Phaedrus (Love) By Plato Audiobook

Phaedrus (Love) By Plato audiobook with text and illustrations, and dramatized 🎵 with sound effects and music, by Audiobooks Dimension.

 

Title : Phaedrus (Φαῖδρος)
Author : Plato (Πλάτων)
Written : 377 BCE.
Place of Origin : Ancient Greece
Original Media type : Papyrus, Manuscript
Original Language : Ancient Greek
Genre(s) : Ancient Greece, Dialogue, Philosophy
Translator : Benjamin Jowett (1817 - 1893)
Narrators : David Rintoul, and Full Cast
Musician : Nature's Eye
Editor : Audiobooks Dimension

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Dramatized  🎵

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     Phaedrus (Φαῖδρος) is a dialogue between Socrates and Phaedrus, an interlocutor in several dialogues. Although ostensibly about the topic of love, the discussion in the dialogue revolves around the art of rhetoric and how it should be practiced, and dwells on subjects as diverse as metempsychosis (the Greek tradition of reincarnation) and erotic love, and the nature of the human soul shown in the famous Chariot Allegory.

    The Phaedrus is closely connected with the Symposium, and may be regarded either as introducing or following it. The two Dialogues together contain the whole philosophy of Plato on the nature of love, which in the Republic and in the later writings of Plato is only introduced playfully or as a figure of speech. But in the Phaedrus and Symposium love and philosophy join hands, and one is an aspect of the other. The spiritual and emotional part is elevated into the ideal, to which in the Symposium mankind are described as looking forward, and which in the Phaedrus, as well as in the Phaedo, they are seeking to recover from a former state of existence. Whether the subject of the Dialogue is love or rhetoric, or the union of the two, or the relation of philosophy to love and to art in general, and to the human soul, will be hereafter considered. And perhaps we may arrive at some conclusion such as the following—that the dialogue is not strictly confined to a single subject, but passes from one to another with the natural freedom of conversation.

    Phaedrus has been spending the morning with Lysias, the celebrated rhetorician, and is going to refresh himself by taking a walk outside the wall, when he is met by Socrates, who professes that he will not leave him until he has delivered up the speech with which Lysias has regaled him, and which he is carrying about in his mind, or more probably in a book hidden under his cloak, and is intending to study as he walks. The imputation is not denied, and the two agree to direct their steps out of the public way along the stream of the Ilissus towards a plane-tree which is seen in the distance. There, lying down amidst pleasant sounds and scents, they will read the speech of Lysias. The country is a novelty to Socrates, who never goes out of the town; and hence he is full of admiration for the beauties of nature, which he seems to be drinking in for the first time.

    As they are on their way, Phaedrus asks the opinion of Socrates respecting the local tradition of Boreas and Oreithyia. Socrates, after a satirical allusion to the 'rationalizers' of his day, replies that he has no time for these 'nice' interpretations of mythology, and he pities anyone who has. When you once begin there is no end of them, and they spring from an uncritical philosophy after all. 'The proper study of mankind is man;' and he is a far more complex and wonderful being than the serpent Typho. Socrates as yet does not know himself; and why should he care to know about unearthly monsters? Engaged in such conversation, they arrive at the plane-tree; when they have found a convenient resting-place, Phaedrus pulls out the speech and reads:—

    The speech consists of a foolish paradox which is to the effect that the non-lover ought to be accepted rather than the lover—because he is more rational, more agreeable, more enduring, less suspicious, less hurtful, less boastful, less engrossing, and because there are more of them, and for a great many other reasons which are equally unmeaning. Phaedrus is captivated with the beauty of the periods, and wants to make Socrates say that nothing was or ever could be written better. Socrates does not think much of the matter, but then he has only attended to the form, and in that he has detected several repetitions and other marks of haste. He cannot agree with Phaedrus in the extreme value which he sets upon this performance, because he is afraid of doing injustice to Anacreon and Sappho and other great writers, and is almost inclined to think that he himself, or rather some power residing within him, could make a speech better than that of Lysias on the same theme, and also different from his, if he may be allowed the use of a few commonplaces which all speakers must equally employ.

    Phaedrus is delighted at the prospect of having another speech, and promises that he will set up a golden statue of Socrates at Delphi, if he keeps his word. Some raillery ensues, and at length Socrates, conquered by the threat that he shall never again hear a speech of Lysias unless he fulfils his promise, veils his face and begins.

    First, invoking the Muses and assuming ironically the person of the non-lover (who is a lover all the same), he will enquire into the nature and power of love. For this is a necessary preliminary to the other question—How is the non-lover to be distinguished from the lover? In all of us there are two principles—a better and a worse—reason and desire, which are generally at war with one another; and the victory of the rational is called temperance, and the victory of the irrational intemperance or excess. The latter takes many forms and has many bad names—gluttony, drunkenness, and the like. But of all the irrational desires or excesses the greatest is that which is led away by desires of a kindred nature to the enjoyment of personal beauty. And this is the master power of love.

    Here Socrates fancies that he detects in himself an unusual flow of eloquence—this newly-found gift he can only attribute to the inspiration of the place, which appears to be dedicated to the nymphs. Starting again from the philosophical basis which has been laid down, he proceeds to show how many advantages the non-lover has over the lover. The one encourages softness and effeminacy and exclusiveness; he cannot endure any superiority in his beloved; he will train him in luxury, he will keep him out of society, he will deprive him of parents, friends, money, knowledge, and of every other good, that he may have him all to himself. Then again his ways are not ways of pleasantness; he is mighty disagreeable; 'crabbed age and youth cannot live together.' At every hour of the night and day he is intruding upon him; there is the same old withered face and the remainder to match—and he is always repeating, in season or out of season, the praises or dispraises of his beloved, which are bad enough when he is sober, and published all over the world when he is drunk. At length his love ceases; he is converted into an enemy, and the spectacle may be seen of the lover running away from the beloved, who pursues him with vain reproaches, and demands his reward which the other refuses to pay. Too late the beloved learns, after all his pains and disagreeables, that 'As wolves love lambs so lovers love their loves.' (Compare Charmides) Here is the end; the 'other' or 'non-lover' part of the speech had better be understood, for if in the censure of the lover Socrates has broken out in verse, what will he not do in his praise of the non-lover? He has said his say and is preparing to go away.

    Phaedrus begs him to remain, at any rate until the heat of noon has passed; he would like to have a little more conversation before they go. Socrates, who has risen, recognizes the oracular sign which forbids him to depart until he has done penance. His conscious has been awakened, and like Stesichorus when he had reviled the lovely Helen he will sing a palinode for having blasphemed the majesty of love. His palinode takes the form of a myth.

    Socrates begins his tale with a glorification of madness, which he divides into four kinds: first, there is the art of divination or prophecy—this, in a vein similar to that pervading the Cratylus and Io, he connects with madness by an etymological explanation (mantike, manike—compare oionoistike, oionistike, ''tis all one reckoning, save the phrase is a little variations'); secondly, there is the art of purification by mysteries; thirdly, poetry or the inspiration of the Muses (compare Ion), without which no man can enter their temple. All this shows that madness is one of heaven's blessings, and may sometimes be a great deal better than sense. There is also a fourth kind of madness—that of love—which cannot be explained without enquiring into the nature of the soul.

    All soul is immortal, for she is the source of all motion both in herself and in others. Her form may be described in a figure as a composite nature made up of a charioteer and a pair of winged steeds. The steeds of the gods are immortal, but ours are one mortal and the other immortal. The immortal soul soars upwards into the heavens, but the mortal drops her plumes and settles upon the earth.

    Now the use of the wing is to rise and carry the downward element into the upper world—there to behold beauty, wisdom, goodness, and the other things of God by which the soul is nourished. On a certain day Zeus the lord of heaven goes forth in a winged chariot; and an array of gods and demi-gods and of human souls in their train, follows him. There are glorious and blessed sights in the interior of heaven, and he who will may freely behold them. The great vision of all is seen at the feast of the gods, when they ascend the heights of the empyrean—all but Hestia, who is left at home to keep house. The chariots of the gods glide readily upwards and stand upon the outside; the revolution of the spheres carries them round, and they have a vision of the world beyond. But the others labour in vain; for the mortal steed, if he has not been properly trained, keeps them down and sinks them towards the earth. Of the world which is beyond the heavens, who can tell? There is an essence formless, colourless, intangible, perceived by the mind only, dwelling in the region of true knowledge. The divine mind in her revolution enjoys this fair prospect, and beholds justice, temperance, and knowledge in their everlasting essence. When fulfilled with the sight of them she returns home, and the charioteer puts up the horses in their stable, and gives them ambrosia to eat and nectar to drink. This is the life of the gods; the human soul tries to reach the same heights, but hardly succeeds; and sometimes the head of the charioteer rises above, and sometimes sinks below, the fair vision, and he is at last obliged, after much contention, to turn away and leave the plain of truth. But if the soul has followed in the train of her god and once beheld truth she is preserved from harm, and is carried round in the next revolution of the spheres; and if always following, and always seeing the truth, is then for ever unharmed. If, however, she drops her wings and falls to the earth, then she takes the form of man, and the soul which has seen most of the truth passes into a philosopher or lover; that which has seen truth in the second degree, into a king or warrior; the third, into a householder or money-maker; the fourth, into a gymnast; the fifth, into a prophet or mystic; the sixth, into a poet or imitator; the seventh, into a husbandman or craftsman; the eighth, into a sophist or demagogue; the ninth, into a tyrant. All these are states of probation, wherein he who lives righteously is improved, and he who lives unrighteously deteriorates. After death comes the judgment; the bad depart to houses of correction under the earth, the good to places of joy in heaven. When a thousand years have elapsed the souls meet together and choose the lives which they will lead for another period of existence. The soul which three times in succession has chosen the life of a philosopher or of a lover who is not without philosophy receives her wings at the close of the third millennium; the remainder have to complete a cycle of ten thousand years before their wings are restored to them. Each time there is full liberty of choice. The soul of a man may descend into a beast, and return again into the form of man. But the form of man will only be taken by the soul which has once seen truth and acquired some conception of the universal:—this is the recollection of the knowledge which she attained when in the company of the Gods. And men in general recall only with difficulty the things of another world, but the mind of the philosopher has a better remembrance of them. For when he beholds the visible beauty of earth his enraptured soul passes in thought to those glorious sights of justice and wisdom and temperance and truth which she once gazed upon in heaven. Then she celebrated holy mysteries and beheld blessed apparitions shining in pure light, herself pure, and not as yet entombed in the body. And still, like a bird eager to quit its cage, she flutters and looks upwards, and is therefore deemed mad. Such a recollection of past days she receives through sight, the keenest of our senses, because beauty, alone of the ideas, has any representation on earth: wisdom is invisible to mortal eyes. But the corrupted nature, blindly excited by this vision of beauty, rushes on to enjoy, and would fain wallow like a brute beast in sensual pleasures. Whereas the true mystic, who has seen the many sights of bliss, when he beholds a god-like form or face is amazed with delight, and if he were not afraid of being thought mad he would fall down and worship. Then the stiffened wing begins to relax and grow again; desire which has been imprisoned pours over the soul of the lover; the germ of the wing unfolds, and stings, and pangs of birth, like the cutting of teeth, are everywhere felt. (Compare Symposium) Father and mother, and goods and laws and proprieties are nothing to him; his beloved is his physician, who can alone cure his pain. An apocryphal sacred writer says that the power which thus works in him is by mortals called love, but the immortals call him dove, or the winged one, in order to represent the force of his wings—such at any rate is his nature. Now the characters of lovers depend upon the god whom they followed in the other world; and they choose their loves in this world accordingly. The followers of Ares are fierce and violent; those of Zeus seek out some philosophical and imperial nature; the attendants of Here find a royal love; and in like manner the followers of every god seek a love who is like their god; and to him they communicate the nature which they have received from their god. The manner in which they take their love is as follows:—

    I told you about the charioteer and his two steeds, the one a noble animal who is guided by word and admonition only, the other an ill-looking villain who will hardly yield to blow or spur. Together all three, who are a figure of the soul, approach the vision of love. And now a fierce conflict begins. The ill-conditioned steed rushes on to enjoy, but the charioteer, who beholds the beloved with awe, falls back in adoration, and forces both the steeds on their haunches; again the evil steed rushes forwards and pulls shamelessly. The conflict grows more and more severe; and at last the charioteer, throwing himself backwards, forces the bit out of the clenched teeth of the brute, and pulling harder than ever at the reins, covers his tongue and jaws with blood, and forces him to rest his legs and haunches with pain upon the ground. When this has happened several times, the villain is tamed and humbled, and from that time forward the soul of the lover follows the beloved in modesty and holy fear. And now their bliss is consummated; the same image of love dwells in the breast of either, and if they have self-control, they pass their lives in the greatest happiness which is attainable by man—they continue masters of themselves, and conquer in one of the three heavenly victories. But if they choose the lower life of ambition they may still have a happy destiny, though inferior, because they have not the approval of the whole soul. At last they leave the body and proceed on their pilgrim's progress, and those who have once begun can never go back. When the time comes they receive their wings and fly away, and the lovers have the same wings.

