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Only Socrates, Aristophanes, and Agathon hold out; they are drinking from a large goblet, which they pass round, and Socrates is explaining to the two others, who are half-asleep, that the genius of tragedy is the same as that of comedy, and that the writer of tragedy ought to be a writer of comedy also. And first Aristophanes drops, and then, as the day is dawning, Agathon.
I thought that I ought to do anything rather than be a philosopher. Well, he said, jesting apart, tell me when the meeting occurred. In our boyhood, I replied, when Agathon won the prize with his first tragedy, on the day after that on which he and his chorus offered the sacrifice of victory. Then it must have been a long while ago, he said; and who told you did Socrates?
Socrates turned to Agathon and said: I must ask you to protect me, Agathon; for the passion of this man has grown quite a serious matter to me. Since I became his admirer I have never been allowed to speak to any other fair one, or so much as to look at them.
The company were vociferous in begging that he would take his place among them, and Agathon specially invited him.
How far it was happy chance, how far deliberately aimed at and attained, is a question which brings us before one of the insoluble problems of art; we may remind ourselves that, in the words of the Greek dramatist Agathon, which Aristotle was so fond of quoting, skill and chance in all art cling close to one another.
But if we would learn how the figure of a man came to be suspended upon this form of the cross, we must refer to Mediaeval History, which teaches that in the year 680, under the Pontificate of Agathon, and during the reign of Constantine Pogonat, at the sixth council of the church, and third at Constantinople, it was ordered in Canon 82 that "Instead of a lamb, the figure of a man nailed to a cross should be the distinguishing symbol of the Christian religion."
He tells us that, after the other guests were dispersed or had fallen asleep, Socrates was left awake with Aristophanes and Agathon, and that while he drank with them out of a large cup, he forced them to confess, however unwillingly, that it is the business of one and the same man to be equally master of tragic and comic composition, and that the tragic poet is, in virtue of his art, comic poet also.
After a fruitless attempt to induce the effeminate poet Agathon to undertake the hazardous experiment, Euripides prevails on his brother-in-law, Mnesilochus, who was somewhat advanced in years, to disguise himself as a woman, that under this assumed appearance he may plead his cause.
"You are sober, Alcibiades," said Socrates, "or you would never have gone about to hide the purpose of your satyr's praises, for all this long story is only an ingenious circumlocution, the point of which comes in by the way at the end; you want to get up a quarrel between me and Agathon, and your notion is that I ought to love you and nobody else, and that you and you only ought to love Agathon.
Unclasp thy lips; yield me thy close embrace; So shall thy thoughts once more to heaven climb, Their music linger here, the joy of men. Agathon resolves to cleave to him, but at this point Anteros, corresponding to Plato's Venus Pandemos, enters into rivalry with Eros for Agathon's love.
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