in the Platonic Symposion.

Herakleides of Pontus, Dikæarchus, and the Peripatetic Hieronymus, all composed treatises Περὶ Ἐρωτος, especially περὶ παιδικῶν ἐρώτων (Athenæ. xiii. 602-603).

Perfect self-command of Sokrates — proof against every sort of trial.

Not merely upon this point but upon others also, Alkibiades recounts anecdotes of the perfect self-mastery of Sokrates: in endurance of cold, heat, hunger, and fatigue — in contempt of the dangers of war, in bravery on the day of battle — even in the power of bearing more wine than any one else, without being intoxicated, whenever the occasion was such as to require him to drink: though he never drank much willingly. While all his emotions are thus described as under the full control of Reason and Eros Philosophus — his special gift and privilege was that of conversation — not less eccentric in manner, than potent, soul-subduing,[43] and provocative in its effects.

[43] Plato, Sympos. pp. 221-222.

Alkibiades recites acts of distinguished courage performed by Sokrates, at the siege of Potidæa as well as at the battle of Delium.

About the potent effect produced by the conversation of Sokrates upon his companions, compare Sympos. p. 173 C-D.

In the Xenophontic Apology (s. 18), Sokrates adverts to the undisturbed equanimity which he had shown during the long blockade of Athens after the battle of Ægospotami, while others were bewailing the famine and other miseries.

Drunkenness of others at the close of the Symposion — Sokrates is not affected by it, but continues his dialectic process.

After the speech of Alkibiades is concluded, the close of the banquet is described by the primary narrator. He himself, with Agathon and Aristophanes, and several other fresh revellers, continue to drink wine until all of them become dead drunk. While Phædrus, Eryximachus, and others retire, Sokrates remains. His competency to bear the maximum of wine without being disturbed by it, is tested to the full. Although he had before, in acceptance of the challenge of Alkibiades, swallowed the contents of the wine cooler, he nevertheless continues all the night to drink wine in large bowls, along with the rest. All the while, however, he goes on debating his ordinary topics, even though no one is sufficiently sober to attend to him. His companions successively fall asleep, and at day-break, he finds himself the only person sober,[44] except Aristodemus (the narrator of the whole scene), who has recently waked after a long sleep. Sokrates quits the house of Agathon, with unclouded senses and undiminished activity — bathes — and then visits the gymnasium at the Lykeion; where he passes all the day in his usual abundant colloquy.[45]

[44] In Sympos. p. 176 B, Sokrates is recognised as δυνατώτατος πίνειν, above all the rest: no one can be compared with him. In the two first books of the Treatise De Legibus, we shall find much to illustrate what is here said (in the Symposion) about the power ascribed to him of drinking more wine than any one else, without being at all affected by it. Plato discusses the subject of strong potations (μέθη) at great length; indeed he seems to fear that his readers will think he says too much upon it (i. 642 A). He considers it of great advantage to have a test to apply, such as wine, for the purpose of measuring the reason and self-command of different men, and of determining how much wine is sufficient to overthrow it, in each different case (i. 649 C-E). You can make this trial (he argues) in each case, without any danger or harm; and you can thus escape the necessity of making the trial in a real case of emergency. Plato insists upon the χρεία τῆς μέθης, as a genuine test, to be seriously employed for the purpose of testing men’s reason and force of character (ii. p. 673). In the Republic, too (iii. p. 413 E), the φύλακες are required to be tested, in regard to their capacity of resisting pleasurable temptation, as well as pain and danger.

Among the titles of the lost treatises of Theophrastus, we find one Περὶ Μέθης (Diog. L. v. 44). It is one of the compliments that the Emperor Marcus Antoninus (i. 16) pays to his father — That he was, like Sokrates, equally competent both to partake of, and to abstain from, the most seductive enjoyments, without ever losing his calmness and self-mastery.

[45] Plato, Sympos. p. 223.

Symposion and Phædon — each is the antithesis and complement of the other.

The picture of Sokrates, in the Symposion, forms a natural contrast and complement to the picture of him in the Phædon; though the conjecture of Schleiermacher[46] — that the two together are intended to make up the Philosophus, or third member of the trilogy promised in the Sophistês — is ingenious rather than convincing. The Phædon depicts Sokrates in his last conversation with his friends, immediately before his death; the Symposion presents him in the exuberance of life, health, and cheerfulness: in both situations, we find the same attributes manifested — perfect equanimity and self-command, proof against every variety of disturbing agency — whether tempting or terrible — absorbing interest in philosophical dialectic. The first of these two elements, if it stood alone, would be virtuous sobriety, yet not passing beyond the limit of mortal virtue: the last of the two superadds a higher element, which Plato conceives to transcend the limit of mortal virtue, and to depend upon divine inspiration or madness.[47]

[46] Einleitung zum Gastmahl, p. 359 seq.

[47] Plato, Phædrus, p. 256 C-E. σωφροσύνη θνητή — ἐρωτικὴ μανία: σωφροσύνη ἀνθρωπίνη — θεία μανία. Compare p. 244 B.

Symposion of Plato compared with that of Xenophon.

The Symposion of Plato affords also an interesting subject of comparison with that of his contemporary Xenophon, as to points of agreement as well as of difference.[48] Xenophon states in the beginning that he intends to describe what passed in a scene where he himself was present; because he is of opinion that the proceedings of excellent men, in hours of amusement, are not less worthy of being recorded than those of their serious hours. Both Plato and Xenophon take for their main subject a festive banquet, destined to celebrate the success of a young man in a competitive struggle. In Plato, the success is one of mind and genius — Agathon has gained the prize of tragedy: in Xenophon, it is one of bodily force and skill — Autolykus victor in the pankration. The Symposion of Xenophon differs from that of Plato, in the same manner as the Memorabilia of Xenophon generally differ from the Sokratic dialogues of Plato — that is, by approaching much nearer to common life and reality. It describes a banquet such as was likely enough to take place, with the usual accompaniments — a professional jester, and a Syracusan ballet-master who brings with him a dancing-girl, a girl to play on the flute and harp, and a handsome youth. These artists contribute to the amusement of the company by music, dancing, throwing up balls and catching them again, jumping into and out of a circle of swords. All this would have occurred at an ordinary banquet: here, it is accompanied and followed by remarks of pleasantry, buffoonery and taunt, interchanged between the guests. Nearly all the guests take part, more or less: but Sokrates is made the prominent figure throughout. He repudiates the offer of scented unguents: but he recommends the drinking of wine, though moderately, and in small cups. The whole company are understood to be somewhat elevated with wine, but not one of them becomes intoxicated. Sokrates not only talks as much fun as the rest, but even sings, and speaks of learning to dance, jesting on his own corpulence.[49] Most part of the scene is broad farce, in the manner, though not with all the humour, of Aristophanes.[50] The number and variety of the persons present is considerable, greater than in most of the Aristophanic plays.[51] Kallias, Lykon, Autolykus, Sokrates, Antisthenes, Hermogenes, Nikeratus, Kritobulus, have each his own peculiarity: and a certain amount of vivacity and amusement arises from the way in which each of them is required, at the challenge of Sokrates, to declare on what it is that he most prides himself. Sokrates himself carries the burlesque farther than any of them; pretending to be equal in personal beauty to Kritobulus, and priding himself upon the function of a pander, which he professes to exercise. Antisthenes, however, is offended, when Sokrates fastens upon him a similar function: but the latter softens the meaning of the term so as to appease him. In general, each guest is made to take pride in something the direct reverse of that which really belongs to him; and to defend his thesis in a strain of humorous parody. Antisthenes, for example, boasts of his wealth. The Syracusan ballet-master is described as jealous of Sokrates, and as addressing to him some remarks of offensive rudeness; which Sokrates turns off, and even begins to sing, for the purpose of preventing confusion and ill-temper from spreading among the company:[52] while he at the same time gives prudent advice to the Syracusan about the exhibitions likely to be acceptable.

[48] Pontianus, one of the speakers in Athenæus (xi. 504), touches upon some points of this comparison, with a view of illustrating the real or supposed enmity between Plato and Xenophon; an enmity not in itself improbable, yet not sufficiently proved.