    Socrates concludes:—

    These are the blessings of love, and thus have I made my recantation in finer language than before: I did so in order to please Phaedrus. If I said what was wrong at first, please to attribute my error to Lysias, who ought to study philosophy instead of rhetoric, and then he will not mislead his disciple Phaedrus.

    Phaedrus is afraid that he will lose conceit of Lysias, and that Lysias will be out of conceit with himself, and leave off making speeches, for the politicians have been deriding him. Socrates is of opinion that there is small danger of this; the politicians are themselves the great rhetoricians of the age, who desire to attain immortality by the authorship of laws. And therefore there is nothing with which they can reproach Lysias in being a writer; but there may be disgrace in being a bad one.

    And what is good or bad writing or speaking? While the sun is hot in the sky above us, let us ask that question: since by rational conversation man lives, and not by the indulgence of bodily pleasures. And the grasshoppers who are chirruping around may carry our words to the Muses, who are their patronesses; for the grasshoppers were human beings themselves in a world before the Muses, and when the Muses came they died of hunger for the love of song. And they carry to them in heaven the report of those who honour them on earth.

    The first rule of good speaking is to know and speak the truth; as a Spartan proverb says, 'true art is truth'; whereas rhetoric is an art of enchantment, which makes things appear good and evil, like and unlike, as the speaker pleases. Its use is not confined, as people commonly suppose, to arguments in the law courts and speeches in the assembly; it is rather a part of the art of disputation, under which are included both the rules of Gorgias and the eristic of Zeno. But it is not wholly devoid of truth. Superior knowledge enables us to deceive another by the help of resemblances, and to escape from such a deception when employed against ourselves. We see therefore that even in rhetoric an element of truth is required. For if we do not know the truth, we can neither make the gradual departures from truth by which men are most easily deceived, nor guard ourselves against deception.

    Socrates then proposes that they shall use the two speeches as illustrations of the art of rhetoric; first distinguishing between the debatable and undisputed class of subjects. In the debatable class there ought to be a definition of all disputed matters. But there was no such definition in the speech of Lysias; nor is there any order or connection in his words any more than in a nursery rhyme. With this he compares the regular divisions of the other speech, which was his own (and yet not his own, for the local deities must have inspired him). Although only a playful composition, it will be found to embody two principles: first, that of synthesis or the comprehension of parts in a whole; secondly, analysis, or the resolution of the whole into parts. These are the processes of division and generalization which are so dear to the dialectician, that king of men. They are effected by dialectic, and not by rhetoric, of which the remains are but scanty after order and arrangement have been subtracted. There is nothing left but a heap of 'ologies' and other technical terms invented by Polus, Theodorus, Evenus, Tisias, Gorgias, and others, who have rules for everything, and who teach how to be short or long at pleasure. Prodicus showed his good sense when he said that there was a better thing than either to be short or long, which was to be of convenient length.

    Still, notwithstanding the absurdities of Polus and others, rhetoric has great power in public assemblies. This power, however, is not given by any technical rules, but is the gift of genius. The real art is always being confused by rhetoricians with the preliminaries of the art. The perfection of oratory is like the perfection of anything else; natural power must be aided by art. But the art is not that which is taught in the schools of rhetoric; it is nearer akin to philosophy. Pericles, for instance, who was the most accomplished of all speakers, derived his eloquence not from rhetoric but from the philosophy of nature which he learnt of Anaxagoras. True rhetoric is like medicine, and the rhetorician has to consider the natures of men's souls as the physician considers the natures of their bodies. Such and such persons are to be affected in this way, such and such others in that; and he must know the times and the seasons for saying this or that. This is not an easy task, and this, if there be such an art, is the art of rhetoric.

    I know that there are some professors of the art who maintain probability to be stronger than truth. But we maintain that probability is engendered by likeness of the truth which can only be attained by the knowledge of it, and that the aim of the good man should not be to please or persuade his fellow-servants, but to please his good masters who are the gods. Rhetoric has a fair beginning in this.

    Enough of the art of speaking; let us now proceed to consider the true use of writing. There is an old Egyptian tale of Theuth, the inventor of writing, showing his invention to the god Thamus, who told him that he would only spoil men's memories and take away their understandings. From this tale, of which young Athens will probably make fun, may be gathered the lesson that writing is inferior to speech. For it is like a picture, which can give no answer to a question, and has only a deceitful likeness of a living creature. It has no power of adaptation, but uses the same words for all. It is not a legitimate son of knowledge, but a bastard, and when an attack is made upon this bastard neither parent nor anyone else is there to defend it. The husbandman will not seriously incline to sow his seed in such a hot-bed or garden of Adonis; he will rather sow in the natural soil of the human soul which has depth of earth; and he will anticipate the inner growth of the mind, by writing only, if at all, as a remedy against old age. The natural process will be far nobler, and will bring forth fruit in the minds of others as well as in his own.

    The conclusion of the whole matter is just this,—that until a man knows the truth, and the manner of adapting the truth to the natures of other men, he cannot be a good orator; also, that the living is better than the written word, and that the principles of justice and truth when delivered by word of mouth are the legitimate offspring of a man's own bosom, and their lawful descendants take up their abode in others. Such an orator as he is who is possessed of them, you and I would fain become. And to all composers in the world, poets, orators, legislators, we hereby announce that if their compositions are based upon these principles, then they are not only poets, orators, legislators, but philosophers. All others are mere flatterers and putters together of words. This is the message which Phaedrus undertakes to carry to Lysias from the local deities, and Socrates himself will carry a similar message to his favourite Isocrates, whose future distinction as a great rhetorician he prophesies. The heat of the day has passed, and after offering up a prayer to Pan and the nymphs, Socrates and Phaedrus depart.

    There are two principal controversies which have been raised about the Phaedrus; the first relates to the subject, the second to the date of the Dialogue.

    There seems to be a notion that the work of a great artist like Plato cannot fail in unity, and that the unity of a dialogue requires a single subject. But the conception of unity really applies in very different degrees and ways to different kinds of art; to a statue, for example, far more than to any kind of literary composition, and to some species of literature far more than to others. Nor does the dialogue appear to be a style of composition in which the requirement of unity is most stringent; nor should the idea of unity derived from one sort of art be hastily transferred to another. The double titles of several of the Platonic Dialogues are a further proof that the severer rule was not observed by Plato. The Republic is divided between the search after justice and the construction of the ideal state; the Parmenides between the criticism of the Platonic ideas and of the Eleatic one or being; the Gorgias between the art of speaking and the nature of the good; the Sophist between the detection of the Sophist and the correlation of ideas. The Theaetetus, the Politicus, and the Philebus have also digressions which are but remotely connected with the main subject.

    Thus the comparison of Plato's other writings, as well as the reason of the thing, lead us to the conclusion that we must not expect to find one idea pervading a whole work, but one, two, or more, as the invention of the writer may suggest, or his fancy wander. If each dialogue were confined to the development of a single idea, this would appear on the face of the dialogue, nor could any controversy be raised as to whether the Phaedrus treated of love or rhetoric. But the truth is that Plato subjects himself to no rule of this sort. Like every great artist he gives unity of form to the different and apparently distracting topics which he brings together. He works freely and is not to be supposed to have arranged every part of the dialogue before he begins to write. He fastens or weaves together the frame of his discourse loosely and imperfectly, and which is the warp and which is the woof cannot always be determined.

    The subjects of the Phaedrus (exclusive of the short introductory passage about mythology which is suggested by the local tradition) are first the false or conventional art of rhetoric; secondly, love or the inspiration of beauty and knowledge, which is described as madness; thirdly, dialectic or the art of composition and division; fourthly, the true rhetoric, which is based upon dialectic, and is neither the art of persuasion nor knowledge of the truth alone, but the art of persuasion founded on knowledge of truth and knowledge of character; fifthly, the superiority of the spoken over the written word. The continuous thread which appears and reappears throughout is rhetoric; this is the ground into which the rest of the Dialogue is worked, in parts embroidered with fine words which are not in Socrates' manner, as he says, 'in order to please Phaedrus.' The speech of Lysias which has thrown Phaedrus into an ecstacy is adduced as an example of the false rhetoric; the first speech of Socrates, though an improvement, partakes of the same character; his second speech, which is full of that higher element said to have been learned of Anaxagoras by Pericles, and which in the midst of poetry does not forget order, is an illustration of the higher or true rhetoric. This higher rhetoric is based upon dialectic, and dialectic is a sort of inspiration akin to love (compare Symposium); in these two aspects of philosophy the technicalities of rhetoric are absorbed. And so the example becomes also the deeper theme of discourse. The true knowledge of things in heaven and earth is based upon enthusiasm or love of the ideas going before us and ever present to us in this world and in another; and the true order of speech or writing proceeds accordingly. Love, again, has three degrees: first, of interested love corresponding to the conventionalities of rhetoric; secondly, of disinterested or mad love, fixed on objects of sense, and answering, perhaps, to poetry; thirdly, of disinterested love directed towards the unseen, answering to dialectic or the science of the ideas. Lastly, the art of rhetoric in the lower sense is found to rest on a knowledge of the natures and characters of men, which Socrates at the commencement of the Dialogue has described as his own peculiar study.

    Thus amid discord a harmony begins to appear; there are many links of connection which are not visible at first sight. At the same time the Phaedrus, although one of the most beautiful of the Platonic Dialogues, is also more irregular than any other. For insight into the world, for sustained irony, for depth of thought, there is no Dialogue superior, or perhaps equal to it. Nevertheless the form of the work has tended to obscure some of Plato's higher aims.

    The first speech is composed 'in that balanced style in which the wise love to talk' (Symposium). The characteristics of rhetoric are insipidity, mannerism, and monotonous parallelism of clauses. There is more rhythm than reason; the creative power of imagination is wanting.

    ''Tis Greece, but living Greece no more.'

    Plato has seized by anticipation the spirit which hung over Greek literature for a thousand years afterwards. Yet doubtless there were some who, like Phaedrus, felt a delight in the harmonious cadence and the pedantic reasoning of the rhetoricians newly imported from Sicily, which had ceased to be awakened in them by really great works, such as the odes of Anacreon or Sappho or the orations of Pericles. That the first speech was really written by Lysias is improbable. Like the poem of Solon, or the story of Thamus and Theuth, or the funeral oration of Aspasia (if genuine), or the pretence of Socrates in the Cratylus that his knowledge of philology is derived from Euthyphro, the invention is really due to the imagination of Plato, and may be compared to the parodies of the Sophists in the Protagoras. Numerous fictions of this sort occur in the Dialogues, and the gravity of Plato has sometimes imposed upon his commentators. The introduction of a considerable writing of another would seem not to be in keeping with a great work of art, and has no parallel elsewhere.

    In the second speech Socrates is exhibited as beating the rhetoricians at their own weapons; he 'an unpractised man and they masters of the art.' True to his character, he must, however, profess that the speech which he makes is not his own, for he knows nothing of himself. (Compare Symposium) Regarded as a rhetorical exercise, the superiority of his speech seems to consist chiefly in a better arrangement of the topics; he begins with a definition of love, and he gives weight to his words by going back to general maxims; a lesser merit is the greater liveliness of Socrates, which hurries him into verse and relieves the monotony of the style.

    But Plato had doubtless a higher purpose than to exhibit Socrates as the rival or superior of the Athenian rhetoricians. Even in the speech of Lysias there is a germ of truth, and this is further developed in the parallel oration of Socrates. First, passionate love is overthrown by the sophistical or interested, and then both yield to that higher view of love which is afterwards revealed to us. The extreme of commonplace is contrasted with the most ideal and imaginative of speculations. Socrates, half in jest and to satisfy his own wild humour, takes the disguise of Lysias, but he is also in profound earnest and in a deeper vein of irony than usual. Having improvised his own speech, which is based upon the model of the preceding, he condemns them both. Yet the condemnation is not to be taken seriously, for he is evidently trying to express an aspect of the truth. To understand him, we must make abstraction of morality and of the Greek manner of regarding the relation of the sexes. In this, as in his other discussions about love, what Plato says of the loves of men must be transferred to the loves of women before we can attach any serious meaning to his words. Had he lived in our times he would have made the transposition himself. But seeing in his own age the impossibility of woman being the intellectual helpmate or friend of man (except in the rare instances of a Diotima or an Aspasia), seeing that, even as to personal beauty, her place was taken by young mankind instead of womankind, he tries to work out the problem of love without regard to the distinctions of nature. And full of the evils which he recognized as flowing from the spurious form of love, he proceeds with a deep meaning, though partly in joke, to show that the 'non-lover's' love is better than the 'lover's.'

