When reading Platonic texts translated into English or some other modern language, it is easy to forget that what we are reading is just an approximate rendition and not the original text itself. Therefore, some caveats may be useful.
1. Platonic texts often have several levels of meaning, (1) literal (
logos), (2) moral (
nomos,
typos or
doxa) and (3) allegorical (
hyponoia). This multi-layered interpretation originated with the Greek philosophers themselves who applied this method to Homer and other poets, so it was already common practice by the time of Plato.
Plato himself believed that the poets were divinely inspired on account of which they could attain to truth (
Laws 682a) and quoted them by way of support or illustration for his own arguments. However, one must resist the temptation to allegorically interpret every single passage of either the poets or Plato.
2. Greek words do not always have exactly the same meaning or use as their English equivalents.
3. Distinctions between concepts that are possible or desirable in modern languages are sometimes absent in the Greek original. For example, ὄνομα
onoma which strictly speaking means “name” may be used in the sense of “word” (e.g.
Symp. 198b); “understand” and “know” may be used interchangeably, etc.
PLATO’S SYMPOSIUM
Although Plato is thought to have written some of his dialogues earlier, I like to begin with the
Symposium – which is said to belong to Plato’s second or intermediate period – for several reasons. The
Symposium is not only one of Plato’s most popular dialogues but it places the reader in the social and cultural milieu in which philosophers like Socrates and Plato were at home.
Of course, philosophical discussions could and did take place anywhere Athenians met, for example, in the town square or marketplace (
agora) or, indeed, at philosophical schools such as Plato’s Academy. However, the symposium remained an important space where philosophers could mingle with non-philosophers, especially those who held positions of influence and power in Athenian society.
As already stated, the symposium was a key social and cultural institution of Ancient Greece. It was a ritual as well as festive occasion. It took place in a special dining room (
andron) which the house owner used to entertain a small group of guests. Participants reclined on couches in the Persian manner (which was later adopted by Etruscans and Romans) and enjoyed a simple meal after which wine mixed with water was served from a
krater, a large metal or pottery vessel, by one of the guests appointed to the task. Small snacks were consumed to counteract the effects of alcohol and inebriation was generally avoided. As with modern dinner-parties, it was considered polite for guests to stop drinking or leave before intoxication set in.
In fact, the
Symposium highlights Plato’s views on the connections between drinking, singing (or reciting poetry) and philosophical discourse. It is it evident from his writings such as the
Politeia that Plato was opposed to intoxication and anti-rational states in general. In the
Symposium itself, it is said that “if it is done honourably and properly, it turns out to be honourable; if it is done improperly, it is disgraceful” (181a). Socrates who retains his soberness throughout is the ideal example of honourable symposiast.
Similarly, the
Protagoras draws a clear distinction between the second-rate symposia of the uneducated where wine is consumed to the accompaniment of flute-girls and music, and those of well-educated men “where you will not see girls playing the flute or the lyre or dancing, but a group that knows how to get together without these childish frivolities, conversing civilly no matter how heavily they are drinking. Ours is such a group” (347d – 347e). In the
Phaedrus, it is stated that true inspiration is attained by surrendering oneself to God and rejecting wine (249c – d; 238a).
Thus, although divine ecstasy is often poetically compared to the intoxication of wine, the two are strongly contrasted. In the
Phaedrus, Plato recognises various states of divinely inspired “madness” or mania that are considered acceptable or desirable, such as the mania of divine prophecy, said to be inspired by the God Apollo himself; ritual mania induced by religious rituals, prayers and songs and inspired by Dionysus; poetic mania inspired by the Muses; and erotic mania inspired by Love (personified by Aphrodite and Eros).
Of these divinely inspired manias, the mania inspired by Love is said to be the best because it comes closest to “philosophical mania” (
philosophon mania) or love of wisdom. Love induces the lover to remember the ideal Form of Beauty which is closely interlinked with the ideal Form of the Good. The Greek adjective
kalos, “beautiful” itself, can also mean “good”. The term
kalokagathos (
kalos-kai-agathos, “beautiful and good”) was widely used in Classical times to describe the Greek ideal of a person who is both physically beautiful and morally good or virtuous.
Philosophy teaches us not only how to think well, i.e., how to construct thoughts in a rational and organised manner, but also how to live well and this means pursuing what is good, beautiful and true in all aspects of life. Platonism, therefore, affirms that philosophy is a quest for the Good (
to Agathon), the Beautiful (
to Kalon) and the True (
to Alethinon) both in the world and within us.
Irrespective of the truth philosophy discovers, the question is who or what it is that knows or experiences that truth. The answer seems to be that to know or experience the truth is to be the truth. And this means that the ultimate object of philosophy is self-knowledge, that is, knowledge of one’s self, of the subject of all our experiences, both individually and collectively.
The
Symposium is about a banquet in honour of the young poet Agathon who has just won his first prize for a tragedy and the principal symposiasts are Phaedrus, Pausanias, Eryximachus, Aristophanes, Agathon and Socrates who take turns in making speeches. A drunk Alcibiades provides an element of comedy when he gate-crashes the party. He is an example of improper conduct in more than one respect but he is Socrates’ protegee and all agree to let him in.
Socrates later told the story to others and the narrative was handed down to Apollodorus who is now relating it to an unnamed friend.
The narrative contains all the usual elements of Platonic writing such as the soul, immortality, virtue, justice and wisdom. However, the central theme is desire (
eros) in its many forms from the physical to the metaphysical and, as desire in this context is a metaphor for philosophical inquiry, the Symposium encapsulates Plato’s treatment of the philosophical method.
