Book contents
- Frontmatter
- Contents
- Preface
- Abbreviations
- Chapter 1 The nature and history of philosophical allegory
- Chapter 2 Introducing the dialogues' musical structure
- Chapter 3 Independent lines of evidence
- Chapter 4 An emphatic pattern in the Symposium's frame
- Chapter 5 Making the Symposium's musical structure explicit
- Chapter 6 Parallel structure in the Euthyphro
- Chapter 7 Extracting doctrine from structure
- Chapter 8 Some implications
- Appendix 1 More musicological background
- Appendix 2 Neo–Pythagoreans, the twelve–note scale and the monochord
- Appendix 3 Markers between the major notes
- Appendix 4 The central notes
- Appendix 5 Systematic theory of the marking passages
- Appendix 6 Structure in Agathon and Socrates' speeches
- Appendix 7 Euripides and line–counting
- Appendix 8 Data from the Republic
- Appendix 9 OCT line numbers for the musical notes
- Notes
- Bibliography
- Index
Appendix 6 - Structure in Agathon and Socrates' speeches
- Frontmatter
- Contents
- Preface
- Abbreviations
- Chapter 1 The nature and history of philosophical allegory
- Chapter 2 Introducing the dialogues' musical structure
- Chapter 3 Independent lines of evidence
- Chapter 4 An emphatic pattern in the Symposium's frame
- Chapter 5 Making the Symposium's musical structure explicit
- Chapter 6 Parallel structure in the Euthyphro
- Chapter 7 Extracting doctrine from structure
- Chapter 8 Some implications
- Appendix 1 More musicological background
- Appendix 2 Neo–Pythagoreans, the twelve–note scale and the monochord
- Appendix 3 Markers between the major notes
- Appendix 4 The central notes
- Appendix 5 Systematic theory of the marking passages
- Appendix 6 Structure in Agathon and Socrates' speeches
- Appendix 7 Euripides and line–counting
- Appendix 8 Data from the Republic
- Appendix 9 OCT line numbers for the musical notes
- Notes
- Bibliography
- Index
Summary
It was mentioned in Chapter 5 that the speeches of Agathon and Socrates have a parallel structure:
Cross-examination (of Agathon: 194c7f.; of the younger Socrates, 201 e6 f.).
Introduction and Previewed Structure (Ag.: 194e4–195a5; Soc.: 201d8f.; cf. 199c3f.).
Part 1: Nature and origins of Eros
(A) Nature (Ag.: 195a5f.; Soc.: 202d8f.). Transition (Ag.: 196b4–5; Soc.: 204c8–d2).
(B) Goodness (esp. the four cardinal virtues; Ag.: 196b6f.; Soc.: 204d4f.). Transition (Ag.: 197c1–4; Soc.: 206b1f.).
Part 2: Works of Eros (peroration and vision; Ag.: 197c3f.; Soc.: 206b7f.).
At 207a5–c7, Socrates or Diotima shifts from the use of eros to its cause. Since Socrates says his speech will have two major parts, this transition probably marks a subsection of the second part. At 197c3, Agathon introduces the second part of his speech by saying Eros is also a “cause”. So, in both speeches, to explain how something causes is a way of describing its erga, its works or functionings.
Although Alcibiades has not heard the earlier speeches, it may be that his speech shares the same structure as the two preceding speeches by Agathon and Socrates, at least in some rough and confused way. Alcibiades proceeds from Socrates' nature (comparison to a satyr, etc.), to his virtues (resistance to Alcibiades' charms, temperance, etc.), and then to his works (the battles scenes and feats of endurance).
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- Publisher: Acumen PublishingPrint publication year: 2011