Athenæus had before him the Symposion of Epikurus (not preserved) as well as those of Plato, Xenophon, and Aristotle (xv. 674); and we learn from him some of its distinctive points. Masurius (the speaker in Athenæus, v. init.) while he recognises in the Symposia of Xenophon and Plato a dramatic variety of characters and smartness — finds fault with both, but especially with Plato, for levity, rudeness, indecency, vulgarity, sneering, &c. The talk was almost entirety upon love and joviality. In the Symposion of Epikurus, on the contrary, nothing was said about these topics; the guests were fewer, the conversation was grave and dull, upon dry topics of science, such as the atomic theory (προφήτας ἀτόμων, v. 3, 187 B, 177 B. Ἐπίκουρος δὲ συμπόσιον φιλοσόφων μόνον πεποίηται), and even upon bodily ailments, such as indigestion or fever (187 C). The philosophers present were made by Epikurus to carry on their debate in so friendly a spirit, that the critic calls them “flatterers praising each other”; while he terms the Platonic guests “sneerers insulting each other” (μυκτηριστῶν ἀλλήλους τωθαζόντων, 182 A), though this is much more true about the Xenophontic Symposion than about the Platonic. He remarks farther that the Symposion of Epikurus included no libation or offering to the Gods (179 D).

It is curious to note these peculiarities in the compositions (now lost) of a philosopher like Epikurus, whom many historians of philosophy represent as thinking about nothing but convivial and sexual pleasure.

[49] Xenophon, Sympos. vii. 1; ii. 18-19. προγάστωρ, &c.

[50] The taunt ascribed to the jester Philippus, about the cowardice of the demagogue Peisander, is completely Aristophanic, ii. 14; also that of Antisthenes respecting the bad temper of Xanthippê, ii. 10; and the caricature of the movements of the ὀρχηστρὶς by Philippus, ii. 21. Compare also iii. 11.

[51] Xen. Symp. c. 4-5.

[52] Xen. Symp. vi. Αὐτὴ μὲν ἡ παροινία οὕτω κατεσβέσθη, vii. 1-5.

Epiktêtus insists upon this feature in the character of Sokrates — his patience and power of soothing angry men (ii. 12-14).

Small proportion of the serious, in the Xenophontic Symposion.

Though the Xenophontic Symposion is declared to be an alternate mixture of banter and seriousness,[53] yet the only long serious argument or lecture delivered is by Sokrates; in which he pronounces a professed panegyric upon Eros, but at the same time pointedly distinguishes the sentimental from the sensual. He denounces the latter, and confines his panegyric to the former — selecting Kallias and Autolykus as honourable examples of it.[54]

[53] Xen. Symp. iv. 28. ἀναμὶξ ἐσκωψάν τε καὶ ἐσπούδασαν, viii. 41.

[54] Xen. Symp. viii. 24. The argument against the sensual is enforced with so much warmth that Sokrates is made to advert to the fact of his being elate with wine — ὅ τε γὰρ οἶνος συνεπαίρει, καὶ ὁ ἀεὶ σύνοικος ἐμοὶ ἔρως κεντρίζει εἰς τὸν ἀντίπαλον ἔρωτα αὐτοῦ παῤῥησιάζεσθαι.

The contrast between the customs of the Thebans and Eleians, and those of the Lacedæmonians, is again noted by Xenophon, Rep. Laced. ii. 13. Plato puts (Symp. 182) a like contrast into the mouth of Pausanias, assimilating the customs of Athens in this respect to those of Sparta. The comparison between Plato and Xenophon is here curious; we see how much more copious and inventive is the reasoning of Plato.

The Xenophontic Symposion closes with a pantomimic scene of Dionysus and Ariadnê as lovers represented (at the instance of Sokrates) by the Syracusan ballet-master and his staff. This is described as an exciting spectacle to most of the hearers, married as well as unmarried, who retire with agreeable emotions. Sokrates himself departs with Lykon and Kallias, to be present at the exercise of Autolykus.[55]

[55] Xen. Symp. viii. 5, ix. 7. The close of the Xenophontic Symposion is, to a great degree, in harmony with modern sentiment, though what is there expressed would probably be left to be understood. The Platonic Symposion departs altogether from that sentiment.

Platonic Symposion more ideal and transcendental than the Xenophontic.

We see thus that the Platonic Symposion is much more ideal, and departs farther from common practice and sentiment, than the Xenophontic. It discards all the common accessories of a banquet (musical or dancing artists), and throws the guests altogether upon their own powers of rhetoric and dialectic, for amusement. If we go through the different encomiums upon Eros, by Phædrus, Pausanias, Eryximachus, Aristophanes, Agathon, Diotima — we shall appreciate the many-coloured forms and exuberance of the Platonic imagination, as compared with the more restricted range and common-place practical sense of Xenophon.[56] All the Platonic speakers are accomplished persons — a man of letters, a physician, two successful poets, a prophetess: the Xenophontic personages, except Sokrates and Antisthenes, are persons of ordinary capacity. The Platonic Symposion, after presenting Eros in five different points of view, gives pre-eminence and emphasis to a sixth, in which Eros is regarded as the privileged minister and conductor to the mysteries of philosophy, both the lowest and the highest: the Xenophontic Symposion dwells upon one view only of Eros (developed by Sokrates) and cites Kallias as example of it, making no mention of philosophy. The Platonic Symposion exalts Sokrates, as the representative of Eros Philosophus, to a pinnacle of elevation which places him above human fears and weaknesses[57] — coupled however with that eccentricity which makes the vulgar regard a philosopher as out of his mind: the Xenophontic Symposion presents him only as a cheerful, amiable companion, advising temperance, yet enjoying a convivial hour, and contributing more than any one else to the general hilarity.

[56] The difference between the two coincides very much with that which is drawn by Plato himself in the Phædrus — θεία μανία as contrasted with σωφροσύνη θνητὴ (p. 256 E). Compare Athenæus, v. 187 B.

[57] Plato, Phædrus, p. 249 D. νουθετεῖται μὲν ὑπὸ τῶν πολλῶν ὡς παρακινῶν, ἐνθουσιάζων δὲ λέληθε τοὺς πολλοὺς.… αἰτίαν ἔχει ὡς μανικῶς διακείμενος.

Such are the points of comparison which present themselves between the same subject as handled by these two eminent contemporaries, both of them companions, and admirers of Sokrates: and each handling it in his own manner.[58]

[58] Which of these two Symposia was the latest in date of composition we cannot determine with certainty: though it seems certain that the latest of the two was not composed in imitation of the earliest.

From the allusion to the διοίκισις of Mantineia (p. 193 A) we know that the Platonic Symposion must have been composed after 385 B.C.: there is great probability also, though not full certainty, that it was composed during the time when Mantineia was still an aggregate of separate villages and not a town — that is, between 385-370 B.C., in which latter year Mantineia was re-established as a city. The Xenophontic Symposion affords no mark of date of composition: Xenophon reports it as having been himself present. It does indeed contain, in the speech delivered by Sokrates (viii. 32), an allusion to, and a criticism upon, an opinion supported by Pausanias ὁ Ἀγάθωνος τοῦ ποιητοῦ ἐραστής, who discourses in the Platonic Symposion: and several critics think that this is an allusion by Xenophon to the Platonic Symposion. I think this opinion improbable. It would require us to suppose that Xenophon is inaccurate, since the opinion which he ascribes to Pausanias is not delivered by Pausanias in the Platonic Symposion, but by Phædrus. Athenæus (v. 216) remarks that the opinion is not delivered by Pausanias, but he does not mention that it is delivered by Phædrus. He remarks that there was no known written composition of Pausanias himself: and he seems to suppose that Xenophon must have alluded to the Platonic Symposion, but that he quoted it inaccurately or out of another version of it, different from what we now read. Athenæus wastes reasoning in proving that the conversation described in the Platonic Symposion cannot have really occurred at the time to which Plato assigns it. This is unimportant: the speeches are doubtless all composed by Plato. If Athenæus was anxious to prove anachronism against Plato, I am surprised that he did not notice that of the διοίκισις of Mantineia mentioned in a conversation supposed to have taken place in the presence of Sokrates, who died in 399 B.C.

I incline to believe that the allusion of Xenophon is not intended to apply to the Symposion of Plato. Xenophon ascribes one opinion to Pausanias, Plato ascribes another; this is noway inconceivable. I therefore remain in doubt whether the Xenophontic or the Platonic Symposion is earliest. Compare the Præf. of Schneider to the former, pp. 140-143.

Second half of the Phædrus — passes into a debate on Rhetoric. Eros is considered as a subject for rhetorical exercise.

I have already stated that the first half of the Phædrus differs materially from the second; and that its three discourses on the subject of Eros (the first two depreciating Eros, the third being an effusion of high-flown and poetical panegyric on the same theme) may be better understood by being looked at in conjunction with the Symposion. The second half of the Phædrus passes into a different discussion, criticising the discourse of Lysias as a rhetorical composition: examining the principles upon which the teaching of Rhetoric as an Art either is founded, or ought to be founded: and estimating the efficacy of written discourse generally, as a means of working upon or instructing other minds.

