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The Society for Ancient Greek Philosophy Newsletter

12-1974

The Tragic and Comic Poet of the Symposium

Diskin Clay Haverford College

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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

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agree that it is possible for one and the same man to know how to create comedy and tragedy, and that the man who has the sk:Ul of a tragic poet is also a comic poet. 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 . ,

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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. If Aristophanes has any cue for erruptions repetition .of (cf. C). This is rare Ery:ximachus' the word kosmion 189 hiccough must also or serious comedy. But Aristophanes' hav.e a m e and :tefe·rences· to philosophical explanation. Ancient and late it have a simple explanation for the hiccough: Plato is making fun of the comic Aris.tophanes. not discovered 6 Why they do say. Victor Brochard ari years a seizure hiccoughs on explanation only 70 ago: in inflicting of Aristophanes, is taking comic reat""' PL:t.to his revenge for A7iStopp.anes' . � ment two Clouds. Yet revenge of Socrates in versions of the if it is Aristophanes 'Plato wanted, he chose an odd way to take it, for he gave one most speeches E,y - a speech so of the important in the mpo,s:f._1.t.,1}! (205 D) D:i.otima anp.Aristophanes· recognizes important that refers to it · (212 C)� himself in i:\1hat Diotima says

' ·�&6voo:; . not a ph:i.losophical is emotion and it is not Plato s rem;i.qn a on Aristopha,nes. an for i.nfli.ct:i.ng hi§cough Opinions are m y on cause Plat,o Aristophanes hic:cough the of hiccoughs, but. :why made to of a . begins become visible in the larger plan the dramatic di logue noticed the saw could' Karl Reinhardt obvious when he that Plato only a once one.9 most serious plane play with plan he had On the of the hiccough d:talogue, what is effected by the. accident of Aristophanes' a comic a tragi.c are together. 'ts that unexpectedly and poet brought apparent arrangement Plato planned hts party with great care. His is JqK

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tacit exchange betwe·en the logoi of the Symposium, the terms which underlie the diverse conceptions of Eros and � develop and take on a range greater than that of any single contribution to the banquet. As Eros and eros grow in significance and complexity, so do the con­ ceptions of pc;!esis and sophia. To follow these themes is to arrive at the end of the dialogue.

The dialogue begins with Apollodorus setting Socrates above all men and a first statement of the profound effect and profit of hearing what Socrates has to say (173 CD; cf. 172 A - 173 B; 215 D). But paradoxically this Socrates is not fair; he ha s become fair to join the company at Agathon' s (174 A). His follower A.ristodemus speaks Homerically of the lesser sort of men going to feast with their betters: with the noble and wise (174 BC). Then something funny happens ,to both Socrates and Aristodemus: Socrates stops dead in his tracks., lost in thought, and Aristodemus appears at Agathon's uninvited (174 E). In these seemingly insignificant deta ils begins the philosophical and poetic project of the Svmposium: the approach to the fair , the wise, and superior. In Aristodemus we have the first mention of an erastes. And he is Socrates' lover (173 B).

It is Phaedrus, with the prompting of Eryximachus, who begins the celebration of Eros - a god no man had dared to praise before that evening (177 C; cf. 214 D; 222 C), even though lesser things had been taken seriously. For Phaedrus, to praise Eros is to say that he is the most ancient of the gods - and as a consequence the most honored and responsib le for the greatest goods to men. Here already we have the fundam entals of a divine hymn: to say adequately what a god is, and ·to enumerate his gifts to men (cf. 195 A; 201 D)� And here appears the distinction between the fair and the base or shame ful which carries throughout the dia logue . So too the ambiguity of the rela tion between the lover and beloved and the power of Eros to make a man entheos (178 D: cf. 197 B). The reversal of the roles between Achilles and Patroclus pre-figures that of Alcibiades and Socrates. What is admirable to the

gods is the erastes. He is 'more divine' than his beloved (180 AB) •. In the one case the eromenos defended his erastes (180 AB); in the other the erastes who becomes the eromenos defends the eromenos become erastes (220 D - 221 C).

