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 custom28 — 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.

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.

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.

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

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 Pindar37 — according to the comparison of Dionysius of Halikarnassus.

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.

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.

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 Rationis39 — 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.

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

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.

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.

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

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 Schleiermacher46 — 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

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.