1. Xenophon, Symposium, 1.1, 2.1-2.2, 2.7-2.8, 2.11, 2.15-2.20, 3.1-3.2, 7.1-7.3, 9.2-9.7 (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •callias (semifictional character in xenophon’s symposium) Found in books: Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81, 145, 146 | 1.1. To my mind it is worth while to relate not only the serious acts of great and good men but also what they do in their lighter moods. I should like to narrate an experience of mine that gives me this conviction. 2.1. When the tables had been removed and the guests had poured a libation and sung a hymn, there entered a man from Syracuse , to give them an evening’s merriment. He had with him a fine flute-girl, a dancing-girl—one of those skilled in acrobatic tricks,—and a very handsome boy, who was expert at playing the cither and at dancing; the Syracusan made money by exhibiting their performances as a spectacle. 2.1. When the tables had been removed and the guests had poured a libation and sung a hymn, there entered a man from Syracuse, to give them an evening’s merriment. He had with him a fine flute-girl, a dancing-girl—one of those skilled in acrobatic tricks,—and a very handsome boy, who was expert at playing the cither and at dancing; the Syracusan made money by exhibiting their performances as a spectacle. 2.7. Since this is a debatable matter, suggested Socrates , let us reserve it for another time; for the present let us finish what we have on hand. For I see that the dancing girl here is standing ready, and that some one is bringing her some hoops. 2.7. Since this is a debatable matter, suggested Socrates, let us reserve it for another time; for the present let us finish what we have on hand. For I see that the dancing girl here is standing ready, and that some one is bringing her some hoops. 2.8. At that, the other girl began to accompany the dancer on the flute, and a boy at her elbow handed her up the hoops until he had given her twelve. She took these and as she danced kept throwing them whirling into the air, observing the proper height to throw them so as to catch them in a regular rhythm. 2.8. At that, the other girl began to accompany the dancer on the flute, and a boy at her elbow handed her up the hoops until he had given her twelve. She took these and as she danced kept throwing them whirling into the air, observing the proper height to throw them so as to catch them in a regular rhythm. 2.11. But now there was brought in a hoop set all around with upright swords; over these the dancer turned somersaults into the hoop and out again, to the dismay of the onlookers, who thought that she might suffer some mishap. She, however, went through this performance fearlessly and safely. 2.11. But now there was brought in a hoop set all around with upright swords; over these the dancer turned somersaults into the hoop and out again, to the dismay of the onlookers, who thought that she might suffer some mishap. She, however, went through this performance fearlessly and safely. 2.15. At this point the boy performed a dance, eliciting from Socrates the remark, Did you notice that, handsome as the boy is, he appears even handsomer in the poses of the dance than when he is at rest? It looks to me, said Charmides, as if you were puffing the dancing-master. 2.15. At this point the boy performed a dance, eliciting from Socrates the remark, Did you notice that, handsome as the boy is, he appears even handsomer in the poses of the dance than when he is at rest? It looks to me, said Charmides, as if you were puffing the dancing-master. 2.16. Assuredly, replied Socrates ; and I remarked something else, too,—that no part of his body was idle during the dance, but neck, legs, and hands were all active together. And that is the way a person must dance who intends to increase the suppleness of his body. And for myself, he continued, addressing the Syracusan, I should be delighted to learn the figures from you. What use will you make of them? the other asked. I will dance, by Zeus. 2.16. Assuredly, replied Socrates ; and I remarked something else, too,—that no part of his body was idle during the dance, but neck, legs, and hands were all active together. And that is the way a person must dance who intends to increase the suppleness of his body. And for myself, he continued, addressing the Syracusan, I should be delighted to learn the figures from you. What use will you make of them? the other asked. I will dance, by Zeus. 2.17. This raised a general laugh; but Socrates , with a perfectly grave expression on his face, said: You are laughing at me, are you? Is it because I want to exercise to better my health? Or because I want to take more pleasure in my food and my sleep? Or is it because I am eager for such exercises as these, not like the long-distance runners, who develop their legs at the expense of their shoulders, nor like the prize-fighters, who develop their shoulders but become thin-legged, but rather with a view to giving my body a symmetrical development by exercising it in every part? 2.17. This raised a general laugh; but Socrates, with a perfectly grave expression on his face, said: You are laughing at me, are you? Is it because I want to exercise to better