    We may raise the same question in another form: Is marriage preferable with or without love? 'Among ourselves,' as we may say, a little parodying the words of Pausanias in the Symposium, 'there would be one answer to this question: the practice and feeling of some foreign countries appears to be more doubtful.' Suppose a modern Socrates, in defiance of the received notions of society and the sentimental literature of the day, alone against all the writers and readers of novels, to suggest this enquiry, would not the younger 'part of the world be ready to take off its coat and run at him might and main?' (Republic.) Yet, if like Peisthetaerus in Aristophanes, he could persuade the 'birds' to hear him, retiring a little behind a rampart, not of pots and dishes, but of unreadable books, he might have something to say for himself. Might he not argue, 'that a rational being should not follow the dictates of passion in the most important act of his or her life'? Who would willingly enter into a contract at first sight, almost without thought, against the advice and opinion of his friends, at a time when he acknowledges that he is not in his right mind? And yet they are praised by the authors of romances, who reject the warnings of their friends or parents, rather than those who listen to them in such matters. Two inexperienced persons, ignorant of the world and of one another, how can they be said to choose?—they draw lots, whence also the saying, 'marriage is a lottery.' Then he would describe their way of life after marriage; how they monopolize one another's affections to the exclusion of friends and relations: how they pass their days in unmeaning fondness or trivial conversation; how the inferior of the two drags the other down to his or her level; how the cares of a family 'breed meanness in their souls.' In the fulfilment of military or public duties, they are not helpers but hinderers of one another: they cannot undertake any noble enterprise, such as makes the names of men and women famous, from domestic considerations. Too late their eyes are opened; they were taken unawares and desire to part company. Better, he would say, a 'little love at the beginning,' for heaven might have increased it; but now their foolish fondness has changed into mutual dislike. In the days of their honeymoon they never understood that they must provide against offences, that they must have interests, that they must learn the art of living as well as loving. Our misogamist will not appeal to Anacreon or Sappho for a confirmation of his view, but to the universal experience of mankind. How much nobler, in conclusion, he will say, is friendship, which does not receive unmeaning praises from novelists and poets, is not exacting or exclusive, is not impaired by familiarity, is much less expensive, is not so likely to take offence, seldom changes, and may be dissolved from time to time without the assistance of the courts. Besides, he will remark that there is a much greater choice of friends than of wives—you may have more of them and they will be far more improving to your mind. They will not keep you dawdling at home, or dancing attendance upon them; or withdraw you from the great world and stirring scenes of life and action which would make a man of you.

    In such a manner, turning the seamy side outwards, a modern Socrates might describe the evils of married and domestic life. They are evils which mankind in general have agreed to conceal, partly because they are compensated by greater goods. Socrates or Archilochus would soon have to sing a palinode for the injustice done to lovely Helen, or some misfortune worse than blindness might be fall them. Then they would take up their parable again and say:—that there were two loves, a higher and a lower, holy and unholy, a love of the mind and a love of the body.

         'Let me not to the marriage of true minds
         Admit impediments.  Love is not love
         Which alters when it alteration finds.

                   .....

         Love's not time's fool, though rosy lips and cheeks
         Within his bending sickle's compass come;
         Love alters not with his brief hours and weeks,
         But bears it out even to the edge of doom.'

    But this true love of the mind cannot exist between two souls, until they are purified from the grossness of earthly passion: they must pass through a time of trial and conflict first; in the language of religion they must be converted or born again. Then they would see the world transformed into a scene of heavenly beauty; a divine idea would accompany them in all their thoughts and actions. Something too of the recollections of childhood might float about them still; they might regain that old simplicity which had been theirs in other days at their first entrance on life. And although their love of one another was ever present to them, they would acknowledge also a higher love of duty and of God, which united them. And their happiness would depend upon their preserving in them this principle—not losing the ideals of justice and holiness and truth, but renewing them at the fountain of light. When they have attained to this exalted state, let them marry (something too may be conceded to the animal nature of man): or live together in holy and innocent friendship. The poet might describe in eloquent words the nature of such a union; how after many struggles the true love was found: how the two passed their lives together in the service of God and man; how their characters were reflected upon one another, and seemed to grow more like year by year; how they read in one another's eyes the thoughts, wishes, actions of the other; how they saw each other in God; how in a figure they grew wings like doves, and were 'ready to fly away together and be at rest.' And lastly, he might tell how, after a time at no long intervals, first one and then the other fell asleep, and 'appeared to the unwise' to die, but were reunited in another state of being, in which they saw justice and holiness and truth, not according to the imperfect copies of them which are found in this world, but justice absolute in existence absolute, and so of the rest. And they would hold converse not only with each other, but with blessed souls everywhere; and would be employed in the service of God, every soul fulfilling his own nature and character, and would see into the wonders of earth and heaven, and trace the works of creation to their author.

    So, partly in jest but also 'with a certain degree of seriousness,' we may appropriate to ourselves the words of Plato. The use of such a parody, though very imperfect, is to transfer his thoughts to our sphere of religion and feeling, to bring him nearer to us and us to him. Like the Scriptures, Plato admits of endless applications, if we allow for the difference of times and manners; and we lose the better half of him when we regard his Dialogues merely as literary compositions. Any ancient work which is worth reading has a practical and speculative as well as a literary interest. And in Plato, more than in any other Greek writer, the local and transitory is inextricably blended with what is spiritual and eternal. Socrates is necessarily ironical; for he has to withdraw from the received opinions and beliefs of mankind. We cannot separate the transitory from the permanent; nor can we translate the language of irony into that of plain reflection and common sense. But we can imagine the mind of Socrates in another age and country; and we can interpret him by analogy with reference to the errors and prejudices which prevail among ourselves. To return to the Phaedrus:—

    Both speeches are strongly condemned by Socrates as sinful and blasphemous towards the god Love, and as worthy only of some haunt of sailors to which good manners were unknown. The meaning of this and other wild language to the same effect, which is introduced by way of contrast to the formality of the two speeches (Socrates has a sense of relief when he has escaped from the trammels of rhetoric), seems to be that the two speeches proceed upon the supposition that love is and ought to be interested, and that no such thing as a real or disinterested passion, which would be at the same time lasting, could be conceived. 'But did I call this "love"? O God, forgive my blasphemy. This is not love. Rather it is the love of the world. But there is another kingdom of love, a kingdom not of this world, divine, eternal. And this other love I will now show you in a mystery.'

    Then follows the famous myth, which is a sort of parable, and like other parables ought not to receive too minute an interpretation. In all such allegories there is a great deal which is merely ornamental, and the interpreter has to separate the important from the unimportant. Socrates himself has given the right clue when, in using his own discourse afterwards as the text for his examination of rhetoric, he characterizes it as a 'partly true and tolerably credible mythus,' in which amid poetical figures, order and arrangement were not forgotten.

    The soul is described in magnificent language as the self-moved and the source of motion in all other things. This is the philosophical theme or proem of the whole. But ideas must be given through something, and under the pretext that to realize the true nature of the soul would be not only tedious but impossible, we at once pass on to describe the souls of gods as well as men under the figure of two winged steeds and a charioteer. No connection is traced between the soul as the great motive power and the triple soul which is thus imaged. There is no difficulty in seeing that the charioteer represents the reason, or that the black horse is the symbol of the sensual or concupiscent element of human nature. The white horse also represents rational impulse, but the description, 'a lover of honour and modesty and temperance, and a follower of true glory,' though similar, does not at once recall the 'spirit' (thumos) of the Republic. The two steeds really correspond in a figure more nearly to the appetitive and moral or semi-rational soul of Aristotle. And thus, for the first time perhaps in the history of philosophy, we have represented to us the threefold division of psychology. The image of the charioteer and the steeds has been compared with a similar image which occurs in the verses of Parmenides; but it is important to remark that the horses of Parmenides have no allegorical meaning, and that the poet is only describing his own approach in a chariot to the regions of light and the house of the goddess of truth.

    The triple soul has had a previous existence, in which following in the train of some god, from whom she derived her character, she beheld partially and imperfectly the vision of absolute truth. All her after existence, passed in many forms of men and animals, is spent in regaining this. The stages of the conflict are many and various; and she is sorely let and hindered by the animal desires of the inferior or concupiscent steed. Again and again she beholds the flashing beauty of the beloved. But before that vision can be finally enjoyed the animal desires must be subjected.

    The moral or spiritual element in man is represented by the immortal steed which, like thumos in the Republic, always sides with the reason. Both are dragged out of their course by the furious impulses of desire. In the end something is conceded to the desires, after they have been finally humbled and overpowered. And yet the way of philosophy, or perfect love of the unseen, is total abstinence from bodily delights. 'But all men cannot receive this saying': in the lower life of ambition they may be taken off their guard and stoop to folly unawares, and then, although they do not attain to the highest bliss, yet if they have once conquered they may be happy enough.

    The language of the Meno and the Phaedo as well as of the Phaedrus seems to show that at one time of his life Plato was quite serious in maintaining a former state of existence. His mission was to realize the abstract; in that, all good and truth, all the hopes of this and another life seemed to centre. To him abstractions, as we call them, were another kind of knowledge—an inner and unseen world, which seemed to exist far more truly than the fleeting objects of sense which were without him. When we are once able to imagine the intense power which abstract ideas exercised over the mind of Plato, we see that there was no more difficulty to him in realizing the eternal existence of them and of the human minds which were associated with them, in the past and future than in the present. The difficulty was not how they could exist, but how they could fail to exist. In the attempt to regain this 'saving' knowledge of the ideas, the sense was found to be as great an enemy as the desires; and hence two things which to us seem quite distinct are inextricably blended in the representation of Plato.

    Thus far we may believe that Plato was serious in his conception of the soul as a motive power, in his reminiscence of a former state of being, in his elevation of the reason over sense and passion, and perhaps in his doctrine of transmigration. Was he equally serious in the rest? For example, are we to attribute his tripartite division of the soul to the gods? Or is this merely assigned to them by way of parallelism with men? The latter is the more probable; for the horses of the gods are both white, i.e. their every impulse is in harmony with reason; their dualism, on the other hand, only carries out the figure of the chariot. Is he serious, again, in regarding love as 'a madness'? That seems to arise out of the antithesis to the former conception of love. At the same time he appears to intimate here, as in the Ion, Apology, Meno, and elsewhere, that there is a faculty in man, whether to be termed in modern language genius, or inspiration, or imagination, or idealism, or communion with God, which cannot be reduced to rule and measure. Perhaps, too, he is ironically repeating the common language of mankind about philosophy, and is turning their jest into a sort of earnest. (Compare Phaedo, Symposium.) Or is he serious in holding that each soul bears the character of a god? He may have had no other account to give of the differences of human characters to which he afterwards refers. Or, again, in his absurd derivation of mantike and oionistike and imeros (compare Cratylus)? It is characteristic of the irony of Socrates to mix up sense and nonsense in such a way that no exact line can be drawn between them. And allegory helps to increase this sort of confusion.

    As is often the case in the parables and prophecies of Scripture, the meaning is allowed to break through the figure, and the details are not always consistent. When the charioteers and their steeds stand upon the dome of heaven they behold the intangible invisible essences which are not objects of sight. This is because the force of language can no further go. Nor can we dwell much on the circumstance, that at the completion of ten thousand years all are to return to the place from whence they came; because he represents their return as dependent on their own good conduct in the successive stages of existence. Nor again can we attribute anything to the accidental inference which would also follow, that even a tyrant may live righteously in the condition of life to which fate has called him ('he aiblins might, I dinna ken'). But to suppose this would be at variance with Plato himself and with Greek notions generally. He is much more serious in distinguishing men from animals by their recognition of the universal which they have known in a former state, and in denying that this gift of reason can ever be obliterated or lost. In the language of some modern theologians he might be said to maintain the 'final perseverance' of those who have entered on their pilgrim's progress. Other intimations of a 'metaphysic' or 'theology' of the future may also be discerned in him:
    (1) The moderate predestinarianism which here, as in the Republic, acknowledges the element of chance in human life, and yet asserts the freedom and responsibility of man;
    (2) The recognition of a moral as well as an intellectual principle in man under the image of an immortal steed;
    (3) The notion that the divine nature exists by the contemplation of ideas of virtue and justice—or, in other words, the assertion of the essentially moral nature of God;
    (4) Again, there is the hint that human life is a life of aspiration only, and that the true ideal is not to be found in art;
    (5) There occurs the first trace of the distinction between necessary and contingent matter;
    (6) The conception of the soul itself as the motive power and reason of the universe.

    The conception of the philosopher, or the philosopher and lover in one, as a sort of madman, may be compared with the Republic and Theaetetus, in both of which the philosopher is regarded as a stranger and monster upon the earth. The whole myth, like the other myths of Plato, describes in a figure things which are beyond the range of human faculties, or inaccessible to the knowledge of the age. That philosophy should be represented as the inspiration of love is a conception that has already become familiar to us in the Symposium, and is the expression partly of Plato's enthusiasm for the idea, and is also an indication of the real power exercised by the passion of friendship over the mind of the Greek. The master in the art of love knew that there was a mystery in these feelings and their associations, and especially in the contrast of the sensible and permanent which is afforded by them; and he sought to explain this, as he explained universal ideas, by a reference to a former state of existence. The capriciousness of love is also derived by him from an attachment to some god in a former world. The singular remark that the beloved is more affected than the lover at the final consummation of their love, seems likewise to hint at a psychological truth.

