Nor is there any real vulgarity in the fear which Socrates expresses that
he will get a beating from his mistress, Aspasia: this is the natural
exaggeration of what might be expected from an imperious woman. Socrates
is not to be taken seriously in all that he says, and Plato, both in the
Symposium and elsewhere, is not slow to admit a sort of Aristophanic
humour. How a great original genius like Plato might or might not have
written, what was his conception of humour, or what limits he would have
prescribed to himself, if any, in drawing the picture of the Silenus
Socrates, are problems which no critical instinct can determine.
On the other hand, the dialogue has several Platonic traits, whether
original or imitated may be uncertain. Socrates, when he departs from his
character of a 'know nothing' and delivers a speech, generally pretends
that what he is speaking is not his own composition. Thus in the Cratylus
he is run away with; in the Phaedrus he has heard somebody say something--
is inspired by the genius loci; in the Symposium he derives his wisdom from
Diotima of Mantinea, and the like. But he does not impose on Menexenus by
his dissimulation. Without violating the character of Socrates, Plato, who
knows so well how to give a hint, or some one writing in his name,
intimates clearly enough that the speech in the Menexenus like that in the
Phaedrus is to be attributed to Socrates.
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