history confirms the truth of his remark. When Aristophanes declares that
love is the desire of the whole, he expresses a feeling not unlike that of
the German philosopher, who says that 'philosophy is home sickness.' When
Agathon says that no man 'can be wronged of his own free will,' he is
alluding playfully to a serious problem of Greek philosophy (compare Arist.
Nic. Ethics). So naturally does Plato mingle jest and earnest, truth and
opinion in the same work.

The characters--of Phaedrus, who has been the cause of more philosophical
discussions than any other man, with the exception of Simmias the Theban
(Phaedrus); of Aristophanes, who disguises under comic imagery a serious
purpose; of Agathon, who in later life is satirized by Aristophanes in the
Thesmophoriazusae, for his effeminate manners and the feeble rhythms of his
verse; of Alcibiades, who is the same strange contrast of great powers and
great vices, which meets us in history--are drawn to the life; and we may
suppose the less-known characters of Pausanias and Eryximachus to be also
true to the traditional recollection of them (compare Phaedr., Protag.; and
compare Sympos. with Phaedr.). We may also remark that Aristodemus is
called 'the little' in Xenophon's Memorabilia (compare Symp.).

The speeches have been said to follow each other in pairs: Phaedrus and
Pausanias being the ethical, Eryximachus and Aristophanes the physical
speakers, while in Agathon and Socrates poetry and philosophy blend
together. The speech of Phaedrus is also described as the mythological,
that of Pausanias as the political, that of Eryximachus as the scientific,
that of Aristophanes as the artistic (!), that of Socrates as the
philosophical. But these and similar distinctions are not found in Plato;
--they are the points of view of his critics, and seem to impede rather
than to assist us in understanding him.