Lysias is called a logographer by active politicians. Contempt conveyed by the word. Sokrates declares that the only question is, Whether a man writes well or ill.

I heard one of our active political citizens (says Phædrus) severely denounce Lysias, and fasten upon him with contempt, many times over, the title of a logographer. Active politicians will not consent to compose and leave behind them written discourses, for fear of being called Sophists.[59] To write discourses (replies Sokrates) is noway discreditable: the real question is, whether he writes them well.[60] And the same question is the only one proper to be asked about other writers on all subjects — public or private, in prose or in verse. How to speak well, and how to write well — is the problem.[61] Is there any art or systematic method, capable of being laid down beforehand and defended upon principle, for accomplishing the object well? Or does a man succeed only by unsystematic knack or practice, such as he can neither realise distinctly to his own consciousness, nor describe to others?

[59] Plato, Phædrus, p. 257 C.

[60] Plato, Phædrus, pp. 257 E, 258 D.

The two appellations — λογογράφος and σοφιστής — are here coupled together as terms of reproach, just as they stand coupled in Demosthenes, Fals. Leg. p. 417. It is plain that both appellations acquired their discreditable import mainly from the collateral circumstance that the persons so denominated took money for their compositions or teaching. The λογογράφος wrote for pay, and on behalf of any client who could pay him. In the strict etymological sense, neither of the two terms would imply any reproach.

Yet Plato, in this dialogue, when he is discussing the worth of the reproachful imputation fastened on Lysias, takes the term λογογράφος only in this etymological, literal sense, omitting to notice the collateral association which really gave point to it and made it serve the purpose of a hostile speaker. This is the more remarkable, because we find Plato multiplying opportunities, even on unsuitable occasions, of taunting the Sophists with the fact that they took money. Here in the Phædrus, we should have expected that if he noticed the imputation at all, he would notice it in the sense intended by the speaker. In this sense, indeed, it would not have suited the purpose of his argument, since he wishes to make it an introduction to a philosophical estimate of the value of writing as a means of instruction.

Heindorf observes, that Plato has used a similar liberty in comparing the λογογράφος to the proposer of a law or decree. “Igitur, quum solemne legum initium ejusmodi esset, ἔδοξε τῇ βουλῇ, &c., Plato aliter longé quam vulgo acciperetur, neque sine calumniâ quâdam, interpretatus est” (ad p. 258).

[61] Plato, Phædrus, p. 259 E. ὅπῃ καλῶς ἔχει λέγειν τε καὶ γράφειν, καὶ ὅπῃ μή, σκεπτέον. — p. 258 D. τίς ὁ τρόπος τοῦ καλῶς τε καὶ μὴ γράφειν.

Question about teaching the art of writing well or speaking well. Can it be taught upon system or principle? Or does the successful Rhetor succeed only by unsystematic knack?.

First let us ask — When an orator addresses himself to a listening crowd upon the common themes — Good and Evil, Just and Unjust — is it necessary that he should know what is really and truly good and evil, just and unjust? Most rhetorical teachers affirm, that it is enough if he knows what the audience or the people generally believe to be so: and that to that standard he must accommodate himself, if he wishes to persuade.[62]

[62] Plato, Phædrus, p. 260 A.

Theory of Sokrates — that all art of persuasion must be founded upon a knowledge of the truth, and of gradations of resemblance to the truth.

He may persuade the people under these circumstances (replies Sokrates), but if he does so, it will be to their misfortune and to his own. He ought to know the real truth — not merely what the public whom he addresses believe to be the truth — respecting just and unjust, good and evil, &c. There can be no genuine art of speaking, which is not founded upon knowledge of the truth, and upon adequate philosophical comprehension of the subject-matter.[63] The rhetorical teachers take too narrow a view of rhetoric, when they confine it to public harangues addressed to the assembly or to the Dikastery. Rhetoric embraces all guidance of the mind through words, whether in public harangue or private conversation, on matters important or trivial. Whether it be a controversy between two litigants in a Dikastery, causing the Dikasts to regard the same matters now as being just and good, presently as being unjust and evil: or between two dialecticians like Zeno, who could make his hearers view the same subjects as being both like and unlike — both one and many — both in motion and at rest: in either case the art (if there be any art) and its principles are the same. You ought to assimilate every thing to every thing, in all cases where assimilation is possible: if your adversary assimilates in like manner, concealing the process from his hearers, you must convict and expose his proceedings. Now the possibility or facility of deception in this way will depend upon the extent of likeness between things. If there be much real likeness, deception is easy, and one of them may easily be passed off as the other: if there be little likeness, deception will be difficult. An extensive acquaintance with the real resemblances of things, or in other words with truth, constitutes the necessary basis on which all oratorical art must proceed.[64]

[63] Plato, Phædrus, pp. 260-261.

[64] Plato, Phædrus, p. 262.

Comparison made by Sokrates between the discourse of Lysias and his own. Eros is differently understood: Sokrates defined what he meant by it: Lysias did not define.

Sokrates then compares the oration of Lysias with his own two orations (the first depreciating, the second extolling, Eros) in the point of view of art; to see how far they are artistically constructed. Among the matters of discourse, there are some on which all men are agreed, and on which therefore the speaker may assume established unanimity in his audience: there are others on which great dissension and discord prevail. Among the latter (the topics of dissension), questions about just and unjust, good and evil, stand foremost:[65] it is upon these that deception is most easy, and rhetorical skill most efficacious. Accordingly, an orator should begin by understanding to which of these two categories the topic which he handles belongs: If it belongs to the second category (those liable to dissension) he ought, at the outset, to define what he himself means by it, and what he intends the audience to understand. Now Eros is a topic on which great dissension prevails. It ought therefore to have been defined at the commencement of the discourse. This Sokrates in his discourse has done: but Lysias has omitted to do it, and has assumed Eros to be obviously and unanimously apprehended by every one. Besides, the successive points in the discourse of Lysias do not hang together by any thread of necessary connection, as they ought to do, if the discourse were put together according to rule.[66]

[65] Plato, Phædrus, p. 263 B. Compare Plato, Alkibiad. i. p. 109.

[66] Plato, Phædrus, pp. 263-265.

Logical processes — Definition and Division — both of them exemplified in the two discourses of Sokrates.

Farthermore, in the two discourses of Sokrates, not merely was the process of logical definition exemplified in the case of Eros — but also the process of logical division, in the case of Madness or Irrationality. This last extensive genus was divided first into two species — Madness, from human distemper — Madness, from divine inspiration, carrying a man out of the customary orthodoxy.[67] Next, this last species was again divided into four branches or sub-species, according to the God from whom the inspiration proceeded, and according to the character of the inspiration — the prophetic, emanating from Apollo — the ritual or mystic, from Dionysus — the poetic, from the Muses — the amatory, from Eros and Aphroditê.[68] Now both these processes, definition and division, are familiar to the true dialectician or philosopher: but they are not less essential in rhetoric also, if the process is performed with genuine art. The speaker ought to embrace in his view many particular cases, to gather together what is common to all, and to combine them into one generic concept, which is to be embodied in words as the definition. He ought also to perform the counter-process: to divide the genus not into parts arbitrary and incoherent (like a bad cook cutting up an animal without regard to the joints) but into legitimate species;[69] each founded on some positive and assignable characteristic. “It is these divisions and combinations (says Sokrates) to which I am devotedly attached, in order that I may become competent for thought and discourse: and if there be any one else whom I consider capable of thus contemplating the One and the Many as they stand in nature — I follow in the footsteps of that man as in those of a God. I call such a man, rightly or wrongly, a Dialectician.”[70]

[67] Plato, Phædrus, p. 265 A. ὑπὸ θείας ἐξαλλαγῆς τῶν εἰωθότων νομίμων.

[68] Plato, Phædrus, p. 265.

[69] Plato, Phædrus, pp. 265-266. 265 D: εἰς μίαν τε ἰδέαν συνορῶντα ἄγειν τὰ πολλαχῆ διεσπαρμένα, ἵν’ ἕκαστον ὁριζόμενος δῆλον ποῖῃ περὶ οὗ ἂν ἀεὶ διδάσκειν ἐθέλῃ. 265 E: τὸ πάλιν κατ’ εἴδη δύνασθαι τέμνειν κατ’ ἄρθρα, ᾗ πέφυκε, καὶ μὴ ἐπιχειρεῖν καταγνύναι μέρος μηδέν, κακοῦ μαγείρου τρόπῳ χρώμενον.

Seneca, Epist. 89, p. 395, ed. Gronov. “Faciam ergo quod exigis, et philosophiam in partes, non in frusta, dividam. Dividi enim illam, non concidi, utile est.”