    It is difficult to exhaust the meanings of a work like the Phaedrus, which indicates so much more than it expresses; and is full of inconsistencies and ambiguities which were not perceived by Plato himself. For example, when he is speaking of the soul does he mean the human or the divine soul? and are they both equally self-moving and constructed on the same threefold principle? We should certainly be disposed to reply that the self-motive is to be attributed to God only; and on the other hand that the appetitive and passionate elements have no place in His nature. So we should infer from the reason of the thing, but there is no indication in Plato's own writings that this was his meaning. Or, again, when he explains the different characters of men by referring them back to the nature of the God whom they served in a former state of existence, we are inclined to ask whether he is serious: Is he not rather using a mythological figure, here as elsewhere, to draw a veil over things which are beyond the limits of mortal knowledge? Once more, in speaking of beauty is he really thinking of some external form such as might have been expressed in the works of Phidias or Praxiteles; and not rather of an imaginary beauty, of a sort which extinguishes rather than stimulates vulgar love,—a heavenly beauty like that which flashed from time to time before the eyes of Dante or Bunyan? Surely the latter. But it would be idle to reconcile all the details of the passage: it is a picture, not a system, and a picture which is for the greater part an allegory, and an allegory which allows the meaning to come through. The image of the charioteer and his steeds is placed side by side with the absolute forms of justice, temperance, and the like, which are abstract ideas only, and which are seen with the eye of the soul in her heavenly journey. The first impression of such a passage, in which no attempt is made to separate the substance from the form, is far truer than an elaborate philosophical analysis.

    It is too often forgotten that the whole of the second discourse of Socrates is only an allegory, or figure of speech. For this reason, it is unnecessary to enquire whether the love of which Plato speaks is the love of men or of women. It is really a general idea which includes both, and in which the sensual element, though not wholly eradicated, is reduced to order and measure. We must not attribute a meaning to every fanciful detail. Nor is there any need to call up revolting associations, which as a matter of good taste should be banished, and which were far enough away from the mind of Plato. These and similar passages should be interpreted by the Laws. Nor is there anything in the Symposium, or in the Charmides, in reality inconsistent with the sterner rule which Plato lays down in the Laws. At the same time it is not to be denied that love and philosophy are described by Socrates in figures of speech which would not be used in Christian times; or that nameless vices were prevalent at Athens and in other Greek cities; or that friendships between men were a more sacred tie, and had a more important social and educational influence than among ourselves. (See note on Symposium.)

    In the Phaedrus, as well as in the Symposium, there are two kinds of love, a lower and a higher, the one answering to the natural wants of the animal, the other rising above them and contemplating with religious awe the forms of justice, temperance, holiness, yet finding them also 'too dazzling bright for mortal eye,' and shrinking from them in amazement. The opposition between these two kinds of love may be compared to the opposition between the flesh and the spirit in the Epistles of St. Paul. It would be unmeaning to suppose that Plato, in describing the spiritual combat, in which the rational soul is finally victor and master of both the steeds, condescends to allow any indulgence of unnatural lusts.

    Two other thoughts about love are suggested by this passage. First of all, love is represented here, as in the Symposium, as one of the great powers of nature, which takes many forms and two principal ones, having a predominant influence over the lives of men. And these two, though opposed, are not absolutely separated the one from the other. Plato, with his great knowledge of human nature, was well aware how easily one is transformed into the other, or how soon the noble but fleeting aspiration may return into the nature of the animal, while the lower instinct which is latent always remains. The intermediate sentimentalism, which has exercised so great an influence on the literature of modern Europe, had no place in the classical times of Hellas; the higher love, of which Plato speaks, is the subject, not of poetry or fiction, but of philosophy.

    Secondly, there seems to be indicated a natural yearning of the human mind that the great ideas of justice, temperance, wisdom, should be expressed in some form of visible beauty, like the absolute purity and goodness which Christian art has sought to realize in the person of the Madonna. But although human nature has often attempted to represent outwardly what can be only 'spiritually discerned,' men feel that in pictures and images, whether painted or carved, or described in words only, we have not the substance but the shadow of the truth which is in heaven. There is no reason to suppose that in the fairest works of Greek art, Plato ever conceived himself to behold an image, however faint, of ideal truths. 'Not in that way was wisdom seen.'

    We may now pass on to the second part of the Dialogue, which is a criticism on the first. Rhetoric is assailed on various grounds: first, as desiring to persuade, without a knowledge of the truth; and secondly, as ignoring the distinction between certain and probable matter. The three speeches are then passed in review: the first of them has no definition of the nature of love, and no order in the topics (being in these respects far inferior to the second); while the third of them is found (though a fancy of the hour) to be framed upon real dialectical principles. But dialectic is not rhetoric; nothing on that subject is to be found in the endless treatises of rhetoric, however prolific in hard names. When Plato has sufficiently put them to the test of ridicule he touches, as with the point of a needle, the real error, which is the confusion of preliminary knowledge with creative power. No attainments will provide the speaker with genius; and the sort of attainments which can alone be of any value are the higher philosophy and the power of psychological analysis, which is given by dialectic, but not by the rules of the rhetoricians.

    In this latter portion of the Dialogue there are many texts which may help us to speak and to think. The names dialectic and rhetoric are passing out of use; we hardly examine seriously into their nature and limits, and probably the arts both of speaking and of conversation have been unduly neglected by us. But the mind of Socrates pierces through the differences of times and countries into the essential nature of man; and his words apply equally to the modern world and to the Athenians of old. Would he not have asked of us, or rather is he not asking of us, Whether we have ceased to prefer appearances to reality? Let us take a survey of the professions to which he refers and try them by his standard. Is not all literature passing into criticism, just as Athenian literature in the age of Plato was degenerating into sophistry and rhetoric? We can discourse and write about poems and paintings, but we seem to have lost the gift of creating them. Can we wonder that few of them 'come sweetly from nature,' while ten thousand reviewers (mala murioi) are engaged in dissecting them? Young men, like Phaedrus, are enamoured of their own literary clique and have but a feeble sympathy with the master-minds of former ages. They recognize 'a POETICAL necessity in the writings of their favourite author, even when he boldly wrote off just what came in his head.' They are beginning to think that Art is enough, just at the time when Art is about to disappear from the world. And would not a great painter, such as Michael Angelo, or a great poet, such as Shakespeare, returning to earth, 'courteously rebuke' us—would he not say that we are putting 'in the place of Art the preliminaries of Art,' confusing Art the expression of mind and truth with Art the composition of colours and forms; and perhaps he might more severely chastise some of us for trying to invent 'a new shudder' instead of bringing to the birth living and healthy creations? These he would regard as the signs of an age wanting in original power.

    Turning from literature and the arts to law and politics, again we fall under the lash of Socrates. For do we not often make 'the worse appear the better cause;' and do not 'both parties sometimes agree to tell lies'? Is not pleading 'an art of speaking unconnected with the truth'? There is another text of Socrates which must not be forgotten in relation to this subject. In the endless maze of English law is there any 'dividing the whole into parts or reuniting the parts into a whole'—any semblance of an organized being 'having hands and feet and other members'? Instead of a system there is the Chaos of Anaxagoras (omou panta chremata) and no Mind or Order. Then again in the noble art of politics, who thinks of first principles and of true ideas? We avowedly follow not the truth but the will of the many (compare Republic). Is not legislation too a sort of literary effort, and might not statesmanship be described as the 'art of enchanting' the house? While there are some politicians who have no knowledge of the truth, but only of what is likely to be approved by 'the many who sit in judgment,' there are others who can give no form to their ideal, neither having learned 'the art of persuasion,' nor having any insight into the 'characters of men.' Once more, has not medical science become a professional routine, which many 'practise without being able to say who were their instructors'—the application of a few drugs taken from a book instead of a life-long study of the natures and constitutions of human beings? Do we see as clearly as Hippocrates 'that the nature of the body can only be understood as a whole'? (Compare Charmides.) And are not they held to be the wisest physicians who have the greatest distrust of their art? What would Socrates think of our newspapers, of our theology? Perhaps he would be afraid to speak of them;—the one vox populi, the other vox Dei, he might hesitate to attack them; or he might trace a fanciful connexion between them, and ask doubtfully, whether they are not equally inspired? He would remark that we are always searching for a belief and deploring our unbelief, seeming to prefer popular opinions unverified and contradictory to unpopular truths which are assured to us by the most certain proofs: that our preachers are in the habit of praising God 'without regard to truth and falsehood, attributing to Him every species of greatness and glory, saying that He is all this and the cause of all that, in order that we may exhibit Him as the fairest and best of all' (Symposium) without any consideration of His real nature and character or of the laws by which He governs the world—seeking for a 'private judgment' and not for the truth or 'God's judgment.' What would he say of the Church, which we praise in like manner, 'meaning ourselves,' without regard to history or experience? Might he not ask, whether we 'care more for the truth of religion, or for the speaker and the country from which the truth comes'? or, whether the 'select wise' are not 'the many' after all? (Symposium.) So we may fill up the sketch of Socrates, lest, as Phaedrus says, the argument should be too 'abstract and barren of illustrations.' (Compare Symposium, Apology, Euthyphro.)

    He next proceeds with enthusiasm to define the royal art of dialectic as the power of dividing a whole into parts, and of uniting the parts in a whole, and which may also be regarded (compare Sophist) as the process of the mind talking with herself. The latter view has probably led Plato to the paradox that speech is superior to writing, in which he may seem also to be doing an injustice to himself. For the two cannot be fairly compared in the manner which Plato suggests. The contrast of the living and dead word, and the example of Socrates, which he has represented in the form of the Dialogue, seem to have misled him. For speech and writing have really different functions; the one is more transitory, more diffuse, more elastic and capable of adaptation to moods and times; the other is more permanent, more concentrated, and is uttered not to this or that person or audience, but to all the world. In the Politicus the paradox is carried further; the mind or will of the king is preferred to the written law; he is supposed to be the Law personified, the ideal made Life.

    Yet in both these statements there is also contained a truth; they may be compared with one another, and also with the other famous paradox, that 'knowledge cannot be taught.' Socrates means to say, that what is truly written is written in the soul, just as what is truly taught grows up in the soul from within and is not forced upon it from without. When planted in a congenial soil the little seed becomes a tree, and 'the birds of the air build their nests in the branches.' There is an echo of this in the prayer at the end of the Dialogue, 'Give me beauty in the inward soul, and may the inward and outward man be at one.' We may further compare the words of St. Paul, 'Written not on tables of stone, but on fleshly tables of the heart;' and again, 'Ye are my epistles known and read of all men.' There may be a use in writing as a preservative against the forgetfulness of old age, but to live is higher far, to be ourselves the book, or the epistle, the truth embodied in a person, the Word made flesh. Something like this we may believe to have passed before Plato's mind when he affirmed that speech was superior to writing. So in other ages, weary of literature and criticism, of making many books, of writing articles in reviews, some have desired to live more closely in communion with their fellow-men, to speak heart to heart, to speak and act only, and not to write, following the example of Socrates and of Christ...

    Some other touches of inimitable grace and art and of the deepest wisdom may be also noted; such as the prayer or 'collect' which has just been cited, 'Give me beauty,' etc.; or 'the great name which belongs to God alone;' or 'the saying of wiser men than ourselves that a man of sense should try to please not his fellow-servants, but his good and noble masters,' like St. Paul again; or the description of the 'heavenly originals'...

    The chief criteria for determining the date of the Dialogue are
    (1) the ages of Lysias and Isocrates;
    (2) the character of the work.

    Lysias was born in the year 458; Isocrates in the year 436, about seven years before the birth of Plato. The first of the two great rhetoricians is described as in the zenith of his fame; the second is still young and full of promise. Now it is argued that this must have been written in the youth of Isocrates, when the promise was not yet fulfilled. And thus we should have to assign the Dialogue to a year not later than 406, when Isocrates was thirty and Plato twenty-three years of age, and while Socrates himself was still alive.

    Those who argue in this way seem not to reflect how easily Plato can 'invent Egyptians or anything else,' and how careless he is of historical truth or probability. Who would suspect that the wise Critias, the virtuous Charmides, had ended their lives among the thirty tyrants? Who would imagine that Lysias, who is here assailed by Socrates, is the son of his old friend Cephalus? Or that Isocrates himself is the enemy of Plato and his school? No arguments can be drawn from the appropriateness or inappropriateness of the characters of Plato. (Else, perhaps, it might be further argued that, judging from their extant remains, insipid rhetoric is far more characteristic of Isocrates than of Lysias.) But Plato makes use of names which have often hardly any connection with the historical characters to whom they belong. In this instance the comparative favour shown to Isocrates may possibly be accounted for by the circumstance of his belonging to the aristocratical, as Lysias to the democratical party.

    Few persons will be inclined to suppose, in the superficial manner of some ancient critics, that a dialogue which treats of love must necessarily have been written in youth. As little weight can be attached to the argument that Plato must have visited Egypt before he wrote the story of Theuth and Thamus. For there is no real proof that he ever went to Egypt; and even if he did, he might have known or invented Egyptian traditions before he went there. The late date of the Phaedrus will have to be established by other arguments than these: the maturity of the thought, the perfection of the style, the insight, the relation to the other Platonic Dialogues, seem to contradict the notion that it could have been the work of a youth of twenty or twenty-three years of age. The cosmological notion of the mind as the primum mobile, and the admission of impulse into the immortal nature, also afford grounds for assigning a later date. (Compare Timaeus, Sophist, Laws.) Add to this that the picture of Socrates, though in some lesser particulars,—e.g. his going without sandals, his habit of remaining within the walls, his emphatic declaration that his study is human nature,—an exact resemblance, is in the main the Platonic and not the real Socrates. Can we suppose 'the young man to have told such lies' about his master while he was still alive? Moreover, when two Dialogues are so closely connected as the Phaedrus and Symposium, there is great improbability in supposing that one of them was written at least twenty years after the other. The conclusion seems to be, that the Dialogue was written at some comparatively late but unknown period of Plato's life, after he had deserted the purely Socratic point of view, but before he had entered on the more abstract speculations of the Sophist or the Philebus. Taking into account the divisions of the soul, the doctrine of transmigration, the contemplative nature of the philosophic life, and the character of the style, we shall not be far wrong in placing the Phaedrus in the neighbourhood of the Republic; remarking only that allowance must be made for the poetical element in the Phaedrus, which, while falling short of the Republic in definite philosophic results, seems to have glimpses of a truth beyond.