my health? Or because I want to take more pleasure in my food and my sleep? Or is it because I am eager for such exercises as these, not like the long-distance runners, who develop their legs at the expense of their shoulders, nor like the prize-fighters, who develop their shoulders but become thin-legged, but rather with a view to giving my body a symmetrical development by exercising it in every part? 3.2. Then Socrates resumed the conversation. These people, gentlemen, said he, show their competence to give us pleasure; and yet we, I am sure, think ourselves considerably superior to them. Will it not be to our shame, therefore, if we do not make even an attempt, while here together, to be of some service or to give some pleasure one to another? At that many spoke up: You lead the way, then, and tell us what to begin talking about to realize most fully what you have in mind. 3.2. Then Socrates resumed the conversation. These people, gentlemen, said he, show their competence to give us pleasure; and yet we, I am sure, think ourselves considerably superior to them. Will it not be to our shame, therefore, if we do not make even an attempt, while here together, to be of some service or to give some pleasure one to another? At that many spoke up: You lead the way, then, and tell us what to begin talking about to realize most fully what you have in mind. 7.2. When they had finished, a potter’s wheel was brought in for the dancing girl on which she intended performing some feats of jugglery. This prompted Socrates to observe to the Syracusan: Sir, it is quite probable that, to use your words, I am indeed a thinker ; at any rate, I am now considering how it might be possible for this lad of yours and this maid to exert as little effort as may be, and at the same time give us the greatest possible amount of pleasure in watching them,—this being your purpose, also, I am sure. 7.2. When they had finished, a potter’s wheel was brought in for the dancing girl on which she intended performing some feats of jugglery. This prompted Socrates to observe to the Syracusan: Sir, it is quite probable that, to use your words, I am indeed a thinker ; at any rate, I am now considering how it might be possible for this lad of yours and this maid to exert as little effort as may be, and at the same time give us the greatest possible amount of pleasure in watching them,—this being your purpose, also, I am sure. 7.3. Now, turning somersaults in among knives seems to me to be a dangerous exhibition, which is utterly out of place at a banquet. Also, to write or read aloud on a whirling potter’s wheel may perhaps be something of a feat; yet I cannot conceive what pleasure even this can afford. Nor is it any more diverting to watch the young and beautiful going through bodily contortions and imitating hoops than to contemplate them in repose. 7.3. Now, turning somersaults in among knives seems to me to be a dangerous exhibition, which is utterly out of place at a banquet. Also, to write or read aloud on a whirling potter’s wheel may perhaps be something of a feat; yet I cannot conceive what pleasure even this can afford. Nor is it any more diverting to watch the young and beautiful going through bodily contortions and imitating hoops than to contemplate them in repose. 9.2. After he had withdrawn, a chair of state, first of all, was set down in the room, and then the Syracusan came in with the announcement: Gentlemen, Ariadne will now enter the chamber set apart for her and Dionysus; after that, Dionysus, a little flushed with wine drunk at a banquet of the gods, will come to join her; and then they will disport themselves together. 9.2. After he had withdrawn, a chair of state, first of all, was set down in the room, and then the Syracusan came in with the announcement: Gentlemen, Ariadne will now enter the chamber set apart for her and Dionysus; after that, Dionysus, a little flushed with wine drunk at a banquet of the gods, will come to join her; and then they will disport themselves together. 9.3. Then, to start proceedings, in came Ariadne, apparelled as a bride, and took her seat in the chair. Dionysus being still invisible, there was heard the Bacchic music played on a flute. Then it was that the assemblage was filled with admiration of the dancing master. For as soon as Ariadne heard the strain, her action was such that every one might have perceived her joy at the sound; and although she did not go to meet Dionysus, nor even rise, yet it was clear that she kept her composure with difficulty. 9.3. Then, to start proceedings, in came Ariadne, apparelled as a bride, and took her seat in the chair. Dionysus being still invisible, there was heard the Bacchic music played on a flute. Then it was that the assemblage was filled with admiration of the dancing master. For as soon as Ariadne heard the strain, her action was such that every one might have perceived her joy at the sound; and although she did not go to meet Dionysus, nor even rise, yet it was clear that she kept her composure with difficulty. 9.4. But when Dionysus caught sight of her, he came dancing toward her and in a most loving manner sat himself on her lap, and putting his arms about her gave her a kiss. Her demeanour was all modesty, and yet she returned his embrace with affection. As the banqueters beheld it, they kept clapping and crying encore! 