[70] Plato, Phædrus, p. 266 B. Τούτων δὴ ἔγωγε αὐτός τε ἐραστής, ὦ Φαῖδρε, τῶν διαιρέσεων καὶ συναγωγῶν, ἵν’ οἷός τε ὦ λέγειν τε καὶ φρονεῖν· ἐάν τέ τιν’ ἄλλον ἡγήσωμαι δυνατὸν εἰς ἓν καὶ ἐπὶ πολλὰ πεφυκὸς ὁρᾷν, τοῦτον διώκω κατόπισθε μετ’ ἴχνιον ὥστε θεοῖο. καὶ μέντοι καὶ τοὺς δυναμένους αὐτὸ δρᾷν εἰ μὲν ὀρθῶς ἢ μὴ προσαγορεύω, θεὸς οἶδε· καλῶ δὲ οὖν μέχρι τοῦδε διαλεκτικούς.

This is Dialectic (replies Phædrus); but it is not Rhetoric, as Thrasymachus and other professors teach the art.

View of Sokrates — that there is no real Art of Rhetoric, except what is already comprised in Dialectic — The rhetorical teaching is empty and useless.

What else is there worth having (says Sokrates), which these professors teach? The order and distribution of a discourse: first, the exordium, then recital, proof, second proof, refutation, recapitulation at the close: advice how to introduce maxims or similes: receipts for moving the anger or compassion of the dikasts. Such teaching doubtless enables a speaker to produce considerable effect upon popular assemblies:[71] but it is not the art of rhetoric. It is an assemblage of preliminary accomplishments, necessary before a man can acquire the art: but it is not the art itself. You must know when, how far, in what cases, and towards what persons, to employ these accomplishments:[72] otherwise you have not learnt the art of rhetoric. You may just as well consider yourself a physician because you know how to bring about vomit and purging — or a musician, because you know how to wind up or unwind the chords of your lyre. These teachers mistake the preliminaries or antecedents of the art, for the art itself. It is in the right, measured, seasonable, combination and application of these preliminaries, in different doses adapted to each special matter and audience — that the art of rhetoric consists. And this is precisely the thing which the teacher does not teach, but supposes the learner to acquire for himself.[73]

[71] Plato, Phædrus, pp. 267-268.

[72] Plato, Phædrus, p. 268 B. ἐρέσθαι εἰ προσεπίσταται καὶ οὑστίνας δεῖ καὶ ὁπότε ἕκαστα τούτων ποιεῖν, καὶ μέχρι ὁπόσου;

[73] Plato, Phædrus, p. 269.

What the Art of Rhetoric ought to be — Analogy of Hippokrates and the medical Art.

The true art of rhetoric (continues Sokrates) embraces a larger range than these teachers imagine. It deals with mind, as the medical researches of Hippokrates deal with body — as a generic total with all its species and varieties, and as essentially relative to the totality of external circumstances. First, Hippokrates investigates how far the body is, in every particular man, simple, homogeneous, uniform: and how far it is complex, heterogeneous, multiform, in the diversity of individuals. If it be one and the same, or in so far as it is one and the same, he examines what are its properties in relation to each particular substance acting upon it or acted upon by it. In so far as it is multiform and various, he examines and compares each of the different varieties, in the same manner, to ascertain its properties in relation to every substance.[74] It is in this way that Hippokrates discovers the nature or essence of the human body, distinguishing its varieties, and bringing the medical art to bear upon each, according to its different properties. This is the only scientific or artistic way of proceeding.

[74] Plato, Phædrus, p. 270 D. Ἆρ’ οὐχ ὧδε δεῖ διανοεῖσθαι περὶ ὁτουοῦν φύσεως; Πρῶτον μὲν, ἁπλοῦν ἢ πολυειδές ἐστιν, οὗ περὶ βουλησόμεθα εἶναι αὐτοὶ τεχνικοὶ καὶ ἄλλον δυνατοὶ ποιεῖν; ἔπειτα δέ, ἐὰν μὲν ἁπλοῦν ᾖ, σκοπεῖν τὴν δύναμιν αὐτοῦ, τίνα πρὸς τί πέφυκεν εἰς τὸ δρᾷν ἔχον ἢ τίνα εἰς τὸ παθεῖν ὑπὸ τοῦ; ἐὰν δὲ πλείω εἴδη ἔχῃ, ταῦτα ἀριθμησάμενος, ὅπερ ἐφ’ ἑνός, τοῦτ’ ἰδεῖν ἐφ’ ἑκάστου, τῷ τί ποιεῖν αὐτὸ πέφυκεν ἢ τῷ τί παθεῖν ὑπὸ τοῦ;

Art of Rhetoric ought to include a systematic classification of minds with all their varieties, and of discourses with all their varieties. The Rhetor must know how to apply the one to the other, suitably to each particular case.

Now the true rhetor ought to deal with the human mind in like manner. His task is to work persuasion in the minds of certain men by means of discourse. He has therefore, first, to ascertain how far all mind is one and the same, and what are the affections belonging to it universally in relation to other things: next, to distinguish the different varieties of minds, together with the properties, susceptibilities, and active aptitudes, of each: carrying the subdivision down until he comes to a variety no longer admitting division.[75] He must then proceed to distinguish the different varieties of discourse, noting the effects which each is calculated to produce or to hinder, and the different ways in which it is likely to impress different minds.[76] Such and such men are persuadable by such and such discourses — or the contrary. Having framed these two general classifications, the rhetor must on each particular occasion acquire a rapid tact in discerning to which class of minds the persons whom he is about to address belong: and therefore what class of discourses will be likely to operate on them persuasively.[77] He must farther know those subordinate artifices of speech on which the professors insist; and he must also be aware of the proper season and limit within which each can be safely employed.[78]

[75] Plato, Phædrus, p. 277 B. ὁρισάμενός τε πάλιν κατ’ εἴδη μέχρι τοῦ ἀτμήτου τέμνειν ἐπιστηθῇ.

[76] Plato, Phædrus, p. 271 A. Πρῶτον, πάσῃ ἀκριβείᾳ γράψει τε καὶ ποιήσει ψυχὴν ἰδεῖν, πότερον ἓν καὶ ὅμοιον πέφυκεν ἢ κατὰ σώματος μορφὴν πολυειδές· τοῦτο γάρ φαμεν φύσιν εἶναι δεικνύναι.

Δεύτερον δέ γε, ὅτῳ τί ποιεῖν ἢ παθεῖν ὑπὸ τοῦ πέφυκεν.

Τρίτον δὲ δὴ διαταξάμενος τὰ λόγων τε καὶ ψυχῆς γένη καὶ τὰ τούτων παθήματα, δίεισι τὰς αἰτίας, προσαρμόττων ἕκαστον ἑκάστῳ, καὶ διδάσκων οἵα οὖσα ὑφ’ οἵων λόγων δι’ ἣν αἰτίαν ἐξ ἀνάγκης ἡ μὲν πείθεται, ἡ δὲ ἀπειθεῖ.

[77] Plato, Phædrus, p. 271 D. δεῖ μὴ ταῦτα ἱκανῶς νοήσαντα, μετὰ ταῦτα θεώμενον αὐτὰ ἐν ταῖς πράξεσιν ὄντα τε καὶ πραττόμενα, ὀξέως τῇ αἰσθήσει δύνασθαι ἐπακολουθεῖν, &c.

[78] Plato, Phædrus, p. 272 A. ταῦτα δὲ ἤδη πάντ’ ἔχοντι, προσλαβόντι καιροὺς τοῦ πότε λεκτέον καὶ ἐπισχετέον, βραχυλογίας τε αὖ καὶ ἐλεεινολογίας καὶ δεινώσεως, ἑκάστων τε ὅσ’ ἂν εἴδη μάθῃ λόγων, τούτων τὴν εὐκαιρίαν τε καὶ ἀκαιρίαν διαγνόντι, καλῶς τε καὶ τελέως ἐστὶν ἡ τέχνη ἀπειργασμένη, πρότερον δ’ οὔ.

The Rhetorical Artist must farther become possessed of real truth, as well as that which his auditors believe to be truth. He is not sufficiently rewarded for this labour.

Nothing less than this assemblage of acquirements (says Sokrates) will suffice to constitute a real artist, either in speaking or writing. Arduous and fatiguing indeed the acquisition is: but there is no easier road. And those who tell us that the rhetor need not know what is really true, but only what his audience will believe to be true — must be reminded that this belief, on the part of the audience, arises from the likeness of that which they believe, to the real truth. Accordingly, he who knows the real truth will be cleverest in suggesting apparent or quasi-truth adapted to their feelings. If a man is bent on becoming an artist in rhetoric, he must go through the process here marked out: yet undoubtedly the process is so laborious, that rhetoric, when he has acquired it, is no adequate reward. We ought to learn how to speak and act in a way agreeable to the Gods, and this is worth all the trouble necessary for acquiring it. But the power of speaking agreeably and effectively to men, is not of sufficient moment to justify the expenditure of so much time and labour.[79]

[79] Plato, Phædrus, pp. 273-274.