For Pausanias, Eros is not a single god; there are two Erotes. One centers on the soul , the o ther on the body. The heavenly love has an object that is steady; the common or 'pandemic,' an object that is not abiding. Their objects· define their lovers: the low, the low, and the better, the high. A lover of decent character is made better by his love (185 AB). Pausanias' speech is full of antithetical notions. In its initial distinction, a separation appears. In reserving his praise for the 'Ouranian' Eros, arete, sophia, and philosophia, Pausanias has created a gap. There is nothing hut a name to connect the high and the low.

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408 c Now isn't the true part of Pan smooth and divine, and does it not dwell among the gods above; but down below, the false half dwells among the common run of mankind and is rough ( ipax6� ·) and goatlike - or t ra gic ('tpayoe:t. 6-tj� ) ? For there dwell the greatest ' abundance of myths and lies concerning the ·1 tragic li.fe.

Here the perspective on things human shifts radically. What seems serious or 'tragic' on this lower level here on earth becomes, when seen from another vantage, false , rough, and goatish .

Last� there is another kind of tragedy: the truest kind of tragedy which is not the tragedy of the Attic stage� but poiesis of quite a different sort. Only late in his literary career does Plato, who began as a tragic poet and whose dialogues are filled with the language of the st age , 24 invent the metaphor which extends the serious imitations of thefestivals of Dionysos to the greater stage of the life o'f the polis. In th e Laws, the unnamed Athenian had spoken of men as the puppets of the gods (I 644 DE). At a much la ter stage in the· conversa­ tion, he concedes to Megillos "that mankind is not something alt oge ther insignificant, (phaulon), but worthy of some serious consideration (sooudes, VII 804 B). But when he confronts an itinerant comp any ofi tragedians who have arrived at the walls of his city with all their grear in tow, he has this to say:

VII 817 AB Best of strangers , we ourselves are creators of tragedy, to the best of our ability - a tragedy which is the fairest and best . For all of our city has been founded as an imita tion of the f airest and best life, and this we call what is in reality_ the truest tragedy.

In such a polis there existed neither tragedy nor comedy as it was known in Greece (cf. Laws VII 811 C - E),. but an imitation and praise of what is best and fairest in life.

IV

The answer to the Socratic paradox nropounded at the end of the Symposium is to be found/in the Symposium; and also in Plato. One and the same man can be both a tragic and a comic poet. The tragic and .comic poet of the Symposium.is Plato and the object of his imitation, Soci;:ates. Thi,s r>oet of both tragedv and comedy began his literary career as a P,oet of dithvrambs and a single tragic tetralogy, but- when he encountered the only object worthy of serious imitation in Socrates, he became a tragic and comic poet.25 In his older friend Socrates, Plato discovered a force that drove him to destroy the tragedy he was about to stage in the theater of Dionvsos. But this force was protreptic, not apotropaic.26 Like Pico della Hirandola and Botticelli, .and Ficino himself, Plato destroyed his early work. Unlike them he:. was driven to develoo a new form of expression -- the Socratic dialogue, and to combine in a �ew form of imitation the arts and objects of the tragic and comic poet. To become this, the tragic poet had to become a comic poet. +,!

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says seem to wrap itself s up in queer words and phrases - just like the i h de of an outrageous Satyr. He r v of is fo e er talking pack asses, ti s , and I_lker and cobblers, and tanners, and he seems to be always sa in y g the same things, using me illustrations. on the sa As a result a pers who is foolish and had never heard him speak before would lau�h. But once simply Socrates' words are opened up, one· can get inside d them an have a�look. will discover Socrate ' He first that s talk the only kind of which sense; is talk makes then that his d�scourse mos and is t �odlike contains within itself the greatest number of images of virtue·; that has the and it greatest significance. He will d s cover more: h it has its i still t at as object all that matters for the man who means to be co e brave and m virtuous.

