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Tiresias: The Ancient Mediterranean Religions Source Database



11246
Xenophon, Symposium, 1.1


nanTo 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.


Intertexts (texts cited often on the same page as the searched text):

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1. Xenophon, Symposium, 2.15-2.17, 4.19, 4.29, 5.5-5.7, 7.2 (5th cent. BCE - 4th cent. BCE)

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. 2.17. 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? 4.19. How now? exclaimed Socrates . You boast as though you actually thought yourself a handsomer man than me. of course, was Critobulus’s reply; otherwise I should be the ugliest of all the Satyrs ever on the stage. Now Socrates , as fortune would have it, really resembled these creatures. This is regarded by some as a comment interpolated in the text, though doubtless true enough. Plato ( Symp. 215 A, B, E; 216 C, D; 221 D, E; cf. 222 D) represents Alcibiades as likening Socrates to the Sileni and particularly to the Satyr Marsyas. Vase paintings and statues give an idea of the Greek conception of their coarse features. They regularly formed the chorus in the Satyr-plays that were given in connection with tragedies. 4.29. But Callias now remarked, It is your turn, Charmides, to tell us why poverty makes you feel proud. Very well, said he. So much, at least, every one admits, that assurance is preferable to fear, freedom to slavery, being the recipient of attention to being the giver of it, the confidence of one’s country to its distrust. 5.5. Soc. Do you know the reason why we need eyes? Crit. Obviously to see with. In that case, it would appear without further ado that my eyes are finer ones than yours. How so? Because, while yours see only straight ahead, mine, by bulging out as they do, see also to the sides. Crit. Do you mean to say that a crab is better equipped visually than any other creature? Soc. Absolutely; for its eyes are also better set to insure strength. 5.6. Crit. Well, let that pass; but whose nose is finer, yours or mine? Soc. Mine, I consider, granting that Providence made us noses to smell with. For your nostrils look down toward the ground, but mine are wide open and turned outward so that I can catch scents from all about. But how do you make a snub nose handsomer than a straight one? Soc. For the reason that it does not put a barricade between the eyes but allows them unobstructed vision of whatever they desire to see; whereas a high nose, as if in despite, has walled the eyes off one from the other. 5.7. As for the mouth, said Critobulus, I concede that point. For if it is created for the purpose of biting off food, you could bite off a far bigger mouthful than I could. And don’t you think that your kiss is also the more tender because you have thick lips? Soc. According to your argument, it would seem that I have a mouth more ugly even than an ass’s. But do you not reckon it a proof of my superior beauty that the River Nymphs, goddesses as they are, bear as their offspring the Seileni, who resemble me more closely than they do you? 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.


Subjects of this text:

subject book bibliographic info
apuleius metamorphoses, prologue speaker Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 4
apuleius metamorphoses, readers of Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 4
callias (semifictional character in xenophons symposium) Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
cupid and psyche Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 4
decline of and panathenaea Parker, Polytheism and Society at Athens (2005) 268
epic poetry Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 4
games (sympotic) Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
garden party, relief from nineveh Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
honored by paeans, and singing Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
listening and reading Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 4
nineveh, garden-party relief Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
plato and platonism Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 126
plutarch Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 126
prose and poetry Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 4
pyrrhiche Parker, Polytheism and Society at Athens (2005) 268
pyrrhiche at sacrifices at' Parker, Polytheism and Society at Athens (2005) 268
ridicule and laughter Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 126
satire Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 4, 126
seriocomic Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 126
sileni Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 126
skambonidai festivals mentioned in decree of Parker, Polytheism and Society at Athens (2005) 268
socrates, in xenophons symposium Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
socrates (philosopher) Graverini, Literature and Identity in The Golden Ass of Apuleius (2012) 126
themistocles Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
vase paintings, singing Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81
xenophon, and group paeans Cosgrove, Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine (2022) 81