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Plato: Symposium · 21 of 36 · tr. Benjamin Jowett

Section 1u

True, he said. Then Love wants and has not beauty? Certainly, he replied. And would you call that beautiful which wants and does not possess beauty? Certainly not. Then would you still say that love is beautiful? Agathon replied: I fear that I did not understand what I was saying. You made a very good speech, Agathon, replied Socrates; but there is yet one small question which I would fain ask:-Is not the good also the beautiful? Yes. Then in wanting the beautiful, love wants also the good? I cannot refute you, Socrates, said Agathon:-Let us assume that what you say is true. Say rather, beloved Agathon, that you cannot refute the truth; for Socrates is easily refuted. And now, taking my leave of you, I would rehearse a tale of love which I heard from Diotima of Mantineia, a woman wise in this and in many other kinds of knowledge, who in the days of old, when the Athenians offered sacrifice before the coming of the plague, delayed the disease ten years. She was my instructress in the art of love, and I shall repeat to you what she said to me, beginning with the admissions made by Agathon, which are nearly if not quite the same which I made to the wise woman when she questioned me-I think that this will be the easiest way, and I shall take both parts myself as well as I can. As you, Agathon, suggested, I must speak first of the being and nature of Love, and then of his works. First I said to her in nearly the same words which he used to me, that Love was a mighty god, and likewise fair and she proved to me as I proved to him that, by my own showing, Love was neither fair nor good. "What do you mean, Diotima," I said, "is love then evil and foul?" "Hush," she cried; "must that be foul which is not fair?" "Certainly," I said. "And is that which is not wise, ignorant? do you not see that there is a mean between wisdom and ignorance?" "And what may that be?" I said. "Right opinion," she replied; "which, as you know, being incapable of giving a reason, is not knowledge (for how can knowledge be devoid of reason? nor again, ignorance, for neither can ignorance attain the truth), but is clearly something which is a mean between ignorance and wisdom." "Quite true," I replied. "Do not then insist," she said, "that what is not fair is of necessity foul, or what is not good evil; or infer that because love is not fair and good he is therefore foul and evil; for he is in a mean between them." "Well," I said, "Love is surely admitted by all to be a great god." "By those who know or by those who do not know?" "By all." "And how, Socrates," she said with a smile, "can Love be acknowledged to be a great god by those who say that he is not a god at all?" "And who are they?" I said. "You and I are two of them," she replied. "How can that be?" I said. "It is quite intelligible," she replied; "for you yourself would acknowledge that the gods are happy and fair of course you would-would to say that any god was not?" "Certainly not," I replied.
Themes
Apophatic Theologytheology

Describing the divine only by negation—God transcends all positive categories and concepts; the via negativa.

The passage defines Love primarily by negation, stating he is neither fair nor good, and not a god, using negative attributes to describe his nature.

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Ladder Of Lovesoteriology

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 introduces Diotima's tale of love and outlines the structure of her teaching (nature then works), which is the source context for the ladder concept.

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Opposites Transcendedanthropology

The dissolution of binary oppositions (male/female, inner/outer, above/below) as a mark of spiritual completion.

Diotima explicitly posits a 'mean between wisdom and ignorance' (right opinion) and argues against the binary of fair/foul or good/evil.

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Paradox As Teachingethics

Using apparent contradiction, reversal, or riddle to destabilise ordinary understanding and induce insight.

Socrates uses dialectical paradoxes (Love desires beauty but is not beautiful) to destabilize Agathon's understanding and reveal the truth about Love.

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Related passages · 6 parallels
buddhism|Vajrakkhedika (Diamond Cutter)|Section 1g
Therefore he is called an Anâgâmin.' Bhagavat said: 'What do you think, O Subhûti, does an Arhat think in this wise: The fruit of an Arhat has been obtained by me?' Subhûti said: 'Not indeed, O Bhagavat, an Arhat does not think in this wise…”
Both passages explore the nature of love and enlightenment, respectively, through a dialogue that challenges conventional understanding. They both emphasize the importance of transcending dualistic thinking, whether it be the duality of beauty and ugliness in Plato's Symposium or the duality of self and non-self in the Buddhist text.
neoplatonism|Select Works of Plotinus|Select Works, Section 62 (part 1)
Section 1 1. Beauty addresses itself chiefly to sight; but there is a beauty for the hearing too, as in certain combinations of words and in all kinds of music, for melodies and cadences are beautiful; and minds that lift themselves above…”
Both passages explore the nature of beauty and its relationship to goodness and love. They delve into the idea that beauty is not merely a physical attribute but also an inherent quality in virtues and higher concepts, suggesting a deeper, more abstract principle underlying beauty.
neoplatonism|Select Works of Plotinus|Select Works, Section 223
Section 2 2. The existence of such a being is no demand of the ordinary man, merely; it is supported by Theologians and, over and over again, by Plato to whom Eros is child of Aphrodite, minister of beautiful children, inciter of human soul…”
Both passages explore the nature of Love as a divine or spiritual force that seeks beauty and the good. They discuss Love's role in aspiring towards beauty and the philosophical implications of this pursuit, showing a genuine conceptual parallel.
neoplatonism|Select Works of Plotinus|Select Works, Section 480
Section 2 2. But let us leave the arts and consider those works produced by Nature and admitted to be naturally beautiful which the creations of art are charged with imitating, all reasoning life and unreasoning things alike, but especially…”
Both passages explore the nature of beauty and love, suggesting that the true essence of beauty is not found in physical form but in an abstract, ideal form. They both use philosophical dialogue to convey the idea that beauty is an eternal, immaterial concept.
neoplatonism|Select Works of Plotinus|Select Works, Section 486
Section 8 8. This then is Beauty primally: it is entire and omnipresent as an entirety; and therefore in none of its parts or members lacking in beauty; beautiful thus beyond denial. Certainly it cannot be anything [be, for example, Beauty]…”
Both passages explore the nature of beauty and love, suggesting that the true essence of beauty lies beyond the physical and material. They both point to an ideal or form of beauty that exists independently of the physical manifestations.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|Second Dialoguee
Herein he proves that his love is truly heroic; because he proposes to himself as the chief aim, not corporeal beauty, but rather the grace of the spirit, and the inclination of the affections in which, rather than in the beauty of the body…”
Both passages explore the nature of love, emphasizing that true love transcends mere physical beauty and seeks the spiritual or divine. They both argue for a higher, more virtuous form of love that is not merely about physical desire but about the beauty of the spirit and the inclination of the affections.