The prospect of human immortality is manifest in many of Plato's writings, appearing as early as the Apology and the Crito, and as late as Book 12 of the Laws. But nowhere is immortality given so much attention, nor as central a place in Plato's philosophical projects, as in what have traditionally been referred to as his Middle Period works, so it is hardly surprising that we find an extensive treatment of the subject of immortality in Socrates’ own encomium in (...) the Symposium. Eros, Socrates tells us, is not merely a desire to possess the good, but one that pushes us towards possessing the good forever and, because of this, eros is necessarily a desire for immortality. However, it is evident that Socrates’ presentation of immortality in the Symposium is fundamentally different from those found in other dialogues. This is not merely because in this work alone Socrates attributes the desire for immortality to eros; rather it is also because the nature of the immortality that Socrates recommends here, and the means by which he suggests it is achieved, are wholly unique to this work. Whereas in other dialogues Plato casts his discussions in terms of the persistence of the soul in some super-sensible realm, here he offers a picture of lovers achieving human immortality by creating memorials that will outlast them. (shrink)

The ‘Scala Amoris’, or ‘Ladder of Love’, constitutes the philosophical and aesthetic centrepiece of Socrates’ encomium of Eros in Plato’s Symposium. Here Diotima describes how a lover ascending up the Ladder directs his erotic attention to a number of difference kinds of beautiful objects, first bodies, then souls, just institutions and knowledge, until he catches a glimpse of Beauty itself. In this paper I advance an ‘inclusive’ reading of the lover’s ascent – to use Price’s 1991 terminology – with a (...) particular emphasis on justifying such a reading concerning the final step. (shrink)

In recent years there has been a renaissance of scholarly interest in Plato's Symposium, as scholars have again begun to recognize the philosophical subtlety and complexity of the dialogue. But despite the quality and quantity of the studies that have been produced few contain an extended analysis of the speech of Aristophanes; an unusual oversight given that Aristophanes' encomium is one of the highlights of the dialogue. In contrast to the plodding and technical speeches that precede it, the father of (...) Old Comedy structures his own speech around a fantastic fable in which he tells how humans, having originally taken the form of comically grotesque ‘circlemen’, assumed their present shape after being divided in two for their impious actions against the gods. This story forms the basis of his discussion of Eros, which he claims is nothing more than a desire to return to our original form. One study on which commentators continue to draw heavily for their own interpretation of Aristophanes' encomium is that of Arlene Saxonhouse. As the title of her article suggests, central to Saxonhouse's analysis is her interpretation of the Net of Hephaestus passage, in which Aristophanes suggests that, if offered the chance to be welded together with their beloveds and so become circlemen once more, all humans would leap at the opportunity, thinking that this would be all of the fortune that they could ever desire. For Saxonhouse this passage, more than any other, demonstrates that, on Aristophanes' view, our original nature is one of perfection. According to Saxonhouse, our original form is the telos of human existence and the standard by which we judge the good life, because she understands circlemen as being self-complete beings entirely free from desire and need. Put simply, to be a circleman is to be a perfect being. Eros, on this reading, as the desire for wholeness, is to be praised because it reminds us of our deficiency, and instills in us a desire to actualize our potential for perfection. But unlike Socrates' encomium, which ends with the lover realizing their potential by possessing knowledge of the divine, Saxonhouse believes that the Net of Hephaestus passage lends a tragic end to Aristophanes' speech. For Saxonhouse it is Plato's dirty trick that he turns Aristophanes into a tragedian. (shrink)

In this essay I will argue that Platonic myths are a useful tool not only in the education of the ignorant but for the philosophical mind as well. To do this I will first examine the limitations and problems that Plato sees in written communication, and I will then argue that myths avoid these problems by undermining their own validity. If they are to avoid the problems that plague the written format, myths must show themselves for what they are: inadequate (...) tools for giving a complete account of a particular subject. Myths, I will argue, are those shadows (to use the term from the story of the Cave in the Republic) that show their own shadow-like nature. In this way the myth is able to work hand-in-hand with dialectic to educate philosophers. (shrink)