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Updated: June 25, 2025
Socrates dropped behind in a fit of abstraction, and desired Aristodemus, who was waiting, to go on before him. When he reached the house of Agathon he found the doors wide open, and a comical thing happened. A servant coming out met him, and led him at once into the banqueting-hall in which the guests were reclining, for the banquet was about to begin.
"Wieland, who had been occasionally prolix in "Agathon," "Don Sylvio," and the "Comic Tales," becomes condensed and precise to a wonderful degree, as well as exceedingly graceful in "Musarion" and "Idris." Klopstock, in the first cantos of "The Messiah," is not without diffuseness: in his "Odes" and other minor poems he appears compressed, as also in his tragedies.
At the end of the Symposium Plato represents Socrates as convincing both Agathon, a tragedian, and Aristophanes that the writer of tragedy will be able to write comedy also. That the two forms are not wholly divorced is clear from the history of ancient drama itself: Each dramatist competed with four plays, three tragedies and a Satyric drama.
Whose eyes were more divinely touched In that long-memoried world whence souls set forth. As the poem opens, Agathon is in the state of the favorite poet of nineteenth century imagination, loving, yet discontented with, the beauty of the senses.
And when you say, I desire that which I have and nothing else, is not your meaning that you want to have what you now have in the future? He must agree with us must he not? He must, replied Agathon.
Phaedrus, Pausanias, Eryximachus, Aristophanes, Agathon, Socrates, Alcibiades, A Troop of Revellers. SCENE: The House of Agathon. Concerning the things about which you ask to be informed I believe that I am not ill-prepared with an answer.
Of course, he is 'playing both sides of the game, as in the Gorgias and Phaedrus; but it is not necessary in order to understand him that we should discuss the fairness of his mode of proceeding. The love of Pausanias for Agathon has already been touched upon in the Protagoras, and is alluded to by Aristophanes.
And Socrates, looking at Eryximachus, said: Tell me, son of Acumenus, was there not reason in my fears? and was I not a true prophet when I said that Agathon would make a wonderful oration, and that I should be in a strait? The part of the prophecy which concerns Agathon, replied Eryximachus, appears to me to be true; but not the other part that you will be in a strait.
As it would be out of character for Socrates to make a lengthened harangue, the speech takes the form of a dialogue between Socrates and a mysterious woman of foreign extraction. The last of the six discourses begins with a short argument which overthrows not only Agathon but all the preceding speakers by the help of a distinction which has escaped them.
Longi'nus said of Ion, that he was fluent and polished, rather than bold or sublime; while Agathon has been characterized as "the creator of a new tragic style, combining the verbal elegancies and ethical niceties of the Sophists with artistic claims of a luxurious kind." While tragedy declined, with comedy the case was different, for its changes were progressive.
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