    Two short passages, which are unconnected with the main subject of the Dialogue, may seem to merit a more particular notice:
    (1) the locus classicus about mythology;
    (2) the tale of the grasshoppers.

    The first passage is remarkable as showing that Plato was entirely free from what may be termed the Euhemerism of his age. For there were Euhemerists in Hellas long before Euhemerus. Early philosophers, like Anaxagoras and Metrodorus, had found in Homer and mythology hidden meanings. Plato, with a truer instinct, rejects these attractive interpretations; he regards the inventor of them as 'unfortunate;' and they draw a man off from the knowledge of himself. There is a latent criticism, and also a poetical sense in Plato, which enable him to discard them, and yet in another way to make use of poetry and mythology as a vehicle of thought and feeling. What would he have said of the discovery of Christian doctrines in these old Greek legends? While acknowledging that such interpretations are 'very nice,' would he not have remarked that they are found in all sacred literatures? They cannot be tested by any criterion of truth, or used to establish any truth; they add nothing to the sum of human knowledge; they are—what we please, and if employed as 'peacemakers' between the new and old are liable to serious misconstruction, as he elsewhere remarks (Republic). And therefore he would have 'bid Farewell to them; the study of them would take up too much of his time; and he has not as yet learned the true nature of religion.' The 'sophistical' interest of Phaedrus, the little touch about the two versions of the story, the ironical manner in which these explanations are set aside—'the common opinion about them is enough for me'—the allusion to the serpent Typho may be noted in passing; also the general agreement between the tone of this speech and the remark of Socrates which follows afterwards, 'I am a diviner, but a poor one.'

    The tale of the grasshoppers is naturally suggested by the surrounding scene. They are also the representatives of the Athenians as children of the soil. Under the image of the lively chirruping grasshoppers who inform the Muses in heaven about those who honour them on earth, Plato intends to represent an Athenian audience (tettigessin eoikotes). The story is introduced, apparently, to mark a change of subject, and also, like several other allusions which occur in the course of the Dialogue, in order to preserve the scene in the recollection of the reader.

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    No one can duly appreciate the dialogues of Plato, especially the Phaedrus, Symposium, and portions of the Republic, who has not a sympathy with mysticism. To the uninitiated, as he would himself have acknowledged, they will appear to be the dreams of a poet who is disguised as a philosopher. There is a twofold difficulty in apprehending this aspect of the Platonic writings. First, we do not immediately realize that under the marble exterior of Greek literature was concealed a soul thrilling with spiritual emotion. Secondly, the forms or figures which the Platonic philosophy assumes, are not like the images of the prophet Isaiah, or of the Apocalypse, familiar to us in the days of our youth. By mysticism we mean, not the extravagance of an erring fancy, but the concentration of reason in feeling, the enthusiastic love of the good, the true, the one, the sense of the infinity of knowledge and of the marvel of the human faculties. When feeding upon such thoughts the 'wing of the soul' is renewed and gains strength; she is raised above 'the manikins of earth' and their opinions, waiting in wonder to know, and working with reverence to find out what God in this or in another life may reveal to her.

    ON THE DECLINE OF GREEK LITERATURE.

    One of the main purposes of Plato in the Phaedrus is to satirize Rhetoric, or rather the Professors of Rhetoric who swarmed at Athens in the fourth century before Christ. As in the opening of the Dialogue he ridicules the interpreters of mythology; as in the Protagoras he mocks at the Sophists; as in the Euthydemus he makes fun of the word-splitting Eristics; as in the Cratylus he ridicules the fancies of Etymologers; as in the Meno and Gorgias and some other dialogues he makes reflections and casts sly imputation upon the higher classes at Athens; so in the Phaedrus, chiefly in the latter part, he aims his shafts at the rhetoricians. The profession of rhetoric was the greatest and most popular in Athens, necessary 'to a man's salvation,' or at any rate to his attainment of wealth or power; but Plato finds nothing wholesome or genuine in the purpose of it. It is a veritable 'sham,' having no relation to fact, or to truth of any kind. It is antipathetic to him not only as a philosopher, but also as a great writer. He cannot abide the tricks of the rhetoricians, or the pedantries and mannerisms which they introduce into speech and writing. He sees clearly how far removed they are from the ways of simplicity and truth, and how ignorant of the very elements of the art which they are professing to teach. The thing which is most necessary of all, the knowledge of human nature, is hardly if at all considered by them. The true rules of composition, which are very few, are not to be found in their voluminous systems. Their pretentiousness, their omniscience, their large fortunes, their impatience of argument, their indifference to first principles, their stupidity, their progresses through Hellas accompanied by a troop of their disciples—these things were very distasteful to Plato, who esteemed genius far above art, and was quite sensible of the interval which separated them (Phaedrus). It is the interval which separates Sophists and rhetoricians from ancient famous men and women such as Homer and Hesiod, Anacreon and Sappho, Aeschylus and Sophocles; and the Platonic Socrates is afraid that, if he approves the former, he will be disowned by the latter. The spirit of rhetoric was soon to overspread all Hellas; and Plato with prophetic insight may have seen, from afar, the great literary waste or dead level, or interminable marsh, in which Greek literature was soon to disappear. A similar vision of the decline of the Greek drama and of the contrast of the old literature and the new was present to the mind of Aristophanes after the death of the three great tragedians (Frogs). After about a hundred, or at most two hundred years if we exclude Homer, the genius of Hellas had ceased to flower or blossom. The dreary waste which follows, beginning with the Alexandrian writers and even before them in the platitudes of Isocrates and his school, spreads over much more than a thousand years. And from this decline the Greek language and literature, unlike the Latin, which has come to life in new forms and been developed into the great European languages, never recovered.

    This monotony of literature, without merit, without genius and without character, is a phenomenon which deserves more attention than it has hitherto received; it is a phenomenon unique in the literary history of the world. How could there have been so much cultivation, so much diligence in writing, and so little mind or real creative power? Why did a thousand years invent nothing better than Sibylline books, Orphic poems, Byzantine imitations of classical histories, Christian reproductions of Greek plays, novels like the silly and obscene romances of Longus and Heliodorus, innumerable forged epistles, a great many epigrams, biographies of the meanest and most meagre description, a sham philosophy which was the bastard progeny of the union between Hellas and the East? Only in Plutarch, in Lucian, in Longinus, in the Roman emperors Marcus Aurelius and Julian, in some of the Christian fathers are there any traces of good sense or originality, or any power of arousing the interest of later ages. And when new books ceased to be written, why did hosts of grammarians and interpreters flock in, who never attain to any sound notion either of grammar or interpretation? Why did the physical sciences never arrive at any true knowledge or make any real progress? Why did poetry droop and languish? Why did history degenerate into fable? Why did words lose their power of expression? Why were ages of external greatness and magnificence attended by all the signs of decay in the human mind which are possible?

    To these questions many answers may be given, which if not the true causes, are at least to be reckoned among the symptoms of the decline. There is the want of method in physical science, the want of criticism in history, the want of simplicity or delicacy in poetry, the want of political freedom, which is the true atmosphere of public speaking, in oratory. The ways of life were luxurious and commonplace. Philosophy had become extravagant, eclectic, abstract, devoid of any real content. At length it ceased to exist. It had spread words like plaster over the whole field of knowledge. It had grown ascetic on one side, mystical on the other. Neither of these tendencies was favourable to literature. There was no sense of beauty either in language or in art. The Greek world became vacant, barbaric, oriental. No one had anything new to say, or any conviction of truth. The age had no remembrance of the past, no power of understanding what other ages thought and felt. The Catholic faith had degenerated into dogma and controversy. For more than a thousand years not a single writer of first-rate, or even of second-rate, reputation has a place in the innumerable rolls of Greek literature.

    If we seek to go deeper, we can still only describe the outward nature of the clouds or darkness which were spread over the heavens during so many ages without relief or light. We may say that this, like several other long periods in the history of the human race, was destitute, or deprived of the moral qualities which are the root of literary excellence. It had no life or aspiration, no national or political force, no desire for consistency, no love of knowledge for its own sake. It did not attempt to pierce the mists which surrounded it. It did not propose to itself to go forward and scale the heights of knowledge, but to go backwards and seek at the beginning what can only be found towards the end. It was lost in doubt and ignorance. It rested upon tradition and authority. It had none of the higher play of fancy which creates poetry; and where there is no true poetry, neither can there be any good prose. It had no great characters, and therefore it had no great writers. It was incapable of distinguishing between words and things. It was so hopelessly below the ancient standard of classical Greek art and literature that it had no power of understanding or of valuing them. It is doubtful whether any Greek author was justly appreciated in antiquity except by his own contemporaries; and this neglect of the great authors of the past led to the disappearance of the larger part of them, while the Greek fathers were mostly preserved. There is no reason to suppose that, in the century before the taking of Constantinople, much more was in existence than the scholars of the Renaissance carried away with them to Italy.

    The character of Greek literature sank lower as time went on. It consisted more and more of compilations, of scholia, of extracts, of commentaries, forgeries, imitations. The commentator or interpreter had no conception of his author as a whole, and very little of the context of any passage which he was explaining. The least things were preferred by him to the greatest. The question of a reading, or a grammatical form, or an accent, or the uses of a word, took the place of the aim or subject of the book. He had no sense of the beauties of an author, and very little light is thrown by him on real difficulties. He interprets past ages by his own. The greatest classical writers are the least appreciated by him. This seems to be the reason why so many of them have perished, why the lyric poets have almost wholly disappeared; why, out of the eighty or ninety tragedies of Aeschylus and Sophocles, only seven of each had been preserved.

    Such an age of sciolism and scholasticism may possibly once more get the better of the literary world. There are those who prophesy that the signs of such a day are again appearing among us, and that at the end of the present century no writer of the first class will be still alive. They think that the Muse of Literature may transfer herself to other countries less dried up or worn out than our own. They seem to see the withering effect of criticism on original genius. No one can doubt that such a decay or decline of literature and of art seriously affects the manners and character of a nation. It takes away half the joys and refinements of life; it increases its dulness and grossness. Hence it becomes a matter of great interest to consider how, if at all, such a degeneracy may be averted. Is there any elixir which can restore life and youth to the literature of a nation, or at any rate which can prevent it becoming unmanned and enfeebled?

    First there is the progress of education. It is possible, and even probable, that the extension of the means of knowledge over a wider area and to persons living under new conditions may lead to many new combinations of thought and language. But, as yet, experience does not favour the realization of such a hope or promise. It may be truly answered that at present the training of teachers and the methods of education are very imperfect, and therefore that we cannot judge of the future by the present. When more of our youth are trained in the best literatures, and in the best parts of them, their minds may be expected to have a larger growth. They will have more interests, more thoughts, more material for conversation; they will have a higher standard and begin to think for themselves. The number of persons who will have the opportunity of receiving the highest education through the cheap press, and by the help of high schools and colleges, may increase tenfold. It is likely that in every thousand persons there is at least one who is far above the average in natural capacity, but the seed which is in him dies for want of cultivation. It has never had any stimulus to grow, or any field in which to blossom and produce fruit. Here is a great reservoir or treasure-house of human intelligence out of which new waters may flow and cover the earth. If at any time the great men of the world should die out, and originality or genius appear to suffer a partial eclipse, there is a boundless hope in the multitude of intelligences for future generations. They may bring gifts to men such as the world has never received before. They may begin at a higher point and yet take with them all the results of the past. The co-operation of many may have effects not less striking, though different in character from those which the creative genius of a single man, such as Bacon or Newton, formerly produced. There is also great hope to be derived, not merely from the extension of education over a wider area, but from the continuance of it during many generations. Educated parents will have children fit to receive education; and these again will grow up under circumstances far more favourable to the growth of intelligence than any which have hitherto existed in our own or in former ages.

    Even if we were to suppose no more men of genius to be produced, the great writers of ancient or of modern times will remain to furnish abundant materials of education to the coming generation. Now that every nation holds communication with every other, we may truly say in a fuller sense than formerly that 'the thoughts of men are widened with the process of the suns.' They will not be 'cribbed, cabined, and confined' within a province or an island. The East will provide elements of culture to the West as well as the West to the East. The religions and literatures of the world will be open books, which he who wills may read. The human race may not be always ground down by bodily toil, but may have greater leisure for the improvement of the mind. The increasing sense of the greatness and infinity of nature will tend to awaken in men larger and more liberal thoughts. The love of mankind may be the source of a greater development of literature than nationality has ever been. There may be a greater freedom from prejudice and party; we may better understand the whereabouts of truth, and therefore there may be more success and fewer failures in the search for it. Lastly, in the coming ages we shall carry with us the recollection of the past, in which are necessarily contained many seeds of revival and renaissance in the future. So far is the world from becoming exhausted, so groundless is the fear that literature will ever die out.

