'Great is Socrates'—he has heard them from another 'madman,' Aristodemus, who was the 'shadow' of Socrates in days of old, like him going about barefooted, and who had been present at the time. 'Would you desire better witness?' The extraordinary narrative of Alcibiades is ingeniously represented as admitted by Socrates, whose silence when he is invited to contradict gives consent to the narrator. We may observe, by the way, (1) how the very appearance of Aristodemus by himself is a sufficient indication to Agathon that Socrates has been left behind; also, (2) how the courtesy of Agathon anticipates the excuse which Socrates was to have made on Aristodemus' behalf for coming uninvited; (3) how the story of the fit or trance of Socrates is confirmed by the mention which Alcibiades makes of a similar fit of abstraction occurring when he was serving with the army at Potidaea; like (4) the drinking powers of Socrates and his love of the fair, which receive a similar attestation in the concluding scene; or the attachment of Aristodemus, who is not forgotten when Socrates takes his departure. (5) We may notice the manner in which Socrates himself regards the first five speeches, not as true, but as fanciful and exaggerated encomiums of the god Love; (6) the satirical character of them, shown especially in the appeals to mythology, in the reasons which are given by Zeus for reconstructing the frame of man, or by the Boeotians and Eleans for encouraging male loves; (7) the ruling passion of Socrates for dialectics, who will argue with Agathon instead of making a speech, and will only speak at all upon the condition that he is allowed to speak the truth. We may note also the touch of Socratic irony, (8) which admits of a wide application and reveals a deep insight into the world:—that in speaking of holy things and persons there is a general understanding that you should praise them, not that you should speak the truth about them—this is the sort of praise which Socrates is unable to give. Lastly, (9) we may remark that the banquet is a real banquet after all, at which love is the theme of discourse, and huge quantities of wine are drunk.
The discourse of Phaedrus is half-mythical, half-ethical; and he himself, true to the character which is given him in the Dialogue bearing his