Plato's "Symposium" (review)

The editors of the series in which Plato's "Symposium" appears state that its constituent texts are to be "essays in criticism and interpretation that will do justice to the subtlety and complexity of the works under discussion" (vi). In the preface, Hunter identifies as his audience "those who have already read or are in the process of reading the Symposium" (ix).

Plato's "Symposium" has much to offer to classics students and to the general reader. The book provides useful literary and cultural background regarding the conduct of Greek symposia (5–15). It is filled with valuable interpretive remarks, as for example when Hunter proposes that Alcibiades' depiction of Socrates "as a carved Silenus" instantiates a "common form of sympotic verbal game, the 'likeness'—'Why is X (usually one of the symposiasts) like Y (usually something nonhuman)?'" (5–6). Hunter's rich knowledge of Greek literature pays off in a range of ways, as for instance in his remarks on literary articulations of erôs (16–18). The volume's final chapter, on the history of the dialogue's reception, offers a number of figures and contexts on which to reflect.

Hunter makes helpful observations regarding the seriocomic and special features of Plato's recourse to it (9–11), noting that, "in the attack upon the spoudaiogeloion, it is the spoudaiogeloion itself which is the principal weapon" (36). Hunter's orientation in this regard yields nuanced interpretations of the logoi of Pausanias and Eryximachus. Hunter observes helpfully that Aristophanes' encomium functions as "an example of a very familiar aspect of the technique of Aristophanic comedy, namely, the literalization of metaphorical language (as, for example, when 'weighing up' poetry becomes a matter of real weighing in the Frogs)" (65). In Hunter's view, Agathon's contribution, in turn, illustrates Plato's contention in the Gorgias that tragedy is a type of flattery (kolakeia). Drawing on Aristophanes' Women at the Thesmophoria, Hunter makes the useful suggestion that the comic poet's depiction "can . . . help to explain the extravagance of the Platonic character's speech" (76).

While Plato's "Symposium" will also provide valuable background to students of philosophy, on its own the book does not do justice to Socrates' encomium, in particular the crucial "ascent passage" (210a–12a). A key point of contention among philosophical interpreters of the Symposium is whether one is to read the ascent passage as "inclusive" or "exclusive" regarding erôs as directed toward individuals. (For the formulation of the controversy in these terms, see J. M. E. Moravcsik, "Reason and Eros in the 'Ascent'-Passage of the Symposium," in Essays in Ancient Greek Philosophy, eds. Anton and Kustas [1971], 293.) The strongly exclusivist stance has had a number of exponents and is most famously associated with Gregory Vlastos (see "The Individual as an Object of Love in Plato," in Platonic Studies, 2^nd ed. [1981], 31). For a contrasting view, one may consult, for example, John Brentlinger, according to whom "it does not follow from Plato's claim that we love persons (or anything else) because we believe them to be beautiful and good, that we really love the properties of beauty and goodness per se, and do not really love persons per se" (The "Symposium" of Plato [1970], 122; see also C. J. Rowe, Plato: "Symposium" [1998], 7). Hunter states that the Symposium's "apparent rejection of the value of lasting love between individuals has often seemed to modern readers to present a harshly intellectual view of erôs which ignores basic, universal facts of human experience and which offers little comfort to all but a Socrates" (98). It will not, I think, be evident to readers not already familiar with pertinent philosophical literature on the ascent to just what interpretive debate this remark is (at most) a glancing gesture.

Hunter quotes Symposium 210d, where Plato says that the...