Film adaptation :
Socrates (1971)

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Persons of Phaedrus dialogue :

1. Phaedrus (Φαῖδρος) : son of Pythocles, of the Myrrhinus deme. He was born to a wealthy family, and was the first cousin of Plato's stepbrother Demos. He became an ancient Athenian aristocrat associated with the inner-circle of the philosopher Socrates. He was indicted in the profanation of the Eleusinian Mysteries in 415 BCE during the Peloponnesian War, causing him to flee Athens.
2. Socrates (Σωκράτης) [469 - 399 BCE] : an Athenian whose mature life was devoted to discussing ethical questions with any and all interested persons, in a charateristic way which has come to be considered as one of the central methods of philosophizing in western culture. Plato was greatly influenced by Socrates, and he used Socrates as a speaker in nearly all of his dialogue.

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Persons mentioned in Phaedrus dialogue :

1. Acumenus (Ἀκουμενός) : a physician of Athens who lived in the 5th century BCE. He was mentioned as the friend and companion of Socrates. He was the father of Eryximachus, who was also a physician.
2. Adonis (Ἄδωνις) : the mortal lover of the goddesses Aphrodite and Persephone. He was famous and considered to be the ideal of male beauty in classical antiquity. The myth goes that Adonis was gored by a wild boar during a hunting trip and died in Aphrodite's arms as she wept. His blood mingled with her tears and became the anemone flower. Aphrodite declared the Adonia festival to commemorate his tragic death, celebrated by women every year in midsummer. During this festival, Greek women would plant "gardens of Adonis", small pots containing fast-growing plants, which they would set on top of their houses in the hot sun. The plants would sprout but soon wither and die. Then, the women would mourn the death of Adonis, tearing their clothes and beating their breasts in a public display of grief.
3. Adrastus (Ἄδραστος) : a king of Argos, and leader of the Seven against Thebes. He was the son of the Argive king Talaus, but was forced out of Argos by his dynastic rival Amphiaraus. He fled to Sicyon, where he became king. Later he reconciled with Amphiaraus and returned to Argos as its king.
4. Anacreon (Ἀνακρέων) : a Greek lyric poet, notable for his drinking songs and erotic poems. Anacreon wrote all of his poetry in the ancient Ionic dialect. Like all early lyric poetry, it was composed to be sung or recited to the accompaniment of music, usually the lyre. Anacreon's poetry touched on universal themes of love, infatuation, disappointment, revelry, parties, festivals, and the observations of everyday people and life.
5. Anaxagoras (Ἀναξαγόρας) : a Pre-Socratic Greek philosopher. Born in Clazomenae at a time when Asia Minor was under the control of the Persian Empire, Anaxagoras came to Athens. In later life he was charged with impiety and went into exile in Lampsacus. Anaxagoras introduced the concept of Nous (Cosmic Mind) as an ordering force. He also gave several novel scientific accounts of natural phenomena, including the notion of panspermia, that life exists throughout the universe and could be distributed everywhere. He deduced a correct explanation for eclipses and described the Sun as a fiery mass larger than the Peloponnese, and also attempted to explain rainbows and meteors. He also speculated that the sun might be just another star.
6. Cephalus (Κέφαλος) : son of Lysanias from Syracuse (5th century BCE), a wealthy metic and elderly arms manufacturer living in Athens. He was the father of orator Lysias, philosopher Polemarchus and Euthydemus.
7. Darius : commonly known as Darius the Great, the third King of Kings of the Achaemenid Empire, reigning from 522 BCE until his death in 486 BCE. He ruled the empire at its territorial peak, when it included much of Western Asia, parts of the Balkans (Thrace–Macedonia and Paeonia) and the Caucasus, most of the Black Sea's coastal regions, Central Asia, the Indus Valley in the far east, and portions of North Africa and Northeast Africa including Egypt (Mudrâya), eastern Libya, and coastal Sudan.
8. Epicrates (Επικράτης) : a rhetorician and a demagogue of Athens, who nourished a long thick beard.
9. Eryximachus (Ἐρυξίμαχος) : an ancient Athenian physician. He was the son of the physician Acumenus.
10. Euripides (Ευριπίδης) : a Greek tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown.
11. Evenus (Εὔηνος) : a 5th-century BCE poet who was roughly contemporary with Socrates. Evenus was the instructor of Socrates in poetry. He was alive at the time of Socrates's death, but at such an advanced age that he was likely soon to follow him.
12. Ganymede (Γανυμήδης) : the son of Tros of Dardania, from whose name "Troy" is supposedly derived. He is the most handsome of mortals. According to the myth, Zeus saw and fell in love with a beautiful mortal youth. Ganymede was abducted by Zeus from Mount Ida near Troy in Phrygia. Ganymede had been tending sheep, a rustic or humble pursuit characteristic of a hero's boyhood before his privileged status is revealed, when an eagle transported the youth to Mount Olympus. On Olympus, Zeus granted Ganymede eternal youth and immortality as the official cup bearer to the gods, in place of Hebe, who was relieved of cup-bearing duties upon her marriage to Heracles.
13. Gorgias (Γοργίας) : an ancient Greek sophist, pre-Socratic philosopher, and rhetorician who was a native of Leontinoi in Sicily. Several doxographers report that he was a pupil of Empedocles, although he would only have been a few years younger.
14. Helen (Ἑλένη) : a figure in Greek mythology said to have been the most beautiful woman in the world. She was believed to have been the daughter of Zeus and Leda or Nemesis, and the sister of Clytemnestra, Castor, Pollux, Philonoe, Phoebe and Timandra. She was married to King Menelaus of Sparta "who became by her the father of Hermione, and, according to others, of Nicostratus also." Her abduction by Paris of Troy was the most immediate cause of the Trojan War.
15. Herodicus (Ἡρóδιĸος) : a 5th century BCE Greek physician, dietician, sophist, and gymnastic master (παιδοτρίβης). He was born in the city of Selymbria, a colony of the city-state Megara, and practiced medicine in various Greek cities including Selymbria, Megara, Athens, and Cnidos. Herodicus believed that exercise and a good diet are key foundations of health, and emphasized the use of both to treat various ailments. He may have also been one of the tutors of Hippocrates. He also recommended massage using beneficial herbs and oils. His theories are considered the foundation of sports medicine.
16. Hippias (Ἱππίας) : a Greek sophist, and a contemporary of Socrates. With an assurance characteristic of the later sophists, he claimed to be regarded as an authority on all subjects, and lectured on poetry, grammar, history, politics, mathematics, and much else.
17. Hippocrates (Ἱπποκράτης) : a Greek physician and philosopher of the classical period who is considered one of the most outstanding figures in the history of medicine. He is traditionally referred to as the "Father of Medicine" in recognition of his lasting contributions to the field, such as the use of prognosis and clinical observation, the systematic categorization of diseases, and the (however misguided) formulation of humoral theory. The Hippocratic school of medicine revolutionized ancient Greek medicine, establishing it as a discipline distinct from other fields with which it had traditionally been associated (theurgy and philosophy), thus establishing medicine as a profession.
18. Homer (Ὅμηρος) : an Ancient Greek poet who is credited as the author of the Iliad and the Odyssey, two epic poems that are foundational works of ancient Greek literature.
19. Ibycus (Ἴβυκος) : an Ancient Greek lyric poet, a citizen of Rhegium in Magna Graecia, probably active at Samos during the reign of the tyrant Polycrates and numbered by the scholars of Hellenistic Alexandria in the canonical list of nine lyric poets. He was mainly remembered in antiquity for pederastic verses, but he also composed lyrical narratives on mythological themes in the manner of Stesichorus.
20. Isocrates (Ἰσοκράτης) : an ancient Greek rhetorician, one of the ten Attic orators. Among the most influential Greek rhetoricians of his time, Isocrates made many contributions to rhetoric and education through his teaching and written works. Greek rhetoric is commonly traced to Corax of Syracuse, who first formulated a set of rhetorical rules in the fifth century BCE. His pupil Tisias was influential in the development of the rhetoric of the courtroom, and by some accounts was the teacher of Isocrates. Within two generations, rhetoric had become an important art, its growth driven by social and political changes such as democracy and courts of law.
21. Licymnius (Λικύμνιος) : an ancient Greek dithyrambic poet from Chios.
22. Lycurgus (Λυκοῦργος) : the legendary lawgiver of Sparta, credited with the formation of its eunomia ('good order'), involving political, economic, and social reforms to produce a military-oriented Spartan society in accordance with the Delphic oracle. The Spartans in the historical period honoured him as god.
23. Lysias (Λυσίας) : a logographer (speech writer) in ancient Greece. Cephalus, his father, was a native of Syracuse, and on the invitation of Pericles had settled at Athens.
24. Midas (Μίδας) : a king of Phrygia with whom many myths became associated, as well as two later members of the Phrygian royal house. His father was Gordias, and his mother was Cybele. The most famous King Midas is popularly remembered in Greek mythology for his ability to turn everything he touched into pure gold and this came to be called the golden touch, or the Midas touch.
25. Morychus : an ancient Greek tragic poet, ridiculed by Aristophanes for his gluttony.
26. Nestor (Νέστωρ) : a legendary king of Pylos. He was the son of King Neleus of Pylos and Chloris, daughter of King Amphion of Orchomenus.
27. Odysseus (Ὀδυσσεύς) : a legendary Greek king of Ithaca and the hero of Homer's epic poem the Odyssee. Odysseus also plays a key role in Homer's Iliad and other works in that same epic cycle.
28. Orithyia (Ὠρείθυια) : the fifth daughter of King Erechtheus of Athens and his wife, Praxithea, thus an Athenian princess.
29. Palamedes (Παλαμήδης) : a Euboean prince, son of King Nauplius in Greek mythology. He joined the rest of the Greeks in the expedition against Troy. He was associated with the invention of dice, numbers, and letters.
30. Pericles (Περικλῆς) : a Greek politician and general during the Golden Age of Athens. He was prominent and influential in Ancient Athenian politics, particularly between the Greco-Persian Wars and the Peloponnesian War, and was acclaimed by Thucydides, a contemporary historian, as "the first citizen of Athens". Pericles turned the Delian League into an Athenian empire and led his countrymen during the first two years of the Peloponnesian War. The period during which he led Athens as Archon (ruler), roughly from 461 to 429 BCE, is sometimes known as the "Age of Pericles", but the period thus denoted can include times as early as the Persian Wars or as late as the following century. Pericles promoted the arts and literature, and it was principally through his efforts that Athens acquired the reputation of being the educational and cultural center of the ancient Greek world. He started an ambitious project that generated most of the surviving structures on the Acropolis, including the Parthenon. This project beautified and protected the city, exhibited its glory, and gave work to its people. Pericles also fostered Athenian democracy to such an extent that critics called him a populist.
31. Pindar (Πίνδαρος) : an Ancient Greek lyric poet from Thebes. Of the canonical nine lyric poets of ancient Greece, his work is the best preserved. Quintilian wrote, "Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable." His poems can also, however, seem difficult and even peculiar. Pindar was the first Greek poet to reflect on the nature of poetry and on the poet's role. His poetry illustrates the beliefs and values of Archaic Greece at the dawn of the Classical period.
32. Polemarchus (Πολέμαρχος) : an ancient Athenian philosopher from Piraeus. He was the son of Cephalus of Syracuse. Polemarchus had two brothers, the famous orator Lysias and Euthydemus, and a sister who married Brachyllus. Polemarchus and Lysias traveled to Thurii when the latter was 15 years old.
33. Polus (Πῶλος) : an ancient Greek philosophical figure. He was a pupil of the famous orator Gorgias, and teacher of oratory from the city of Acragas, Sicily.
34. Prodicus (Πρόδικος) : a Greek philosopher, and part of the first generation of Sophists. He came to Athens as ambassador from Ceos, and became known as a speaker and a teacher.
35. Protagoras (Πρωταγόρας) : a pre-Socratic Greek philosopher and rhetorical theorist. He is numbered as one of the sophists by Plato. In his dialogue Protagoras, Plato credits him with inventing the role of the professional sophist. Protagoras is also believed to have created a major controversy during ancient times through his statement that "Of all things the measure is Man, of the things that are, that they are, and of the things that are not, that they are not" which was usually rendered simply as "Man is the measure of all things," interpreted (possibly wrongly, since he disagreed) by Plato to mean that there is no objective truth; Protagoras seems to have meant that each person's own personal history, experiences and expectations, developed over their lifetime, determine their judgments, opinions, and statements regarding "truth" (which is the title of the book in which Protagoras made this statement). When a person makes a judgment about a certain thing—good or bad or beautiful or unjust—that person will differ from other people's judgments because their experience has been different. This concept of individual relativity was intended to be provocative; naturally, it drew fire from Plato and other philosophers, contrasting with both popular opinion and other philosophical doctrine that reality and its truth must have an objective grounding. But it was part of Protagoras' point that the statement is somewhat counterintuitive. He argued that believing that others' opinions about the world are valid and must be respected, even if our own experience of truth is different, is necessary for a community to base itself and its decisions on open, democratic debate.
36. Sappho (Σαπφώ) : an Archaic Greek poet from Eresos or Mytilene on the island of Lesbos. Sappho is known for her lyric poetry, written to be sung while accompanied by music. In ancient times, Sappho was widely regarded as one of the greatest lyric poets and was given names such as the "Tenth Muse" and "The Poetess".
37. Simmias (Σιμμίας) : an ancient Greek philosopher, disciple of Socrates, and a friend of Cebes.
38. Solon (Σόλων) : an archaic Athenian statesman, lawmaker, political philosopher, and poet. He is one of the Seven Sages of Greece and credited with laying the foundations for Athenian democracy. Solon's efforts to legislate against political, economic and moral decline resulted in his constitutional reform overturning most of Draco's laws. Solon's reforms included debt relief later known and celebrated among Athenians as the seisachtheia (shaking off of burdens). He is described by Aristotle in the Athenian Constitution as "the first people's champion." Demosthenes credited Solon's reforms with starting a golden age.
39. Sophocles (Σοφοκλής) : an ancient Greek tragedian, known as one of three from whom at least one play has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus; and earlier than, or contemporary with, those of Euripides. Sophocles wrote over 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes, and Oedipus at Colonus. For almost 50 years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens which took place during the religious festivals of the Lenaea and the Dionysia. He competed in 30 competitions, won 24, and was never judged lower than second place. Aeschylus won 13 competitions, and was sometimes defeated by Sophocles; Euripides won 4.
40. Stesichorus (Στησίχορος) : a Greek lyric poet native of Metauros (Gioia Tauro today). He is best known for telling epic stories in lyric metres, and for some ancient traditions about his life, such as his opposition to the tyrant Phalaris, and the blindness he is said to have incurred and cured by composing verses first insulting and then flattering to Helen of Troy.
41. Theodorus (Θεόδωρος) : an ancient Greek mathematician. He was born in the northern African colony of Cyrene, and apparently taught both there and in Athens.
42. Thrasymachus (Θρασύμαχος) : a sophist of ancient Greece. He was a citizen of Chalcedon, on the Bosphorus. His career appears to have been spent as a sophist at Athens, although the exact nature of his work and thought is unclear. He is credited with an increase in the rhythmic character of Greek oratory, especially the use of the paeonic rhythm in prose, and a greater appeal to the emotions through gesture.
43. Tisias : one of the founders of ancient Greek rhetoric.
44. Zeno (Ζήνων) : a pre-Socratic Greek philosopher from Elea, in Southern Italy (Magna Graecia). He was a student of Parmenides and one of the Eleatics. Zeno defended his instructor's belief in monism, the idea that only one single entity exists that makes up all of reality. He rejected the existence of space, time, and motion. To disprove these concepts, he developed a series of paradoxes to demonstrate why they are impossible.

