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The Tragic and Comic Poet of the Symposium Binghamton University The Open Repository @ Binghamton (The ORB) The Society for Ancient Greek Philosophy Newsletter 12-1974 The Tragic and Comic Poet of the Symposium Diskin Clay Haverford College Follow this and additional works at: https://orb.binghamton.edu/sagp Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient Philosophy Commons, and the History of Philosophy Commons Recommended Citation Diskin Clay presented "The Tragic and Comic Poet of the Symposium" to the meeting of the Society for Ancient Greek Philosophy with the American Philological Association in Chicago in 1974. A revised version was published in Arion NS 2 (1975) 238-261, and reprinted in J. P. Anton & A. Preus, eds. 1983. Essays in Ancient Greek Philosophy vol. 2, SUNY Press, 321-339. For information about the author, see: https://classicalstudies.org/scs-news/memoriam-diskin-clay This Article is brought to you for free and open access by The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in The Society for Ancient Greek Philosophy Newsletter by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. 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Compelled to these conclusions and not entirely following the Hne of argument, they began to nod off. Aristophanes was the first to doze off, and then, when it was already daylight, Agathon followed suit. And once he had seen them asleep, Socrates got up, and went away. And after Socrates had spent his day as usual and return�d home at nightfall to get some sleep, the dialogue between Plato and his reader begins. For we are brought to ask what comedy arid tragedy have to do with one another; and what the last argument of the .symposium has to do with its central argument� the praise of Eros. I The answer to the Platonic riddle propounded at the end of the Ez!!tposium does not lie in the history of Greek literature. In the early spring of 416 there was no Greek or Athenian dramatist who wrote both comedy and tragedy. Only in Hellenistic times do we discover a poet w�o wrote both tragedies and comedies: 60 of one and .30 of the other. Shakespeare arrived on the scene of the Globe twenty centuries after Socrates argued his paradox. If it is to be found anywhere, the answer to our riddle lies submerged in the dialogue itself. Tne �ymposium is a drama narrated within the frame of a dramatic dialogue. It begins with the dramatic recital which leads to the narrative of what was said and done. at Agathon's victory celebration. It confuse� the and.ent. categories invented to describe the Platonic dialogues. It is both dramatic and narrative. Within the frame dialogue supported by the syntactical reminders of accusatives and ' i.n.Hrli tives and the string of 'he saids,' the heart of Plato s Sy_:meosium :ts made up of direct discourse. Some of the most telling indications we have for the staging of the drama of the banquet hall come from the narrath•e links which Adstodemus carefully provided Apollodorus as he moved from.speech to speech. The drama.tic action of the Symposiu,!ll requires a cast of seven speakers. There are others present who do not speak in Plators dialogue, but who did speak in praise of Eros (180 C). Bv this detail we come to realize that there is a difference between Piato's Svm:oosium and Agathonts banquet. There are also a number of Ttltruders ch:unken who say nothing, but are anythi.ng but KWq:>a 1tp6owmx. When. Socrates finally appears in the middle of the feast, he dis­ covers Phaedrus recltning on the first of the banqueting benches. Between Phaedrus and Pausanias he could see son1e other guests, but we never learn who they were or what they said (180 C). Then came Aristophanes, and next to him Eryxim.achus (18S·c). Aristodemus came next� but he is forgotten from the moment Agathon invited him to take . , -3- A) • . our momentary expectation Aristodemus his place (175 that will turn is The effect this spea� in after �ry��.ma�hus disappointed. of to throw focus the ·final arrangement which gap J,s into th� ':�}tarpest rt together. .The same brings bri gs Aristophanes and Agathon technique int� ont ct lo&?i Pausanias. gath n c a the o� Phaedrus and 9At A o ' s banquet spoken at Plato s S osiu they . they "Were an interval. In ymp m come after another. 5 · . one is � chance that Socrates found Agath,�:m a}one (175 C). Taking It ace next to his becomes ast the pl host, Socrates £0'Xct't0� and le is an accident too Aristophanes prevented from hono�red. It that is speaking after Pausanias sudden and of hie.coughs (185 by a severe bout CD). have spoken after re Eryximachus. But He should Pausanias and befo Arist.qphanes' is no accident an Socrates' position in h:i.ccough more an th Aristophanes have but the banqust. might had too much to eat, can imagine 'some ' his hiccough (185 C). Ar:i.stodemus ' other cause for to carry on, or to speak Unable indeed coherently, Aristophanes S:Sks to either cure or to ·place. e Eryxi,machus him speak in his Unwis ly � the learned Eryximachus offers to it turns Aristoph�h do both. As out, es an acute and re res of the is stif'fering from attack of hiccoughs qui all therapeutic measures the prescribes. re h - but doctor He holds his b at must gasp he comes and this' r�ritedy when up for air. He gargles, when ·· too te .nose roduce. a ·siteez��· as . ,•, -.: � proves ineffective� he es his to p • '... f all :i.s deliverirt What this means is that a.s Eryxima.chus g himself Eros� his imforthnate of his pompous and profound description of is hiccoughing, gargling, wheezing, snorting and neighbor gasping, these it must be sneezing.
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