Symposium.
Introduction
serious, are so subtly intermingled in it, and vestiges of old philosophy so curiously blend with germs of future knowledge, that agreement among, interpreters is not to be expected. The expression ' poema magis putandum quam comicorum poetarum,' which has been applied to all the writings of Plato, is especially applicable to the Symposium.
The power of love is represented in the Symposium as running through all nature and all being : at one end descending to animals and plants, and attaining to the highest vision of truth at the other. In an age when man was seeking for an expression of the world around him, the conception of love greatly affected him. One of the first distinctions of language and of mythology was that of gender ; and at a later period the ancient physicist, anticipating modern science, saw, or thought that he saw, a sex in plants ; there were elective affinities among the elements, marriages of earth and heaven. (Aesch. Frag. Dan. 38.) Love became a mythic personage, whom philosophy, borrowing from poetry, converted into an efficient cause of creation. The traces of the existence of love, as of number and figure, were everywhere discerned ; and in the Pythagorean list of opposites male and female were ranged side by side with odd and even, finite and infinite.
But Plato seems also to be aware that there is a mystery of love in man as well as in nature, extending beyond the mere immediate relation of the sexes. He is conscious that the highest and noblest things in the world are not easily severed from the sensual desires, or may even be regarded as a spiritualized form of them. We may observe that Socrates himself is not represented as originally unimpassioned, but as one who has overcome his passions ; the secret of his power over others partly lies in his passionate but self-controlled nature. In the Phaedrus and Symposium love is not merely the feeling usually so called, but the mystical contemplation of the beautiful and the good. The same passion which may wallow in the mire is capable of rising to the loftiest heights— of penetrating the inmost secret of philosophy. The highest love is the love not of a person, but of the highest and purest abstraction. This abstraction is the far-off heaven on which the eye of the mind is fixed in fond amazement. The unity of truth, the consistency of the warring elements of the
