The present paper attempts to explain Socrates’ remark in Symposium 212b, where the expression “diapherontos askein” is used to describe Socrates’ attitude towards erotic matters [ta erotika]. The analysis of the dialogue shows that a human being with a reliable power of Eros and knowledge about the proper way of life should strengthen their character virtues through self-restraint and justice. This power is a natural component of every person, and the knowledge about life can be obtained both from the Symposium (...) itself and from the speech of Diotima. Furthermore, in the apology delivered by Alcibiades as well as in the Apology and Phaedo, Socrates is presented to the reader as the perfect moral ideal that serves as a criterion for leading a proper life. While the two aforementioned elements provide a suf ficient condition for being a philosopher, they do not guarantee access to transcendent reality. If this access is to be attained at all, it is only through hard work on the moral and intellectual aspect of being human. (shrink)

Plato targets the encomiastic genre in three separate dialogues: the Lysis, the Menexenus and the Symposium. Many studies have been devoted to Plato's handling of the funeral oration in the Menexenus. Plato's critique of the encomium in the Lysis and Symposium, however, has not been accorded the same kind of treatment. Yet both of these dialogues go beyond the Menexenus in exploring the opposition between encomiastic and philosophic discourse. In the Lysis, I will argue, Plato sets up encomiastic rhetoric as (...) a foil for Socrates' dialectical method; philosophic discourse is both defined and legitimated by way of its opposition to eulogy. In the Symposium, Plato offers a much more complex critique. First, he illustrates and comments on the vices that inhere in the encomiastic genre. Second, he juxtaposes Socrates' ironic ‘praises’ of his interlocutors with traditional encomiastic discourse, thus inviting the reader to explore the relation between Socratic irony and the rhetoric of eulogy . And, third, the Symposium exhibits two untraditional ‘encomia’ – Socrates' eulogy for Eros and Alcibiades' for Socrates – that illustrate and interrogate the false ontology underlying the rhetoric of praise. (shrink)

Plato targets the encomiastic genre in three separate dialogues: theLysis, theMenexenusand theSymposium. Many studies have been devoted to Plato's handling of the funeral oration in theMenexenus. Plato's critique of the encomium in theLysisandSymposium, however, has not been accorded the same kind of treatment. Yet both of these dialogues go beyond theMenexenusin exploring the opposition between encomiastic and philosophic discourse. In theLysis, I will argue, Plato sets up encomiastic rhetoric as a foil for Socrates' dialectical method; philosophic discourse is both defined (...) and legitimated by way of its opposition to eulogy. In theSymposium, Plato offers a much more complex critique. First, he illustrates and comments on the vices that inhere in the encomiastic genre. Second, he juxtaposes Socrates' ironic ‘praises’ of his interlocutors with traditional encomiastic discourse, thus inviting the reader to explore the relation between Socratic irony and the rhetoric of eulogy (and censure). And, third, theSymposiumexhibits two untraditional ‘encomia’ – Socrates' eulogy for Eros and Alcibiades' for Socrates – that illustrate and interrogate the false ontology underlying the rhetoric of praise. (shrink)

In his dialogues, Plato presents different ways in which to understand the relation between Forms and particulars. In the Symposium, we are presented with yet another, hitherto unidentified Form-particular relation: the relation is Love (Erôs), which binds together Form and particular in a generative manner, fulfilling all the metaphysical requirements of the individual’s qualification by participation. Love in relation to the beautiful motivates human action to desire for knowledge of the Form, resulting in the lover actively cultivating and bringing into (...) being new beauty in the world, and in herself. Chapters 1 and 2 of this thesis offer a survey of the arguments and examples Plato puts forward in the text of the corpus regarding the nature of Forms and the nature of participation, alongside a framework of the traditional interpretations of these two Platonic concepts in the literature. Chapter 3 turns to a close examination of Erôs in the Symposium, arguing that the love Plato presents in this dialogue is of a different sort than appetitive emotion. It is an aesthetic and intellectual attraction, capable of stimulating cognitive achievement. Erôs, however, does not stop there. The lover is led not only to contemplation of beauty, but to the generation of beauty, which is the subject of Chapter 4. The emotive-turn-to-cognitive relation of Erôs, I argue, is the clearest picture Plato paints of how possession of properties can be explained through participation in Forms. Erôs leads the lover to produce beauty in the world and in the soul, which explains how love in relation to the beautiful can lead to becoming beautiful. The object of love is the generation of beauty, the mortal mechanism of participation in the Form by which the lover herself becomes beautiful. Finally, Chapter 5 focusses on beauty itself and its role in moral education. Beauty, for Plato, is required for creative generation and can be understood as a uniquely powerful virtue of soul. (shrink)

This dissertation responds to a long-standing debate among scholars regarding the nature of Platonic Eros and its relation to lack. The more prominent account of Platonic Eros presents the lack of Eros as a deficiency or need experienced by the lover with respect to the object needed, lacked, or desired, so that the nature of Eros is construed as self-interested or acquisitive, subsisting only so long as the lover lacks the beloved object. This dissertation argues that such an interpretation neglects (...) the different senses of lack present in the Symposium and presents an alternative interpretation of Eros based on the Symposium's presentation of Eros as the child of Poverty and Resource. Chapter one examines the origin and development of the position that Platonic Eros is acquisitive or egocentric and the influence this has had on subsequent interpretations of Plato's thought. Chapter two argues that Diotima's theogony of Eros that presents him as a child of Poverty and Resource is central to understanding the account of Eros propounded in her discourse. Chapter three examines the development and refinement of the concepts of lack and poverty that are offered alongside those of Eros throughout Socrates' account of Eros in the Symposium. Chapters four and five discuss the relationship of these concepts of lack to the depiction of Eros as an intermediary and the ethical consequences of this relationship. Chapter six shows how the disposition of poverty serves as the source of the erotic ascent toward the vision of the beautiful itself. Chapter seven, drawing upon the analysis of previous chapters, argues that the reexamination of the role of poverty in the Symposium reveals that the account of Eros offered there describes a katharsis of the affective element in human beings, parallel to the katharsis of the rational element described in Plato's Phaedo. This katharsis involves the embrace of poverty as a way of living, loving, and knowing. Thus, the poverty of Eros does not indicate a lack that is egocentric or acquisitive, but describes a kind of asceticism or spiritual discipline that is requisite for the philosophical and moral life. (shrink)