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Deities mentioned in Phaedrus dialogue :

1. Achelous (Ἀχελώϊος) : the god associated with the Achelous River, the largest river in Greece. According to Hesiod, he was the son of the Titans Oceanus and Tethys. He was also said to be the father of the Sirens, several nymphs, and other offspring. Achelous was able to change his shape, and in the form of a bull, he wrestled Heracles for the right to marry Deianeira, but lost. He was also involved in the legend of the Argive hero Alcmaeon.
2. Ammon or Amun : a major ancient Egyptian deity who appears as a member of the Hermopolitan Ogdoad. Amun was attested from the Old Kingdom together with his wife Amunet. His oracle in Siwa Oasis, located in Western Egypt near the Libyan Desert, remained the only oracle of Amun throughout. With the 11th Dynasty (c. 21st century BCE), Amun rose to the position of patron deity of Thebes by replacing Montu. Initially possibly one of eight deities in the Hermapolite creation myth, his worship expanded. After the rebellion of Thebes against the Hyksos and with the rule of Ahmose I (16th century BCE), Amun acquired national importance, expressed in his fusion with the Sun god, Ra, as Amun-Ra (alternatively spelled Amon-Ra or Amun-Re). On his own, he was also thought to be the king of the gods.
3. Aphrodite (Αφροδίτη) : an ancient Greek goddess associated with love, lust, beauty, pleasure, passion, procreation. Aphrodite's major symbols include seashells, myrtles, roses, doves, sparrows, and swans. The cult of Aphrodite was largely derived from that of the Phoenician goddess Astarte, a cognate of the East Semitic goddess Ishtar, whose cult was based on the Sumerian cult of Inanna. Aphrodite's main cult centers were Cythera, Cyprus, Corinth, and Athens.
4. Apollo (Απολλων) : the Olympian god of prophecy and oracles, music, song and poetry, archery, healing, plague and disease, and the protection of the young.
5. Ares (Ἄρης) : the Greek god of war and courage. He is one of the Twelve Olympians, and the son of Zeus and Hera. He embodies the physical valor necessary for success in war but can also personify sheer brutality and bloodlust, in contrast to his sister Athena, whose martial functions include military strategy and generalship. An association with Ares endows places, objects, and other deities with a savage, dangerous, or militarized quality.
6. Artemis (Ἄρτεμις) : the goddess of the hunt, the wilderness, wild animals, nature, vegetation, childbirth, care of children, and chastity. She was often said to roam the forests and mountains, attended by her entourage of nymphs. In Greek tradition, Artemis is the daughter of Zeus and Leto, and twin sister of Apollo.
7. Bacchic Nymphs or Maenad (μαινάδες) : the female followers of Dionysus and the most significant members of the thiasus, the god's retinue. Their name, which comes from μαίνομαι (maínomai, “to rave, to be mad; to rage, to be angry”), literally translates as 'raving ones'.
8. Boreas (Βορέας) : the Greek god of the cold north wind, storms, and winter. Boreas is depicted as being very strong, with a violent temper to match. He was frequently shown as a winged old man or sometimes as a young man with shaggy hair and beard, holding a conch shell and wearing a billowing cloak. Boreas's most known myth is his abduction of the Athenian princess Oreithyia.
9. Calliope (Καλλιόπη) : the Muse who presides over eloquence and epic poetry; so called from the ecstatic harmony of her voice.
10. Desire or Himeros (Ἱμερος) : one of the seven Erotes, a group of winged love deities, and part of Aphrodite's procession. Often described as "sweet", he is the god and personification of desire and lust. In Hesiod's Theogony, Eros and Himeros were present at Aphrodite's birth and escorted the goddess as she emerged out of the sea foam and joined the assembly of the gods.
11. Destiny or Moirai (Μοίρες) : three sisters: Clotho (the spinner), Lachesis (the allotter), and Atropos (the inevitable, a metaphor for death). The role of the Moirai was to ensure that every being, mortal and divine, lived out their destiny as it was assigned to them by the laws of the universe. For mortals, this destiny spanned their entire lives and was represented as a thread spun from a spindle. Generally, they were considered to be above even the gods in their role as enforcers of fate, although in some representations, Zeus, the chief of the gods, is able to command them.
12. Dionysus (Διόνυσος) : the god of wine-making, orchards and fruit, vegetation, fertility, festivity, insanity, ritual madness, religious ecstasy, and theatre. He was also known as Bacchus (Βάκχος) by the Greeks for a frenzy he is said to induce called baccheia. As Dionysus Eleutherius ("the liberator"), his wine, music, and ecstatic dance free his followers from self-conscious fear and care, and subvert the oppressive restraints of the powerful. His thyrsus, a fennel-stem sceptre, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a weapon used to destroy those who oppose his cult and the freedoms he represents. Those who partake of his mysteries are believed to become possessed and empowered by the god himself.
13. Erato (Ἐρατώ) : the Muse of lyric poetry, particularly erotic poetry, and mimic imitation. In the Orphic hymn to the Muses, it is Erato who charms the sight.
14. Eros (Ἔρως) : the Greek god of love and sex. In the earliest account, he is a primordial god, while in later accounts he is described as one of the children of Aphrodite and Ares and, with some of his siblings, was one of the Erotes, a group of winged love gods. He is usually presented as a handsome young man, though in some appearances he is a juvenile boy full of mischief, ever in the company of his mother. In both cases, he is winged and carries his signature bow and arrows, which he uses to make both mortals and immortal gods fall in love, often under the guidance of Aphrodite. His role in myths is mostly complementary, and he often appears in the presence of Aphrodite and the other love gods and often acts as a catalyst for people to fall in love, but has little unique mythology of his own; the most major exception being the myth of Eros and Psyche, the story of how he met and fell in love with his wife.
15. Here (Ἥρη) : the goddess of marriage, women, and family, and the protector of women during childbirth. In Greek mythology, she is queen of the twelve Olympians and Mount Olympus, sister and wife of Zeus, and daughter of the Titans Cronus and Rhea. One of her defining characteristics in myth is her jealous and vengeful nature in dealing with any who offended her, especially Zeus's numerous adulterous lovers and illegitimate offspring.
16. Hermes (Ἑρμῆς) : an Olympian deity considered the herald of the gods. He is also widely considered the protector of human heralds, travelers, thieves, merchants, and orators. He is able to move quickly and freely between the worlds of the mortal and the divine aided by his winged sandals. Hermes plays the role of the psychopomp or "soul guide"—a conductor of souls into the afterlife.
17. Hestia (Ἑστία) : the virgin goddess of the hearth and the home. In myth, she is the firstborn child of the Titans Cronus and Rhea, and one of the Twelve Olympians. In spite of her status, she has little prominence in Greek mythology. Like Athena and Artemis, Hestia elected never to marry and remained an eternal virgin goddess instead, forever tending to the hearth of Olympus. As the goddess of sacrificial fire, Hestia received the first offering at every domestic sacrifice. In the public domain, the hearth of the prytaneum functioned as her official sanctuary. Whenever a new colony was established, a flame from Hestia's public hearth in the mother city would be carried to the new settlement.
18. Modesty or Aidos (Αἰδώς) : the Greek goddess of shame, modesty, respect, and humility. Aidos, as a quality, was that feeling of reverence or shame which restrains men from wrong. It also encompassed the emotion that a rich person might feel in the presence of the impoverished, that their disparity of wealth, whether a matter of luck or merit, was ultimately undeserved.
19. Muses (Μοῦσαι) : the inspirational goddesses of literature, science, and the arts. They were considered the source of the knowledge embodied in the poetry, lyric songs, and myths that were related orally for centuries in ancient Greek culture. The number and names of the Muses differed by region, but from the Classical period the number of Muses was standardized to nine, and their names were generally given as Calliope, Clio, Polyhymnia, Euterpe, Terpsichore, Erato, Melpomene, Thalia, and Urania.
20. Nymphs (νύμφη) : a minor female nature deity in ancient Greek folklore. Distinct from other Greek goddesses, nymphs are generally regarded as personifications of nature; they are typically tied to a specific place, landform, or tree, and are usually depicted as maidens. Because of their association with springs, they were often seen as having healing properties; other divine powers of the nymphs included divination and shapeshifting. Nymphs, like other goddesses, were immortal except for the Hamadryads, whose lives were bound to a specific tree.
21. Pan (Πάν) : the god of the wild, shepherds and flocks, rustic music and impromptus, and companion of the nymphs. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is also recognized as the god of fields, groves, wooded glens, and often affiliated with sex; because of this, Pan is connected to fertility and the season of spring.
22. Terpsichore (Τερψιχόρη) : one of the nine Muses and goddess of dance and chorus. She lends her name to the word "terpsichorean", which means "of or relating to dance". Terpsichore is usually depicted sitting down, holding a lyre, accompanying the dancers' choirs with her music.
23. Thamus : a mythical Pharaoh of Upper Egypt. It is impossible to determine whether Thamus' character in Plato's dialogue is based on any real Pharaoh that ruled over Egypt. His name does not resemble any known ruler of Lower Egypt. Since Upper Egypt existed as a separate kingdom before it was merged with Lower Egypt around 3,000 BCE, it may be conjectured that Plato and other philosophers in his era believed king Thamus lived in the very early history of Egypt.
24. Theuth (Θώθ) : an ancient Egyptian deity. In art, he was often depicted as a man with the head of an ibis or a baboon, animals sacred to him. His feminine counterpart was Seshat, and his wife was Ma'at. He was the god of the Moon, wisdom, knowledge, writing, hieroglyphs, science, magic, art and judgment.
25. Urania (Οὐρανία) : the muse of astronomy and astrology. Urania is the goddess of astronomy and stars, her attributes being the globe and compass.
26. Zeus (Ζεύς) : the god of the sky and thunder, and king of the gods in ancient Roman religion and mythology.