the comic poet? is no laughter But what of It accident that the centers on Socrates.28 S cra e , s of the Symposium In o t s Plato had di ­ covered an object of was imitation that both comic and tragic� It is a mistake to in Socrates a and figure in see tragic serious and Aris­ or Alcibiades, or sophists, comic characters.29 tophanes, the and low tragic. not ma e He was both comic and It is hard to understand what d seem Alcibiades o ate his Socrates' comic. ikons of S cr s and peculiar o the point clearly So rat s resembles a Satyr, a log i make enough. c e Silene, a ars those perverse creatur the Athenian M yas --·precisely �a stranger r (Laws C). undeniably wanted expelled f om his city 815 And . something ocrates aesti him for t e comic there was about S that ned h We know comic figure r m the second production of stage. this f o Clouds. was often seen on in ,th 20s of Aristophanes' He stage e the 31 f h things barefoot and a bane to shoemakers. ift century - among other Dover Socrates a K. J. asked pertinently if needed special portrait m sk to and "The mask a appear in the Clouds, his conclusions were: maker who to good caricature of o c tes for wanted produce a S ra Clouds a an unusual no t how, was faced with difficulty of kind, and I do know or he surmounted attempt to portray whether, it: the result of his a real person would r of ten done before por­ ese�ble what he had in ficticious resembled one traying characters.1132 That is, Socrates of the conventional comic types.

In his c m c and Plato comprehended o i tragic imitation of Socrates, realms d seemed and the of appearance an reality: what low laughable and high. From the and what was serious the point of view of audience the theater Dionysos, a comic in of Socrates was character. From the the Ionians who came point of view of at Potidaea out with their the with ome problem bedding to see strange sight of Socrates seized s immobile dawn dusk, They wanted and from to Socrates was a curiosity. to he - discover if would keep standing the entir e night. He did until daybreak. Then went away, making a ra e to 0 he after p y r the sun (22 CD). What he thinking tore do not But was about learn. it was something that 



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comedy are the same · (395. ·A).· And the danger of the city's guardians coming to resemble ( &cpoµo LoUu-&cu. ) what they imitate is too great to permit tragedy and comedy into the newly founded polis (395 B- 396 E). Yet Plato says nothing of the philosopher king.

In Socrates'' encounter with the triumphant Ion, it becomes clear that the rhapsode,' s character is a shard of the broken whole of our nature. He understands Homer (E'JtCcrta:i:a1. ) because he knows him by heart. But his more ambitious claim is that he also understands and can explain Homer's meaning.37 Yet he has no interest in other poets and begins to doze off when conversation turns to them (532 C). Because of this limitation, Socrates argues that Ion has neither the art nor understanding to speak about Homer (532 C; cf. 536 C; 541D): 1t01.T}'tt.Kfi y&p 1tOU EO''tt.V 1:0 �AOV.

What this understanding of the whole art of poetry is is sug­ gested in another Socratic conversation: that he had with Diotima. Developing the concept of eros which had already appeared in Eryximachus' speech (186 DT;"Diotima asserts that our love or will for (boulesis) happiness is something common to all men (205 A). In this case Greek is deceptive, for eros describes a whole ( OAOV ) , but men restrict the word to one forrn---c;flove. They do the same with the term poiesis. Poiesis is properly the name for a whole which is production or creation. Eros and poiesis are connected in the fact that our desire to have and continue to enjoy the good makes us poets: of our children and 'immortal memory' (208 DE). Poets are makers in the fact that they are the 'begetters' of phronesis and the other virtues (209 A).

Finally one is brought to ask if the whole glimpsed at the end of the Symposium, and made visible throughout the dialogue, is not the object of Plato's poetry, and if its object in Socrates does not explain the Socratic paradox. For it is Socrates, or Eros, or what­ ever name it is right to call this daimon, who fills the gap between the high and the low, gods and men, and makes a whole of tragedy and comedy : auµ'JtATlPOt wo"te i;b 'Jtav a:u'to abi;filt. f;uvogo£a-&cn (202 E). -15-

Notes

1 " ' .J ay este c onseille par mes amis d'omett re le reste que Platon a adiouste seulement pour plaisir, servant au temps et a la licencieuse vie de son pays," 180.

2 This is Krilger's Einsicht und Leidenschaft (Frankfurt am Maine . 1936) 292-308.

3 Timon of Phlius, DL IX 109 (= Snell, Tragicorum Graecorum Fragmenta I [1971] no. 112}.

4 . DL III 49, which ori�:i.nates in Rep. III 394 C ff.

5 The speeches are linked by Pausanias' reference to Phaedrus encomium, 180 C.

6 . , � £Xh>µWt.uT1C1E : Olympiodorus, Vita Platonis 3; Athenaeus, 187 C; Aristeides Or. 46 , II p. 287 (Dindorf). For what little can be said about these explanations, see Bury, The Sympos ium �f Plato (Cambridge 1932) xxii. , 7 de "Sur le Banquet Platon,11 in Etudes de philosophie ancienne ��et de philosophie moderne (Paris 1926) 74; 89-90.