Question about Writing — As an Art, for the purpose of instruction, it can do little — Reasons why. Writing may remind the reader of what he already knows.

We have now determined what goes to constitute genuine art, in speaking or in writing. But how far is writing, even when art is applied to it, capable of producing real and permanent effect? or indeed of having art applied to it at all? Sokrates answers himself — Only to a small degree. Writing will impart amusement and satisfaction for the moment: it will remind the reader of something which he knew before, if he really did know. But in respect to any thing which he did not know before, it will neither teach nor persuade him: it may produce in him an impression or fancy that he is wiser than he was before, but such impression is illusory, and at best only transient. Writing is like painting — one and the same to all readers, whether young or old, well or ill informed. It cannot adapt itself to the different state of mind of different persons, as we have declared that every finished speaker ought to do. It cannot answer questions, supply deficiencies, reply to objections, rectify misunderstanding. It is defenceless against all assailants. It supersedes and enfeebles the memory, implanting only a false persuasion of knowledge without the reality.[80]

[80] Plato, Phædrus, p. 275 D-E. ταὐτὸν δὲ καὶ οἱ λόγοι (οἱ γεγραμμένοι)· δόξαις μὲν ἂν ὥς τι φρονοῦντας αὐτοὺς λέγειν ἐὰν δέ τι ἕρῃ τῶν λεγομένων βουλόμενος μαθεῖν, ἕν τι σημαίνει μόνον ταὐτὸν ἀεί. Ὅταν δὲ ἅπαξ γραφῇ, κυλινδεῖται μὲν πανταχοῦ πᾶς λόγος ὁμοίως παρὰ τοῖς ἐπαΐουσιν, ὡς δ’ αὐτῶς παρ’ οἷς οὐδὲν προσήκει, καὶ οὐκ ἐπίσταται λέγειν οἷς δεῖ γε καὶ μή.

Neither written words, nor continuous speech, will produce any serious effect in teaching. Dialectic and cross-examination are necessary.

Any writer therefore, in prose or verse — Homer, Solon, or Lysias — who imagines that he can by a ready-made composition, however carefully turned,[81] if simply heard or read without cross-examination or oral comment, produce any serious and permanent effect in persuading or teaching, beyond a temporary gratification — falls into a disgraceful error. If he intends to accomplish any thing serious, he must be competent to originate spoken discourse more effective than the written. The written word is but a mere phantom or ghost of the spoken word: which latter is the only legitimate offspring of the teacher, springing fresh and living out of his mind, and engraving itself profoundly on the mind of the hearer.[82] The speaker must know, with discriminative comprehension, and in logical subdivision, both the matter on which he discourses, and the minds of the particular hearers to whom he addresses himself. He will thus be able to adapt the order, the distribution, the manner of presenting his subject, to the apprehension of the particular hearers and the exigencies of the particular moment. He will submit to cross-examination,[83] remove difficulties, and furnish all additional explanations which the case requires. By this process he will not indeed produce that immediate, though flashy and evanescent, impression of suddenly acquired knowledge, which arises from the perusal of what is written. He will sow seed which for a long time appears buried under ground; but which, after such interval, springs up and ripens into complete and lasting fruit.[84] By repeated dialectic debate, he will both familiarise to his own mind and propagate in his fellow-dialogists, full knowledge; together with all the manifold reasonings bearing on the subject, and with the power also of turning it on many different sides, of repelling objections and clearing up obscurities. It is not from writing, but from dialectic debate, artistically diversified and adequately prolonged, that full and deep teaching proceeds; prolific in its own nature, communicable indefinitely from every new disciple to others, and forming a source of intelligence and happiness to all.[85]

[81] Plato, Phædrus, pp. 277-278. ὡς οἱ ῥαψῳδούμενοι (λόγοι) ἄνευ ἀνακρίσεως καὶ διδαχῆς πειθοῦς ἕνεκα ἐλέχθησαν, &c.

[82] Plato, Phædrus, p. 276 A. ἄλλον ὁρῶμεν λόγον τούτου ἀδελφὸν γνήσιον τῷ τρόπῳ τε γίγνεται, καὶ ὅσῳ ἀμείνων καὶ δυνατώτερος τούτου φύεται;… Ὅς μετ’ ἐπιστήμης γράφεται ἐν τῇ τοῦ μανθάνοντος ψυχῇ, δυνατὸς μὲν ἀμῦναι ἑαυτῷ, ἐπιστήμων δὲ λέγειν τε καὶ σιγᾷν πρὸς οὓς δεῖ. Τὸν τοῦ εἰδότος λόγον λέγεις ζῶντα καὶ ἔμψυχον, οὗ ὁ γεγραμμένος εἴδωλον ἄν τι λέγοιτο δικαίως, &c. 278 A.

[83] Plato, Phædrus, p. 278 C. εἰ μὲν εἰδὼς ᾗ τἀληθὲς ἔχει συνέθηκε ταῦτα (τὰ συγγράμματα) καὶ ἔχων βοηθεῖν, εἰς ἔλεγχον ἰὼν περὶ ὧν ἔγραψε, καὶ λέγων αὐτὸς δυνατὸς τὰ γεγραμμένα φαῦλα ἀποδεῖξαι, &c.

[84] Plato, Phædrus, p. 276 A.

[85] Plato, Phædrus, pp. 276-277.

This blending of philosophy with rhetoric, which pervades the criticisms on Lysias in the Phædrus, is farther illustrated by the praise bestowed upon Isokrates in contrast with Lysias. Isokrates occupied that which Plato in Euthydêmus calls “the border country between philosophy and politics”. Many critics declare (and I think with probable reason[86]) that Isokrates is the person intended (without being named) in the passage just cited from the Euthydêmus. In the Phædrus, Isokrates is described as the intimate friend of Sokrates, still young; and is pronounced already superior in every way to Lysias — likely to become superior in future to all the rhetors that have ever flourished — and destined probably to arrive even at the divine mysteries of philosophy.[87]

[86] See above, [vol. ii. ch. xxi. p. 227].

[87] Plato, Phædrus, p. 279 A.

When we consider that the Phædrus was pretty sure to bring upon Plato a good deal of enmity — since it attacked, by name, both Lysias, a resident at Athens of great influence and ability, and several other contemporary rhetors more or less celebrated — we can understand how Plato became disposed to lighten this amount of enmity by a compliment paid to Isokrates. This latter rhetor, a few years older than Plato, was the son of opulent parents at Athens, and received a good education; but when his family became impoverished by the disasters at the close of the Peloponnesian war, he established himself as a teacher of rhetoric at Chios: after some time, however, he returned to Athens, and followed the same profession there. He engaged himself also, like Lysias, in composing discourses for pleaders before the dikastery[88] and for speakers in the assembly; by which practice he acquired both fortune and reputation. Later in life, he relinquished these harangues destined for real persons on real occasions, and confined himself to the composition of discourses (intended, not for contentious debate, but for the pleasure and instruction of hearers) on general questions — social, political, and philosophical: at the same time receiving numerous pupils from different cities of Greece. Through such change, he came into a sort of middle position between the rhetoric of Lysias and the dialectic of Plato: insomuch that the latter, at the time when he composed the Phædrus, had satisfaction in contrasting him favourably with Lysias, and in prophesying that he would make yet greater progress towards philosophy. But at the time when Plato composed the Euthydêmus, his feeling was different.[89] In the Phædrus, Isokrates is compared with Lysias and other rhetors, and in that comparison Plato presents him as greatly superior: in the Euthydêmus, he is compared with philosophers as well as with rhetors, and is even announced as disparaging philosophy generally: Plato then declares him to be a presumptuous half-bred, and extols against him even the very philosopher whom he himself had just been caricaturing. To apply a Platonic simile, the most beautiful ape is ugly compared with man — the most beautiful man is an ape compared with the Gods:[90] the same intermediate position between rhetoric and philosophy is assigned by Plato to Isokrates.

[88] Dion. Hal. De Isocrate Judicium, p. 576. δεσμὰς πάνυ πολλὰς δικανικῶν λόγων περιφέρεσθαί φησιν ὑπὸ τῶν βιβλιοπωλῶν Ἀριστοτέλης, &c.

Plutarch, Vit. x. Oratt. pp. 837-838.