In his opening speech, Phaedrus cites the poets and philosophers who have declared that Love (Eros) is the oldest God. To demonstrate love’s power to inspire lovers to noble and courageous deeds he cites the example of Alcestis, wife of King Admetus of Therae, who surpassed the love of all the other members of her family and volunteered to die in his stead. As a reward for her noble deed, the Gods sent her back to the world of the living (179b – d).
The evening continues with the other symposiasts making their own speeches. Socrates’ speech is the last and the best. He tells the story of Diotima who taught him the philosophy of love.
Starting with love of a particular body’s physical beauty (209e), Diotima advises the philosopher to love all beautiful bodies and from physical love of bodies to progress to love of souls. The philosopher must next proceed with love of laws and institutions and from there to love of sciences and all forms of knowledge until he arrives at an experience of love of the Beautiful or eternal Beauty itself. Having attained this vision of the very soul of Beauty, and gazing upon the heavenly Beauty face to face, the philosopher becomes a friend of God (
theophiles) and, above all men, immortal (212a).
Diotima also speaks of the need of a guide to direct the would-be philosopher on the Ladder of Love.
As this point, a great commotion is heard in the courtyard and Alcibiades makes his drunken appearance. He styles himself Master of the Mysteries and makes his own speech, not in honour of Eros, but in honour of Socrates himself, in which he makes some very important points.
Aristodemus has already related how Socrates remained absorbed in thoughts or contemplation on the way to the symposium and that this is a habit of his (174d ff.). Alcibiades now confirms this by relating how he himself witnessed Socrates standing motionless in deep contemplation from one sunrise to the next after which he offered prayers to the Sun and went on his way (220d - e).
Stressing the fact that Socrates is always sober and that his words always have a wondrous effect on him, Alcibiades makes the point that Socrates wears his outer persona like a casing, similar to a sculptured
Silenus of the hollow type fashioned by craftsmen, whose exterior represents a drunk companion of Dionysus, but that can be opened in two halves to reveal the splendid images of Gods inside it (215b).
But if you catch him in a serious mood and look within him like within a Silenus-figure or temple with divine images:
“The images inside him are so divine and golden, so perfectly fair and wondrous …” (216e - 217a).
And:
“When these are opened, and you obtain
a fresh view of them by getting inside, first of all you will discover that they are the only speeches which have any sense in them; and secondly, that none are so divine, so rich in images of virtue, so largely—nay, so completely—intent on all things proper for the study of such as would attain both grace and worth” (222a).
Alcibiades is being truthful. For although “drunk”, he speaks on condition that he be reprimanded by Socrates should he speak any untruth; he reminds his audience of the saying “wine is truthful” (
oinos kai aletheia, the Greek equivalent of Latin “in vino veritas”); and Socrates himself concludes, albeit with seeming irony, that he “must be sober”.
What Plato seems to indicate through Alcibiades is that there is something very special in Socrates’ words and that they hold a deeper meaning that is of utmost importance to those who wish to attain something higher.
As Radcliffe Edmonds observes, the images Alcibiades sees in Socrates are like images in a dream, signs that point to something else in the same way the statues of Gods found within a temple are not the divine thing itself but only representations of it (Destree & Giannopoulou, 209-210).
However, although Alcibiades has seen the images within Socrates, he is not yet ready for the highest mysteries, hence Socrates rejects his advances. Alcibiades is an army general used to take possession and to command and control just as he does with the symposium which he takes over for his own purpose. Though clearly not ignorant or incapable of appreciating higher truth, he does not yet possess the required attitude. In his own words, he must look at the divine images or symbols within Socrates afresh.
The key words Plato uses are “open”, “see within”, and “look into, examine” which apply to external as much as to internal realities. The philosopher’s understanding of the object of philosophical pursuit depends upon his understanding of himself and on his attitude vis-à-vis the object. And this is something that must be constantly renewed until the final goal is reached.
Having started with an account of how Eros inspires a particular relation between lover and beloved, the
Symposium may be taken to point to the relation between subject and object. The lover desires the beautiful and the good because he is unaware of the beautiful and the good in himself. He is not entirely ignorant, but not yet wise. He, literally, is only a “lover of wisdom” (
philosophos). As Socrates makes very clear, the lover is “midway between ignorance and wisdom” (203e).
The situation changes in the
Phaedrus where the soul desires the supreme Good not from a sense of deficiency but on account of its affinity with it. The conception of this affinity is already present in the Theaetetus where Socrates affirms that the goal of philosophy is “to become like God as much as possible” (176b). Even in the
Symposium, Diotima suggests that the final object of love, or desire, or philosophical inquiry, is immortality. And to be immortal is to be godlike. The desire to attain the highest Good is accompanied by a desire to be as much like it as possible.
Thus the lover’s attitude towards the object of his love becomes increasingly contemplative while the object becomes more and more abstract yet at the same time more real and closer. And the closer the two are getting to each other, the more the subject sees itself in the object as in a mirror. If we carry this process to its logical conclusion, the object fuses with the subject and lover and beloved, subject and object, become one.
This is as far as Socrates and Plato take us. The guide who takes us further is Plotinus. For Plotinus, the ascent to the Beautiful is an ascent to the One and the ultimate experience is one of unity and identity. The identity of Lover (
Erastes) and Beloved (
Eromenos), of human soul and God, will become the central theme of Platonism including in its Christian, Islamic and other forms.
E. Anagnostou-Laoutides and A. Payne, “Drinking and Discourse in Plato”,
Méthexis, 2021, 33(1), 57-79.
P. Destree and Z. Giannopoulou, eds.,
Plato’s Symposium: A Critical Guide, 2017.
W. K. C. Guthrie,
A History of Greek Philosophy, 6 Vols., 1975.