9.4. But when Dionysus caught sight of her, he came dancing toward her and in a most loving manner sat himself on her lap, and putting his arms about her gave her a kiss. Her demeanour was all modesty, and yet she returned his embrace with affection. As the banqueters beheld it, they kept clapping and crying encore! 9.5. Then when Dionysus arose and gave his hand to Ariadne to rise also, there was presented the impersonation of lovers kissing and caressing each other. The onlookers viewed a Dionysus truly handsome, an Ariadne truly fair, not presenting a burlesque but offering genuine kisses with their lips; and they were all raised to a high pitch of enthusiasm as they looked on. 9.5. Then when Dionysus arose and gave his hand to Ariadne to rise also, there was presented the impersonation of lovers kissing and caressing each other. The onlookers viewed a Dionysus truly handsome, an Ariadne truly fair, not presenting a burlesque but offering genuine kisses with their lips; and they were all raised to a high pitch of enthusiasm as they looked on. 9.6. For they overheard Dionysus asking her if she loved him, and heard her vowing that she did, so earnestly that not only Dionysus but all the bystanders as well would have taken their oaths in confirmation that the youth and the maid surely felt a mutual affection. For theirs was the appearance not of actors who had been taught their poses but of persons now permitted to satisfy their long-cherished desires. 9.6. For they overheard Dionysus asking her if she loved him, and heard her vowing that she did, so earnestly that not only Dionysus but all the bystanders as well would have taken their oaths in confirmation that the youth and the maid surely felt a mutual affection. For theirs was the appearance not of actors who had been taught their poses but of persons now permitted to satisfy their long-cherished desires. 9.7. At last, the banqueters, seeing them in each other’s embrace and obviously leaving for the bridal couch, those who were unwedded swore that they would take to themselves wives, and those who were already married mounted horse and rode off to their wives that they might enjoy them. As for Socrates and the others who had lingered behind, they went out with Callias to join Lycon and his son in their walk. So broke up the banquet held that evening. 9.7. At last, the banqueters, seeing them in each other’s embrace and obviously leaving for the bridal couch, those who were unwedded swore that they would take to themselves wives, and those who were already married mounted horse and rode off to their wives that they might enjoy them. As for Socrates and the others who had lingered behind, they went out with Callias to join Lycon and his son in their walk. So broke up the banquet held that evening. |
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3. Plato, Protagoras, 347d, 347c (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •nan Found in books: Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 146| 347c. ἐάσωμεν, περὶ δὲ ὧν τὸ πρῶτον ἐγώ σε ἠρώτησα, ὦ Πρωταγόρα, ἡδέως ἂν ἐπὶ τέλος ἔλθοιμι μετὰ σοῦ σκοπούμενος. καὶ γὰρ δοκεῖ μοι τὸ περὶ ποιήσεως διαλέγεσθαι ὁμοιότατον εἶναι τοῖς συμποσίοις τοῖς τῶν φαύλων καὶ ἀγοραίων ἀνθρώπων. καὶ γὰρ οὗτοι, διὰ τὸ μὴ δύνασθαι ἀλλήλοις διʼ ἑαυτῶν συνεῖναι ἐν τῷ πότῳ μηδὲ διὰ τῆς ἑαυτῶν φωνῆς καὶ τῶν λόγων τῶν ἑαυτῶν ὑπὸ ἀπαιδευσίας, τιμίας ποιοῦσι | 347c. But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion. For it seems to me that arguing about poetry is comparable to the wine-parties of common market-folk. These people, owing to their inability to carry on a familiar conversation over their wine by means of their own voices and discussions— [347d] such is their lack of education—put a premium on flute-girls by hiring the extraneous voice of the flute at a high price, and carry on their intercourse by means of its utterance. But where the party consists of thorough gentlemen who have had a proper education, you will see neither flute-girls nor dancing-girls nor harp-girls, but only the company contenting themselves with their own conversation, and none of these fooleries and frolics—each speaking and listening decently in his turn, [347e] even though they may drink a great deal of wine. And so a gathering like this of ours, when it includes such men as most of us claim to be, requires no extraneous voices, not even of the poets, whom one cannot question on the sense of what they say; when they are adduced in discussion we are generally told by some that the poet thought so and so, and by others, something different, and they go on arguing about a matter which they are powerless to determine. No, this sort of meeting is avoided by men of culture, 347c. But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion. For it seems to me that arguing about poetry is comparable to the wine-parties of common market-folk. These people, owing to their inability to carry on a familiar conversation over their wine by means of their own voices and discussions— |
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