8 For the ancient lore , see the Scholia Platonica ad loc ., and Le Roi� . Le Sympose de Platon (Paris 1558) 26-27. Plochmann, "Hiccoughs " and Hangovers in the Symposium, Bucknell Review 9:3 (1963) 10, ' attempts to connect Aristophanes hiccou gh wit11 a "disharmony of the diaphram11 which divides the two lower part s of the soul in Tim. 70 A. But we do not know that Plato connected hiccoughs with the diaphram.

9 "Man spielt mit einem Plan, nur wenn man ihn erst hat,11 Vermlichtnis der Antike (G8ttingen 1960) 245.

10 Cf. 174 A; 203 D; 213 C; and DL II 28.

11 Something easily turned to comedy: cf. Birds 1354; Clouds 835. But the ridicule of the comic poets can also be turned to prai�e: cf. ,;Maximus of Tyre, PhilosoEhoumena XVIII (Hobein) 221.12; DL''!I 27. i2 ·rn th� Sym:eosium alone: 175 A; 221 C for Socrates 1 &'to1tCtt ; 199 D (cf. 214 E); 215 E; 221 E; 222 B for the epithet geloios.

13 The sa:me word describes the awkward situation of Philippos in Xenophon ' s Symnosium, I.12.

14 193 !BJt Aristophanes, Alcibiades, and especially Socrates are .:at the center of the comic or what can be made .. comic in .the Symposium. ' sei note 28. -16-

15 For appreciations of the significance of this gesture, see Helen Bacon, "Socrates Crowned," The Virginia Ouarterly Review 35 (1959) 415-430, and John Anton ln CJ 58 (1962/1963) 51.

16 213 DE. The ambiguity of the terms and develops in a dialectic between Agathon and Socrates: 174 C; 175 DE; 194 A; 196 DE; 197 D; 203 A; 204 AB.

17 Eryximachus' misquotation of Heraclitus (DK 22 B 51) is symptomatic of his inability to understand Herac litus ' meaning. This is shown by the fact that P lato uses the quotation in other contexts with more accuracy (Sophist 242 DE). The harmony of opposites becomes possible only in the speeches of Aristophanes and Di ot ima ; cf. Heraclitus, DK 22 A 22. 18 Plato quotes from Aristophanes not once (as Vicaire claims in his Platon critioue litteraire [Paris 1960] 187), but twice. For the germ of Aristophanes' speech, see Lysistrata 115.

a lS ( ) The points of resemblance have long been recognized: by Maximus of Tyre, Philosophoumena XVIU 84 B (Hobein); and Ficino, Commentaire � le Banquet de Platon ed. Marcel (Paris 1956) 242.

19 Platon I (Berlin 1920) 356.

20 Gorgias 502 B; Laws 838 C; Meno 76 E (and Bluck in Mnemosyne, 4 ser. 14 [1961] 289-295); �· 413 B; The hegemony of Homer over tragedy also lends H a certain grandeur� Rep . 595 B; cf. Theaet. 152 E; Rep. 599 D; 605 C. Yet ultimately, it is not a serious form of imitation; Re)'.I. B, and the judgment of Solon in 'Plutarch, Vita Sol. 29. 3.

21 Philebus 48 B; 50 BC; Rep. 606 C; Laws 816 E; 935 DE; 236 C. The connection between phtilO!los and poneria is also drawn by Aristotle in EN 1107a9; cf. Rhetorii; 1386bl6-1388a30.

22 The question provoked bv this distinction is: What of those who have the strength and power to avenge themselves? Is this the beginning of a discussion of tragedy?

23 Dante, Epistle X.10. Earlier, the connections between tragos and tragoi

220, on Poetrv (Cambridge. 1971) 277-278. Horace � II .

24 A repertory of this language has been put together by Dorothy Tarrant , "Plato as Dramatist," JHS 75 (1955) 82-89.

25 DL III 56 and Snell Tragicorum Graecorum Fragmenta, I (1971) no. 46.

26 So Proclus in his commenta+v to the Republic, I.204.4 (Kroll).

27 For Homer as a tragic poet, note 20. Also Vicaire (riote 18) 243-249. 5N

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