The Athenian Polykrates had been forced, by loss of property, to quit Athens and undertake the work of a Sophist in Cyprus. Isokrates expresses much sympathy for him: it was a misfortune like what had happened to himself (Orat. xi. Busiris 1). Compare De Permutation. Or. xv. s. 172.

The assertion made by Isokrates — that he did not compose political and judicial orations, to be spoken by individuals for real causes and public discussions — may be true comparatively, and with reference to a certain period of his life. But it is only to be received subject to much reserve and qualification. Even out of the twenty-one orations of Isokrates which we possess, the last five are composed to be spoken by pleaders before the dikastery. They are such discourses as the logographers, Lysias among the rest, were called upon to furnish, and paid for furnishing.

[89] Plato, Euthydêm. p. 306. I am inclined to agree with Ueberweg in thinking that the Euthydêmus is later than the Phædrus. Ueberweg, Aechtheit der Platon. Schriften, pp. 256-259-265.

[90] Plato, Hipp. Major, p. 289.

From the pen of Isokrates also, we find various passages apparently directed against the viri Socratici including Plato (though without his name): depreciating,[91] as idle and worthless, new political theories, analytical discussions on the principles of ethics, and dialectic subtleties; maintaining that the word philosophy was erroneously interpreted and defined by many contemporaries, in a sense too much withdrawn from practical results: and affirming that his own teaching was calculated to impart genuine philosophy. During the last half of Plato’s life, his school and that of Isokrates were the most celebrated among all that existed at Athens. There was competition between them, gradually kindling into rivalry. Such rivalry became vehement during the last ten years of Plato’s life, when his scholar Aristotle, then an aspiring young man of twenty-five, proclaimed a very contemptuous opinion of Isokrates, and commenced a new school of rhetoric in opposition to him.[92] Kephisodôrus, a pupil of Isokrates, retaliated; publishing against Aristotle, as well as against Plato, an acrimonious work which was still read some centuries afterwards. Theopompus, another eminent pupil of Isokrates, commented unfavourably upon Plato in his writings: and other writers who did the same may probably have belonged to the Isokratean school.[93]

[91] Isokrates, Orat. x. 1 (Hel. Enc.); Orat. v. (Philipp.) 12; Or. xiii. (Sophist.) 9-24; Orat. xv. (Permut.) sect. 285-290. φιλοσοφίαν μὲν οὖν οὐκ οἶμαι δεῖν προσαγορεύειν τὴν μηδὲν ἐν τῷ παρόντι μήτε πρὸς τὸ λέγειν μήτε πρὸς τὸ πράττειν ὥφελοῦσαν — τὴν καλουμένην ὑπό τινων φιλοσοφίαν οὐκ εἶναι φημί, &c.

[92] Cicero, De Oratore, iii. 35, 141; Orator. 19, 62; Numenius, ap. Euseb. Præp. Evang. xiv. 6, 9. See Stahr, Aristotelia, i. p. 63 seq., ii. p. 44 seq.

Schroeder’s Quæstiones Isocrateæ (Utrecht, 1859), and Spengel’s work, Isokrates und Plato, are instructive in regard to these two contemporary luminaries of the intellectual world at Athens. But, unfortunately, we can make out few ascertainable facts. When I read the Oration De Permut., Or. xv. (composed by Isokrates about fifteen years before his own death, and about five years before the death of Plato, near 353 B.C.), I am impressed with the belief that many of his complaints about unfriendly and bitter criticism refer to the Platonic School of that day, Aristotle being one of its members. See sections 48-90-276, and seq. He certainly means the Sokratic men, and Plato as the most celebrated of them, when he talks of οἱ περὶ τὰς ἐρωτήσεις καὶ ἀποκρίσεις, οὓς ἀντιλογικοὺς καλοῦσιν — οἱ περὶ τὰς ἔριδας σπουδάζοντες — those who are powerful in contentious dialectic, and at the same time cultivate geometry and astronomy, which others call ἀδολεσχία and μικρολογία (280) — those who exhorted hearers to virtue about which others knew nothing, and about which they themselves were in dispute. When he complains of the περιττολόγιαι of the ancient Sophists, Empedokles, Ion, Parmenides, Melissus, &c., we cannot but suppose that he had in his mind the Timæus of Plato also, though he avoids mention of the name.

[93] Athenæus, iii. p. 122, ii. 60; Dionys. Hal. Epistol. ad Cn. Pomp. p. 757.

The Dialectician and Cross-Examiner is the only man who can really teach. If the writer can do this, he is more than a writer.

This is the true philosopher (continues Sokrates) — the man who alone is competent to teach truth about the just, good, and honourable.[94] He who merely writes, must not delude himself with the belief that upon these important topics his composition can impart any clear or lasting instruction. To mistake fancy for reality hereupon, is equally disgraceful, whether the mistake be made by few or by many persons. If indeed the writer can explain to others orally the matters written — if he can answer all questions, solve difficulties, and supply the deficiencies, of each several reader — in that case he is something far more and better than a writer, and ought to be called a philosopher. But if he can do no more than write, he is no philosopher: he is only a poet, or nomographer, or logographer.[95]

[94] Plato, Phædrus, p. 277 D-E.

[95] Plato, Phædrus, pp. 278-279.

Lysias is only a logographer: Isokrates promises to become a philosopher.

In this latter class stands Lysias. I expect (concludes Sokrates) something better from Isokrates, who gives promise of aspiring one day to genuine philosophy.[96]

[96] Respecting the manner in which Plato speaks of Isokrates in the Phædrus, see what I have already observed upon the Euthydêmus, [vol. ii. ch. xxi. pp. 227-229].

Date of the Phædrus — not an early dialogue.

I have already observed that I dissent from the hypothesis of Schleiermacher, Ast, and others, who regard the Phædrus either as positively the earliest, or at least among the earliest, of the Platonic dialogues, composed several years before the death of Sokrates. I agree with Hermann, Stallbaum, and those other critics, who refer it to a much later period of Plato’s life: though I see no sufficient evidence to determine more exactly either its date or its place in the chronological series of dialogues. The views opened in the second half of the dialogue, on the theory of rhetoric and on the efficacy of written compositions as a means of instruction, are very interesting and remarkable.

Criticism given by Plato on the three discourses — His theory of Rhetoric is more Platonic than Sokratic.

The written discourse of Lysias (presented to us as one greatly admired at the time by his friends, Phædrus among them) is contrasted first with a pleading on the same subject (though not directed towards the attainment of the same end) by Sokrates (supposed to be improvised on the occasion); next with a second pleading of Sokrates directly opposed to the former, and intended as a recantation. These three discourses are criticised from the rhetorical point of view,[97] and are made the handle for introducing to us a theory of rhetoric. The second discourse of Sokrates, far from being Sokratic in tenor, is the most exuberant effusion of mingled philosophy, poetry, and mystic theology, that ever emanated from Plato.

[97] Plato, Phædrus, p. 235 A.

His theory postulates, in the Rhetor, knowledge already assured — it assumes that all the doubts have been already removed.

The theory of rhetoric too is far more Platonic than Sokratic. The peculiar vein of Sokrates is that of confessed ignorance, ardour in enquiry, and testing cross-examination of all who answer his questions. But in the Phædrus we find Plato (under the name of Sokrates) assuming, as the basis of his theory, that an expositor shall be found who knows what is really and truly just and unjust, good and evil, honourable and dishonourable — distinct from, and independent of, the established beliefs on these subjects, traditional among his neighbours and fellow-citizens:[98] assuming (to express the same thing in other words) that all the doubts and difficulties, suggested by the Sokratic cross-examination, have been already considered, elucidated, and removed.

[98] Plato, Phædrus, pp. 259 E, 260 E, and 262 B.

The Expositor, with knowledge and logical process, teaches minds unoccupied and willing to learn.

The expositor, master of such perfect knowledge, must farther be master (so Plato tells us) of the arts of logical definition and division: that is, he must be able to gather up many separate fragmentary particulars into one general notion, clearly identified and embodied in a definition: and he must be farther able to subdivide such a general notion into its constituent specific notions, each marked by some distinct characteristic feature.[99] This is the only way to follow out truth in a manner clear and consistent with itself: and truth is equally honourable in matters small or great.[100]

[99] Plato, Phædrus, p. 266.

[100] Plato, Phædrus, p. 261 A.

That truth upon matters small and contemptible deserves to be sought out and proved as much as upon matters great and sublime, is a doctrine affirmed in the Sophistês, Politikus, Parmenidês: Sophist. pp. 218 E, 227 A; Politik. 266 D; Parmenid. 130 E.

