Plato’s Perfect Sophist: Diotima and Likeness (eikōn)
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In the Symposium Diotima gives an account of Erōs, composed of two parts, to Socrates who believes Erōs to be a great god and of the beautiful things. The first part in a dialogue style defines that Erōs is a great spirit with a power to inspire people to pursue immortality via procreation and begetting in the good and beautiful for happiness (Symp. 201e6-208b6). As Socrates, being amazed though, still remains doubtful, Diotima alters her account style to a monologue and begins the second part with mythical, historical, and analogical images to illustrate the work of Erōs (Symp. 208b7-9, 208c1-212a7). Persuaded by the account, Socrates now professes to know the things related to Erōs, but remarks that Diotima, in the second part, speaks “just as the perfect sophists” (Symp. 177d7-8, 208c1). Plato, seeking the nature of the sophist, divides an image, which produces lies, into an apparition that conveys the seemingly beautiful proportions and a likeness that carries the correct proportions of the original (Soph. 235d6- 236b7). The performer of the art of apparition-making is clarified as the sophist who, imitating the sophos, produces apparitions in accounts for private disputation. Not clearly explicated, still, the performer of the art of likenessmaking is inferred as a sophist too, for he too imitates the sophos to make likenesses in accounts for the same purpose. This performer, however, compared to the other, is perfect, or accomplished, in presenting the correct proportions of the original. The images in the second part of Diotima’s account, which form a lie but carry the correct proportions of the work of Erōs, dispute Socrates’ beliefs and instruct him in the things related to Erōs. Diotima by using such images is labeled as speaking “just as the perfect sophists”.
Abstract
In the Symposium Diotima gives an account of Erōs, composed of two parts, to Socrates who believes Erōs to be a great god and of the beautiful things. The first part in a dialogue style defines that Erōs is a great spirit with a power to inspire people to pursue immortality via procreation and begetting in the good and beautiful for happiness (Symp. 201e6-208b6). As Socrates, being amazed though, still remains doubtful, Diotima alters her account style to a monologue and begins the second part with mythical, historical, and analogical images to illustrate the work of Erōs (Symp. 208b7-9, 208c1-212a7). Persuaded by the account, Socrates now professes to know the things related to Erōs, but remarks that Diotima, in the second part, speaks “just as the perfect sophists” (Symp. 177d7-8, 208c1). Plato, seeking the nature of the sophist, divides an image, which produces lies, into an apparition that conveys the seemingly beautiful proportions and a likeness that carries the correct proportions of the original (Soph. 235d6- 236b7). The performer of the art of apparition-making is clarified as the sophist who, imitating the sophos, produces apparitions in accounts for private disputation. Not clearly explicated, still, the performer of the art of likenessmaking is inferred as a sophist too, for he too imitates the sophos to make likenesses in accounts for the same purpose. This performer, however, compared to the other, is perfect, or accomplished, in presenting the correct proportions of the original. The images in the second part of Diotima’s account, which form a lie but carry the correct proportions of the work of Erōs, dispute Socrates’ beliefs and instruct him in the things related to Erōs. Diotima by using such images is labeled as speaking “just as the perfect sophists”.
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