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Other Beings mentioned in Phaedrus dialogue :

1. Chimera (Xίμαιρα) : a monstrous fire-breathing hybrid creature from Lycia, Asia Minor, composed of different animal parts. Typically, it is depicted as a lion with a goat's head protruding from its back and a tail ending with a snake's head. Some representations also include dragon's wings. It was an offspring of Typhon and Echidna and a sibling of monsters like Cerberus and the Lernaean Hydra.
2. Gorgons (Γοργώνες) : three monstrous sisters, Stheno, Euryale, and Medusa, said to be the daughters of Phorcys and Ceto. They lived near their sisters the Graeae, and were able to turn anyone who looked at them to stone. Euryale and Stheno were immortal, but Medusa was not.
3. Hippocentaur : a creature from Greek mythology with the upper body of a human and the lower body and legs of a horse that was said to live in the mountains of Thessaly. In one version of the myth, the centaurs were named after Centaurus, and, through his brother Lapithes, were kin to the legendary tribe of the Lapiths. Centaurs are thought of in many Greek myths as being as wild as untamed horses, and were said to have inhabited the region of Magnesia and Mount Pelion in Thessaly, the Foloi oak forest in Elis, and the Malean peninsula in southern Laconia.
4. Siren (Σειρήν) : female humanlike beings with alluring voices. The sirens of Greek mythology first appeared in Homer's Odyssey, where Homer did not provide any physical descriptions, and their visual appearance was left to the readers' imagination. It was Apollonius of Rhodes in Argonautica (3rd century BCE) who described the sirens in writing as part woman and part bird. By the 7th century BCE, sirens were regularly depicted in art as human-headed birds. They may have been influenced by the ba-bird of Egyptian religion. In early Greek art, the sirens were generally represented as large birds with women's heads, bird feathers and scaly feet. Later depictions shifted to show sirens with human upper bodies and bird legs, with or without wings. They were often shown playing a variety of musical instruments, especially the lyre, kithara, and aulos.
5. Typho or Typhon (Τυφῶν) : a monstrous serpentine giant and one of the deadliest creatures in Greek mythology. According to Hesiod, Typhon was the son of Gaia and Tartarus. However, one source has Typhon as the son of Hera alone, while another makes Typhon the offspring of Cronus. Typhon and his mate Echidna were the progenitors of many famous monsters.
6. Winged steeds : a kind of a mythical creature, mostly depicted as a horse with the wings of a bird.

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Place mentioned in Phaedrus dialogue :

1. Areopagus (Άρειος Πάγος) : a prominent rock outcropping located northwest of the Acropolis in Athens, Greece. The name also referred, in classical times, to the Athenian governing council, later restricted to the Athenian judicial council or court that tried cases of deliberate homicide, wounding, and religious matters, as well as cases involving arson of olive trees, because they convened in this location. The war god Ares was supposed to have been tried by the other gods on the Areopagus for the murder of Poseidon's son Halirrhothius (a typical example of an aetiological myth).
2. Athens (Ἀθῆναι) : one of the oldest named cities in the world, having been continuously inhabited for perhaps 5,000 years. Situated in southern Europe, Athens became the leading city of Ancient Greece in the first millennium BCE, and its cultural achievements during the 5th century BCE laid the foundations of Western civilization.
3. Attica (Αττική) : a historical region that encompasses the entire Athens metropolitan area, which consists of the city of Athens, the capital of Greece and the core city of the metropolitan area, as well as its surrounding suburban cities and towns. It is a peninsula projecting into the Aegean Sea, bordering on Boeotia to the north and Megaris to the west. The southern tip of the peninsula, known as Laurion, was an important mining region.
4. Delphi (Δελφοί) : an ancient sacred precinct and the seat of Pythia, the major oracle who was consulted about important decisions throughout the ancient classical world. The ancient Greeks considered the centre of the world to be in Delphi, marked by the stone monument known as the Omphalos of Delphi (navel).
5. Dodona (Δωδώνα) : in Epirus in northwestern Greece was the oldest Hellenic oracle, possibly dating to the 2nd millennium BCE according to Herodotus. The earliest accounts in Homer describe Dodona as an oracle of Zeus. Situated in a remote region away from the main Greek poleis, it was considered second only to the Oracle of Delphi in prestige. During classical antiquity, according to various accounts, priestesses and priests in the sacred grove interpreted the rustling of the oak (or beech) leaves to determine the correct actions to be taken. According to a new interpretation, the oracular sound originated from bronze objects hanging from oak branches and sounded with the wind blowing, similar to a wind chime.
6. Egypt : a civilization of ancient Northeast Africa. It was concentrated along the lower reaches of the Nile River, situated within the contemporary territory of modern-day Egypt.
7. Egyptian Thebes (Θῆβαι) : known to the ancient Egyptians as Waset, an ancient Egyptian city located along the Nile about 800 kilometers (500 mi) south of the Mediterranean. Thebes was the main city of the fourth Upper Egyptian nome (Sceptre nome) and was the capital of Egypt for long periods during the Middle Kingdom and New Kingdom eras. It was close to Nubia and the Eastern Desert, with its valuable mineral resources and trade routes. It was a religious center and the most venerated city during many periods of ancient Egyptian history. The site of Thebes includes areas on both the eastern bank of the Nile, where the temples of Karnak and Luxor stand and where the city was situated; and the western bank, where a necropolis of large private and royal cemeteries and funerary complexes can be found.
8. Hellas (Ἑλλάδος) : Greece as a whole.
9. Himera (Ἱμέρα) : a large and important ancient Greek city situated on the north coast of Sicily at the mouth of the river of the same name (the modern Imera Settentrionale), between Panormus (modern Palermo) and Cephaloedium (modern Cefalù) in the comune of Termini Imerese.
10. Ilissus (Ιλισός) : a river in Athens, Greece. During antiquity, the river flowed outside the city walls of Athens, and was one of the borders of the ancient walls.
11. Megara (Μέγαρα) : a historic town and a municipality in West Attica, Greece. It lies in the northern section of the Isthmus of Corinth opposite the island of Salamis, which belonged to Megara in archaic times, before being taken by Athens.
12. Myrrhina (Μυρρινοῦς) : a deme of ancient Attica which belonged to the phyle (clan) of Pandionis. It lay to the east of Prasiae.
13. Naucratis (Ναύκρατις) : a city and trading-post in ancient Egypt, located on the Canopic (western-most) branch of the Nile river, south-east of the Mediterranean sea and the city of Alexandria. Naucratis was the first and, for much of its early history, the only permanent Greek settlement in Egypt, serving as a symbiotic nexus for the interchange of Greek and Egyptian art and culture.
14. Olympia (Ὀλυμπία) : a small town in Elis on the Peloponnese peninsula in Greece. The site was a major Panhellenic religious sanctuary of ancient Greece, where the ancient Olympic Games were held every 4 years throughout Classical antiquity.
15. Troy (Τροία) : an ancient city located next to present-day Tevfikiye, Turkey. The place was first settled around 3600 BCE and grew into a small fortified city around 3000 BCE. During its four thousand years of existence, Troy was repeatedly destroyed and rebuilt.

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Term mentioned in Phaedrus dialogue :

1. Archons (ἄρχων) : a Greek word that means "ruler", frequently used as the title of a specific public office. In the early literary period of ancient Greece, the chief magistrates of various Greek city states were called archontes. In Athens, a system of three concurrent archons evolved, the three office holders being known as archon eponymos (ἄρχων ἐπώνυμος), the polemarch (πολέμαρχος), and the archon basileus (ἄρχων βασιλεύς). According to Aristotle's Constitution of the Athenians, the power of the king first devolved to the archons, and these offices were filled from the aristocracy by elections every ten years. During this period, the archon eponymos was the chief magistrate, the polemarch was the head of the armed forces, and the archon basileus was responsible for the civic religious arrangements. After 683 BCE, the offices were held for only a single year, and the year was named after the archon eponymos. (Many ancient calendar systems did not number their years consecutively.) Although the process of the next transition is unclear, after 487 BCE the archonships were assigned by lot to any citizen and the polemarch's military duties were taken over by a new class of generals known as strategoi. The polemarch thereafter had only minor religious duties. The archon eponymos remained the titular head of state under democracy, though of much reduced political importance. The archons were assisted by "junior archons", called thesmothetai (pl. of thesmothetēs). After 487 BCE, ex-archons were automatically enrolled as life members of the Areopagus, though that assembly was no longer extremely important politically at that time. Under the Athenian constitution, archons were also in charge of organizing festivals by bringing together poets, playwrights, actors, and city-appointed choregoi (wealthy citizen patrons). The archon would begin this process months in advance of a festival by selecting a chorus of three playwrights based on descriptions of the projected plays. Each playwright would be assigned a choregos, also selected by the archon, from among the wealthy citizens who would pay all the expenses of costumes, masks, and training the chorus. The archon also assigned each playwright a principal actor (the protagonist), as well as a second and third actor. The City Dionysia, an ancient dramatic festival held in March in which tragedy, comedy, and satyric drama originated, was under the direction of one of the principal magistrates, the archon eponymos.
2. Asclepiad (Ἀσκληπιάδης) : a title borne by many Ancient Greek medical doctors, notably Hippocrates of Kos. It is not clear whether the Asclepiads were originally a biological family, or simply a member of an order or guild of doctors. The Asclepiads may have originally been members of a family claiming descent from the god of healing Asclepius, with the name only later being adopted by all doctors; or they may always have been an association of medical men venerating the god as their founder.
3. By the dog : presumably referring to Anubis, the jackal-like god of judgment and discernment who makes the finest distinctions among things in the world--and who is a prominent figure in the Book of the Dead. To swear by the dog of Egypt is a dramatic way of affirming the truth of a proposition.
4. Byzantian (Βυζάντιον) : an ancient Greek city in classical antiquity that became known as Constantinople in late antiquity and Istanbul today.
5. ceteris paribus : "other things equal", "all other things being equal", "other things held constant", "all else unchanged", and "all else being equal". A statement about a causal, empirical, or logical relation between two states of affairs is ceteris paribus if it is acknowledged that the statement, although usually accurate in expected conditions, can fail because of, or the relation can be abolished by, intervening factors.
6. Chalcedonian : native people of Chalcedon (Χαλκηδών), an ancient maritime town of Bithynia, in Asia Minor.
7. Chalcedonian giant : the personification of the Sophists, according to Plato's conception of them, in some of their worst characteristics, or refer to Thrasymachus specifically. He is vain and blustering, refusing to discourse unless he is paid, fond of making an oration, and hoping thereby to escape the inevitable Socrates; but a mere child in argument, and unable to foresee that the next "move" (to use a Platonic expression) will "shut him up." He has reached the stage of framing general notions, and in this respect is in advance of Cephalus and Polemarchus. But he is incapable of defending them in a discussion, and vainly tries to cover his confusion in banter and insolence.
8. Cypselid : a dynasty that ruled over ancient Corinth.
9. Delphian : one of the ancient Greek dialects.
10. Egyptian : native people of ancient Egypt.
11. Elean : native people of ancient Elis (Ἦλις), an ancient district in southern Greece on the Peloponnese.
12. Eleatic : a pre-Socratic philosophers and school of thought in the 5th century BCE centered around the ancient Greek colony of Elea (Ἐλέα), located around 80 miles south-east of Naples in southern Italy, then known as Magna Graecia. The primary philosophers who are associated with the Eleatic doctrines are Parmenides, Zeno of Elea, and Melissus of Samos, although other Italian philosophers such as Xenophanes of Colophon and Empedocles have also sometimes been classified as members of this movement. The Eleatics have traditionally been seen as advocating a strict metaphysical view of monism in response to the materialist monism advocated by their predecessors, the Ionian school.
13. Hellene (Έλληνες) : the most common native ethnonym of the Greeks.
14. Melians : native people of Milos, a volcanic Greek island in the Aegean Sea, just north of the Sea of Crete.
15. Olympian : the principal gods and goddesses in ancient Greek religion.
16. Parian : a native or inhabitant of the Greek island of Paros.
17. Pharmacia (φαρμακεία) : the use of drugs, medicines, or poisons.
18. Phrygian (Φρύγες) : an ancient Indo-European speaking people who inhabited central-western Anatolia (modern-day Turkey) in antiquity. Ancient Greek authors used "Phrygian" as an umbrella term to describe a vast ethno-cultural complex located mainly in the central areas of Anatolia rather than a name of a single "tribe" or "people", and its ethno-linguistic homogeneity is debatable. Phrygians were initially dwelling in the southern Balkans – according to Herodotus – under the name of Bryges (Briges), changing it to Phryges after their final migration to Anatolia, via the Hellespont. Many historians support a Phrygian migration from Europe to Asia Minor c. 1200 BCE, although Anatolian archaeologists have generally abandoned the idea. It has been suggested that the Phrygian migration to Asia Minor, mentioned in Greek sources to have occurred shortly after the Trojan War, happened much earlier, and in many stages. Phrygia developed an advanced Bronze Age culture. The earliest traditions of Greek music are in part connected to Phrygian music, transmitted through the Greek colonies in Anatolia, especially the Phrygian mode, which was considered to be the warlike mode in ancient Greek music. Phrygian Midas, the king of the "golden touch", was tutored in music by Orpheus himself, according to the myth.
19. Sibyl (Σίβυλλα) : prophetess or oracle in Ancient Greece. The sibyls prophesied at holy sites. A sibyl at Delphi has been dated to as early as the eleventh century BCE by Pausanias. At first, there appears to have been only a single sibyl. By the fourth century BCE, there appear to have been at least three more, Phrygian, Erythraean, and Hellespontine.
20. Spartan : native people of the city of Sparta.
21. Theban : citizen of Thebes, Greece.
22. tu quoque : “you also”, a discussion technique that intends to discredit the opponent's argument by attacking the opponent's own personal behavior and actions as being inconsistent with their argument, so that the opponent appears hypocritical.

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