Thus far we are in dialectic: logical exposition proceeding by way of classifying and declassifying: in which it is assumed that the expositor will find minds unoccupied and unprejudiced, ready to welcome the truth when he lays it before them. But there are many topics on which men’s minds are, in the common and natural course of things, both pre-occupied and dissentient with each other. This is especially the case with Justice, Goodness, the Honourable, &c.[101] It is one of the first requisites for the expositor to be able to discriminate this class of topics, where error and discordance grow up naturally among those whom he addresses. It is here that men are liable to be deceived, and require to be undeceived — contradict each other, and argue on opposite sides: such disputes belong to the province of Rhetoric.

[101] Plato, Phædrus, p. 263 A.

The Rhetor does not teach, but persuades persons with minds pre-occupied — guiding them methodically from error to truth.

The Rhetor is one who does not teach (according to the logical process previously described), but persuades; guiding the mind by discourse to or from various opinions or sentiments.[102] Now if this is to be done by art and methodically — that is, upon principle or system explicable and defensible — it pre-supposes (according to Plato) a knowledge of truth, and can only be performed by the logical expositor. For when men are deceived, it is only because they mistake what is like truth for truth itself: when they are undeceived, it is because they are made to perceive that what they believe to be truth is only an apparent likeness thereof. Such resemblances are strong or faint, differing by many gradations. Now no one can detect, or bring into account, or compare, these shades of resemblance, except he who knows the truth to which they all ultimately refer. It is through the slight differences that deception is operated. To deceive a man, you must carry him gradually away from the truth by transitional stages, each resembling that which immediately precedes, though the last in the series will hardly at all resemble the first: to undeceive him (or to avoid being deceived yourself), you must conduct him back by the counter-process from error to truth, by a series of transitional resemblances tending in that direction. You cannot do this like an artist (on system and by pre-determination), unless you know what the truth is.[103] By anyone who does not know, the process will be performed without art, or at haphazard.

[102] Plato, Phædrus, p. 261 A. ἡ ῥητορικὴ τέχνη ψυχαγωγία τις διὰ λόγων, &c.

[103] Plato, Phædrus, pp. 262 A-D, 273 D.

He must then classify the minds to be persuaded, and the means of persuasion or varieties of discourse. He must know how to fit on the one to the other in each particular case.

The Rhetor — being assumed as already knowing the truth — if he wishes to make persuasion an art, must proceed in the following manner:— He must distribute the multiplicity of individual minds into distinct classes, each marked by its characteristic features of differences, emotional and intellectual. He must also distribute the manifold modes of discourse into distinct classes, each marked in like manner. Each of these modes of discourse is well adapted to persuade some classes of mind — badly adapted to persuade other classes: for such adaptation or non-adaptation there exists a rational necessity,[104] which the Rhetor must examine and ascertain, informing himself which modes of discourse are adapted to each different class of mind. Having mastered this general question, he must, whenever he is about to speak, be able to distinguish, by rapid perception,[105] to which class of minds the hearer or hearers whom he is addressing belong: and accordingly, which mode of discourse is adapted to their particular case. Moreover, he must also seize, in the case before him, the seasonable moment and the appropriate limit, for the use of each mode of discourse. Unless the Rhetor is capable of fulfilling all these exigencies, without failing in any one point, his Rhetoric is not entitled to be called an Art. He requires, in order to be an artist in persuading the mind, as great an assemblage of varied capacities as Hippokrates declares to be necessary for a physician, the artist for curing or preserving the body.[106]

[104] Plato, Phædrus, pp. 270 E, 271 A-D. Τρίτον δὲ δὴ διαταξάμενος τὰ λόγων τε καὶ ψυχῆς γένη, καὶ τὰ τούτων παθήματα, δίεισι τὰς αἰτίας, προσαρμόττων ἕκαστον ἑκάστῳ, καὶ διδάσκων οἵα οὖσα ὑφ’ οἵων λόγων δι’ ἣν αἰτίαν ἐξ ἀνάγκης ἡ μὲν πείθεται, ἡ δὲ ἀπειθεῖ.

[105] Plato, Phædrus, p. 271 D-E. δεῖ δὴ ταῦτα ἱκανῶς νοήσαντα, μετὰ ταῦτα θεώμενον αὐτὰ ἐν ταῖς πράξεσιν ὄντα τε καὶ πραττόμενα, ὀξέως τῇ αἰσθήσει δύνασθαι ἐπακολουθεῖν, ἢ μηδὲ εἰδέναι πω πλέον αὐτῶν ὧν τότε ἤκουε λόγων ξυνών.

[106] Plato, Phædrus, p. 270 C.

Plato’s Idéal of the Rhetorical Art — involves in part incompatible conditions — the Wise man or philosopher will never be listened to by the public.

The total, thus summed up by Plato, of what is necessary to constitute an Art of Rhetoric, is striking and comprehensive. It is indeed an idéal, not merely unattainable by reason of its magnitude, but also including impracticable conditions. He begins by postulating a perfectly wise man, who knows all truth on the most important social subjects; on which his country-men hold erroneous beliefs, just as sincerely as he holds his true beliefs. But Plato has already told us, in the Gorgias, that such a person will not be listened to: that in order to address auditors with effect, the rhetor must be in genuine harmony of belief and character with them, not dissenting from them either for the better or the worse: nay, that the true philosopher (so we read in one of the most impressive portions of the Republic) not only has no chance of guiding the public mind, but incurs public obloquy, and may think himself fortunate if he escapes persecution.[107] The dissenter will never be allowed to be the guide of a body of orthodox believers; and is even likely enough, unless he be prudent, to become their victim. He may be permitted to lecture or discuss, in the gardens of the Academy, with a few chosen friends, and to write eloquent dialogues: but if he embodies his views in motions before the public assembly, he will find only strenuous opposition, or something worse. This view, which is powerfully set forth by Sokrates both in the Gorgias and Republic, is founded on a just appreciation of human societies: and it is moreover the basis of the Sokratic procedure — That the first step to be taken is to disabuse men’s minds of their false persuasion of knowledge — to make them conscious of ignorance — and thus to open their minds for the reception of truth. But if this be the fact, we must set aside as impracticable the postulate advanced by Sokrates here in the Phædrus — of a perfectly wise man as the employer of rhetorical artifices. Moreover I do not agree with what Sokrates is here made to lay down as the philosophy of Error:— that it derives its power of misleading from resemblance to truth. This is the case to a certain extent: but it is very incomplete as an account of the generating causes of error.

[107] Plato, Gorg. p. 513 B, see supra, [ch. xxiv.]; Republic, vi. pp. 495-496.

The other part of the Platonic Idéal is grand but unattainable — breadth of psychological data and classified modes of discourse.

But the other portion of Plato’s sum total of what is necessary to an Art of Rhetoric, is not open to the same objection. It involves no incompatible conditions: and we can say nothing against it, except that it requires a breadth and logical command of scientific data, far greater than there is the smallest chance of attaining. That Art is an assemblage of processes, directed to a definite end, and prescribed by rules which themselves rest upon scientific data — we find first announced in the works of Plato.[108] A vast amount of scientific research, both inductive and deductive, is here assumed as an indispensable foundation — and even as a portion — of what he calls the Art of Rhetoric: first, a science of psychology, complete both in its principles and details: next, an exhaustive catalogue and classification of the various modes of operative speech, with their respective impression upon each different class of minds. So prodigious a measure of scientific requirement has never yet been filled up: of course, therefore, no one has ever put together a body of precepts commensurate with it. Aristotle, following partially the large conceptions of his master, has given a comprehensive view of many among the theoretical postulates of Rhetoric; and has partially enumerated the varieties both of persuadable auditors, and of persuasive means available to the speaker for guiding them. Cicero, Dionysius of Halikarnassus, Quintilian, have furnished valuable contributions towards this last category of data, but not much towards the first: being all of them defective in breadth of psychological theory. Nor has Plato himself done anything to work out his conception in detail or to provide suitable rules for it. We read it only as an impressive sketch — a grand but unattainable idéal — “qualem nequeo monstrare et sentio tantum”.

[108] I repeat the citation from the Phædrus, one of the most striking passages in Plato, p. 271 D.

ἔπειδὴ λόγου δύναμις τυγχάνει ψυχαγωγία οὖσα, τὸν μέλλοντα ῥητορικὸν ἔσεσθαι ἀνάγκη εἰδέναι ψυχὴ ὅσα εἴδη ἔχει. ἔστιν οὖν τόσα καὶ τόσα, καὶ τοῖα καὶ τοῖα· ὅθεν οἱ μὲν τοιοίδε, οἱ δὲ τοιοίδε γίγνονται. τούτων δὲ δὴ διῃρημένων, λόγων αὖ τόσα καὶ τόσα ἔστιν εἴδη, τοιόνδε ἕκαστον. οἱ μὲν οὖν τοιοίδε ὑπὸ τῶν τοιῶνδε λογων διὰ τήνδε τὴν αἰτίαν ἐς τὰ τοιάδε εὐπειθεῖς, οἱ δὲ τοιοίδε διὰ τάδε δυσπειθεῖς, &c. Comp. p. 261 A.

