The other is a crooked lumbering animal, put together anyhow; he has a short thick neck; he is flat-faced and of a dark colour, with grey eyes and blood-red complexion; the mate of insolence and pride, shag-eared and deaf, hardly yielding to whip and spur.
Now when the charioteer beholds the vision of love, and has his whole soul warmed through sense, and is full of the prickings and ticklings of desire, the obedient steed, then as always under the government of shame, refrains from leaping on the beloved; but the other, heedless of the pricks and of the blows of the whip, plunges and runs away, giving all manner of trouble to his companion and the charioteer, whom he forces to approach the beloved and to remember the joys of love.
They at first indignantly oppose him and will not be urged on to do terrible and unlawful deeds; but at last, when he persists in plaguing them, they yield and agree to do as he bids them.
And now they are at the spot and behold the flashing beauty of the beloved; which when the charioteer sees, his memory is carried to the true beauty, whom he beholds in company with Modesty like an image placed upon a holy pedestal.
He sees her, but he is afraid and falls backwards in adoration, and by his fall is compelled to pull back the reins with such violence as to bring both the steeds on their haunches, the one willing and unresisting, the unruly one very unwilling; and when they have gone back a little, the one is overcome with shame and wonder, and his whole soul is bathed in perspiration; the other, when the pain is over which the bridle and the fall had given him, having with difficulty taken breath, is full of wrath and reproaches, which he heaps upon the charioteer and his fellow-steed, for want of courage and manhood, declaring that they have been false to their agreement and guilty of desertion.
Again they refuse, and again he urges them on, and will scarce yield to their prayer that he would wait until another time.
When the appointed hour comes, they make as if they had forgotten, and he reminds them, fighting and neighing and dragging them on, until at length he, on the same thoughts intent, forces them to draw near again.
And when they are near he stoops his head and puts up his tail, and takes the bit in his teeth.
and pulls shamelessly.
Then the charioteer is.
worse off than ever; he falls back like a racer at the barrier, and with a still more violent wrench drags the bit out of the teeth of the wild steed and covers his abusive tongue and-jaws with blood, and forces his legs and haunches to the ground and punishes him sorely.
And when this has happened several times and the villain has ceased from his wanton way, he is tamed and humbled, and follows the will of the charioteer, and when he sees the beautiful one he is ready to die of fear.
And from that time forward the soul of the lover follows the beloved in modesty and holy fear.
And so the beloved who, like a god, has received every true and loyal service from his lover, not in pretence but in reality, being also himself of a nature friendly to his admirer, if in former days he has blushed to own his passion and turned away his lover, because his youthful companions or others slanderously told him that he would be disgraced, now as years advance, at the appointed age and time, is led to receive him into communion.
For fate which has ordained that there shall be no friendship among the evil has also ordained that there shall ever be friendship among the good.
Themes
◆Anamnesissoteriology
Platonic recollection: knowledge as the soul's recovery of what it knew before birth, with learning as remembering rather than acquisition.
The charioteer's memory is carried to the true beauty, recovering what he knew before.
Augustinian and Plotinian doctrine that evil has no positive being of its own but is a lack, distortion, or absence of the good — denying ontological dualism while preserving moral seriousness.
Evil is defined by lack of true friendship and good service rather than positive being.
Diotima's staged ascent from love of beautiful bodies → beautiful souls → beautiful pursuits → beautiful knowledge → Beauty itself; the canonical scala amoris that grounds Plotinus's On the Beautiful and Bruno's Eroici Furori — distinct from generic spiritual_ascent in that eros is the specific motive force.
The passage explicitly describes the staged ascent from love of beautiful bodies to true beauty through trials and purification.
The felt condition of exile from one's divine origin — Rumi's reed flute torn from its bed, Plotinus's 'we have forgotten,' the Gnostic forgetfulness; the affective wound that complements return_to_source and gives the return its motive.
The soul is initially driven away by the unruly steed and must overcome shame to return to the beloved.