The relation of Art to Science is thus perspicuously stated by Mr. John Stuart Mill, in the concluding chapter of his System of Logic, Ratiocinative and Inductive (Book vi. ch. xii. § 2):

“The relation in which rules of Art stand to doctrines of Science may be thus characterised. The Art proposes to itself an end to be attained, defines the end, and hands it over to the Science. The Science receives it, considers it as a phenomenon or effect to be studied, and having investigated its causes and conditions, sends it back to Art with a theorem of the combinations of circumstances by which it could be produced. Art then examines these combinations of circumstances, and according as any of them are or are not in human power, pronounces the end attainable or not. The only one of the premisses, therefore, which Art supplies, is the original major premiss, which asserts that the attainment of the given end is desirable. Science then lends to Art the proposition (obtained by a series of inductions or of deductions) that the performance of certain actions will attain the end. From these premisses Art concludes that the performance of these actions is desirable; and finding it also practicable, converts the theorem into a rule or precept.”

Plato’s ideal grandeur compared with the rhetorical teachers — Usefulness of these teachers for the wants of an accomplished man.

Indeed it seems that Plato himself regarded it as unattainable — and as only worth aiming at for the purpose of pleasing the Gods, not with any view to practical benefit, arising from either speech or action among mankind.[109] This is a point to be considered, when we compare his views on Rhetoric with those of Lysias and the other rhetors, whom he here judges unfavourably and even contemptuously. The work of speech and action among mankind, which Plato sets aside as unworthy of attention, was the express object of solicitude to Lysias, Isokrates, and rhetors generally: that which they practised efficaciously themselves, and which they desired to assist, cultivate, and improve in others: that which Perikles, in his funeral oration preserved by Thucydides, represents as the pride of the Athenian people collectively[110] — combination of full freedom of preliminary contentious debate, with energy in executing the resolution which might be ultimately adopted. These rhetors, by the example of their composed speeches as well as by their teaching, did much to impart to young men the power of expressing themselves with fluency and effect before auditors, either in the assembly or in the dikastery: as Sokrates here fully admits.[111] Towards this purpose it was useful to analyse the constituent parts of a discourse, and to give an appropriate name to each part. Accordingly, all the rhetorical teachers (Quintilian included) continued such analysis, though differing more or less in their way of performing it, until the extinction of Pagan civilisation. Young men were taught to learn by heart regular discourses,[112] — to compose the like for themselves — to understand the difference between such as were well or ill composed — and to acquire a command of oratorical means for moving or convincing the hearer. All this instruction had a practical value: though Plato, both here and elsewhere, treats it as worthless. A citizen who stood mute and embarrassed, unable to argue a case with some propriety before an audience, felt himself helpless and defective in one of the characteristic privileges of a Greek and a freeman: while one who could perform the process well, acquired much esteem and influence.[113] The Platonic Sokrates in the Gorgias consoles the speechless men by saying — What does this signify, provided you are just and virtuous? Such consolation failed to satisfy: as it would fail to satisfy the sick, the lame, or the blind.

[109] Plato, Phædrus, pp. 273-274. ἣν οὐχ ἕνεκα τοῦ λέγειν καὶ πράττειν πρὸς ἀνθρώπους δεῖ διαπονεῖσθαι τὸν σώφρονα, ἀλλὰ τοῦ θεοῖς κεχαρισμένα μὲν λέγειν δύνασθαι, &c. (273 E).

[110] Thucyd. ii. 39-40-41.

[111] Plato, Phædrus, p. 288 A.

[112] See what is said by Aristotle about ἡ Γοργίου πραγματεία in the last chapter of De Sophisticis Elenchis.

[113] I have illustrated this point in my History of Greece, by the example of Xenophon in his command of the Cyreian army during its retreat.

His democratical education, and his powers of public speaking, were of the greatest service not only in procuring influence to himself, but also in conducting the army through its many perils and difficulties.

See Aristot. Rhet. i. 1, 3, p. 1355, b. 1.

The Rhetorical teachers conceived the Art too narrowly: Plato conceived it too widely. The principles of an Art are not required to be explained to all learners.

The teaching of these rhetors thus contributed to the security, dignity, and usefulness of the citizens, by arming them for public speech and action. But it was essentially practical, or empirical: it had little system, and was founded upon a narrow theory. Upon these points Plato in the Phædrus attacks them. He sets little value upon the accomplishments arming men for speech and action (λεκτικοὺς καὶ πρακτικοὺς εἶναι) — and he will not allow such teaching to be called an Art. He explains, in opposition to them, what he himself conceived the Art of Rhetoric to be, in the comprehensive way which I have above described.

But if the conception of the Art, as entertained by the Rhetors, is too narrow — that of Plato, on the other hand, is too wide.

First, it includes the whole basis of science or theory on which the Art rests: it is a Philosophy of Rhetoric, expounded by a theorist — rather than an Art of Rhetoric, taught to learners by a master. To teach the observance of certain rules or precepts is one thing: to set forth the reasons upon which those rules are founded, is another — highly important indeed, and proper to be known by the teacher; yet not necessarily communicated, or even communicable, to all learners. Quintilian, in his Institutio Rhetorica, gives both:— an ample theory, as well as an ample development of rules, of his professional teaching. But he would not have thought himself obliged to give this ample theory to all learners. With many, he would have been satisfied to make them understand the rules, and to exercise them in the ready observance thereof.

Plato includes in his conception of Art, the application thereof to new particular cases. — This can never be taught by rule.

Secondly, Plato, in defining the Art of Rhetoric, includes not only its foundation of science (which, though intimately connected with it, ought not to be considered as a constituent part), but also the application of it to particular cases; which application lies beyond the province both of science and of art, and cannot be reduced to any rule. “The Rhetor” (says Plato) “must teach his pupils, not merely to observe the rules whereby persuasion is operated, but also to know the particular persons to whom those rules are to be applied — on what occasions — within what limits — at what peculiar moments, &c.[114] Unless the Rhetor can teach thus much, his pretended art is no art at all: all his other teaching is of no value.” Now this is an amount of exigence which can never be realised. Neither art nor science can communicate that which Plato here requires. The rules of art, together with many different hypothetical applications thereof, may be learnt: when the scientific explanation of the rules is superadded, the learner will be assisted farther towards fresh applications: but after both these have been learnt, the new cases which will arise can never be specially foreseen. The proper way of applying the general precepts to each case must be suggested by conjecture adapted to the circumstances, under the corrections of past experience.[115] It is inconsistent in Plato, after affirming that nothing deserves the name of art[116] except what is general — capable of being rationally anticipated and prescribed beforehand — then to include in art the special treatment required for the multiplicity of particular cases; the analogy of the medical art, which he here instructively invokes, would be against him on this point.

[114] Plato, Phædr. pp. 268 B, 272 A.

[115] What Longinus says about critical skill is applicable here also — πολλῆς ἔστι πείρας τελευταῖον ἐπιγέννημα. Isokrates (De Permut. Or. xv. sect. 290-312-316) has some good remarks about the impossibility of ἐπιστήμη respecting particulars. Plato, in the Gorgias, puts τέχνη, which he states to depend upon reason and foreknowledge, in opposition to ἐμπειρία and τριβή, which he considers as dependant on the φύσις στοχαστική. But in applying the knowledge or skill called Art to particular cases, the φύσις στοχαστικὴ is the best that can be had (p. 463 A-B). The conception of τέχνη given in the Gorgias is open to the same remark as that which we find in the Phædrus. Plato, in another passage of the Phædrus, speaks of the necessity that φύσις, ἐπιστήμη, and μελέτη, shall concur to make an accomplished orator. This is very true; and Lysias, Isokrates, and all the other rhetors whom Plato satirises, would have concurred in it. In his description of τέχνη and ἐπιστήμη, and in the estimate which he gives of all that it comprises, he leaves no outlying ground for μελέτη. Compare Xenophon, Memor. iii. 1, 11; also Isokrates contra Sophistas, a. 16; and a good passage of Dionysius Halik. De Compos. Verborum, in which that rhetor remarks that καιρὸς or opportunity neither has been nor can be reduced to art and rule.

[116] Plato, Gorgias, pp. 464-465.

Plato’s charge against the Rhetorical teachers is not made out.