phaedrus-第11节
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the assembly； but is one and the same in every use of language； this
is the art； if there be such an art； which is able to find a
likeness of everything to which a likeness can be found； and draws
into the light of day the likenesses and disguises which are used by
others？
Phaedr。 How do you mean？
Soc。 Let me put the matter thus： When will there be more chance of
deception…when the difference is large or small？
Phaedr。 When the difference is small。
Soc。 And you will be less likely to be discovered in passing by
degrees into the other extreme than when you go all at once？
Phaedr。 Of course。
Soc。 He； then； who would。 deceive others； and not be deceived；
must exactly know the real likenesses and differences of things？
Phaedr。 He must。
Soc。 And if he is ignorant of the true nature of any subject； how
can he detect the greater or less degree of likeness in other things
to that of which by the hypothesis he is ignorant？
Phaedr。 He cannot。
Soc。 And when men are deceived and their notions are at variance
with realities； it is clear that the error slips in through
resemblances？
Phaedr。 Yes； that is the way。
Soc。 Then he who would be a master of the art must understand the
real nature of everything； or he will never know either how to make
the gradual departure from truth into the opposite of truth which is
effected by the help of resemblances； or how to avoid it？
Phaedr。 He will not。
Soc。 He then； who being ignorant of the truth aims at appearances；
will only attain an art of rhetoric which is ridiculous and is not
an art at all？
Phaedr。 That may be expected。
Soc。 Shall I propose that we look for examples of art and want of
art； according to our notion of them； in the speech of Lysias which
you have in your hand； and in my own speech？
Phaedr。 Nothing could be better； and indeed I think that our
previous argument has been too abstract and…wanting in illustrations。
Soc。 Yes； and the two speeches happen to afford a very good
example of the way in which the speaker who knows the truth may；
without any serious purpose； steal away the hearts of his hearers。
This piece of good…fortune I attribute to the local deities； and
perhaps； the prophets of the Muses who are singing over our heads
may have imparted their inspiration to me。 For I do not imagine that I
have any rhetorical art of my own。
Phaedr。 Granted； if you will only please to get on。
Soc。 Suppose that you read me the first words of Lysias' speech。
Phaedr。 〃You know how matters stand with me； and how； as I conceive；
they might be arranged for our common interest； and I maintain that
I ought not to fail in my suit； because I am not your lover。 For
lovers repent…〃
Soc。 Enough：…Now； shall I point out the rhetorical error of those
words？
Phaedr。 Yes。
Soc。 Every one is aware that about some things we are agreed；
whereas about other things we differ。
Phaedr。 I think that I understand you； but will you explain
yourself？
Soc。 When any one speaks of iron and silver； is not the same thing
present in the minds of all？
Phaedr。 Certainly。
Soc。 But when any one speaks of justice and goodness we part company
and are at odds with one another and with ourselves？
Phaedr。 Precisely。
Soc。 Then in some things we agree； but not in others？
Phaedr。 That is true。
Soc。 In which are we more likely to be deceived； and in which has
rhetoric the greater power？
Phaedr。 Clearly； in the uncertain class。
Soc。 Then the rhetorician ought to make a regular division； and
acquire a distinct notion of both classes； as well of that in which
the many err； as of that in which they do not err？
Phaedr。 He who made such a distinction would have an excellent
principle。
Soc。 Yes； and in the next place he must have a keen eye for the
observation of particulars in speaking； and not make a mistake about
the class to which they are to be referred。
Phaedr。 Certainly。
Soc。 Now to which class does love belong…to the debatable or to
the undisputed class？
Phaedr。 To the debatable； clearly； for if not； do you think that
love would have allowed you to say as you did； that he is an evil both
to the lover and the beloved； and also the greatest possible good？
Soc。 Capital。 But will you tell me whether I defined love at the
beginning of my speech？ for； having been in an ecstasy； I cannot
well remember。
Phaedr。 Yes； indeed； that you did； and no mistake。
Soc。 Then I perceive that the Nymphs of Achelous and Pan the son
of Hermes； who inspired me； were far better rhetoricians than Lysias
the son of Cephalus。 Alas！ how inferior to them he is！ But perhaps I
am mistaken； and Lysias at the commencement of his lover's speech
did insist on our supposing love to be something or other which he
fancied him to be； and according to this model he fashioned and framed
the remainder of his discourse。 Suppose we read his beginning over
again：
Phaedr。 If you please； but you will not find what you want。
Soc； Read； that I may have his exact words。
Phaedr。 〃You know how matters stand with and how； as I conceive；
they might be arranged for our common interest； and I maintain I ought
not to fail in my suit because I am not your lover； for lovers
repent of the kindnesses which they have shown； when their love is
over。〃
Soc。 Here he appears to have done just the reverse of what he ought；
for he has begun at the end； and is swimming on his back through the
flood to the place of starting。 His address to the fair youth begins
where the lover would have ended。 Am I not right； sweet Phaedrus？
Phaedr。 Yes； indeed； Socrates； he does begin at the end。
Soc。 Then as to the other topics…are they not thrown down anyhow？ Is
there any principle in them？ Why should the next topic follow next
in order； or any other topic？ I cannot help fancying in my ignorance
that he wrote off boldly just what came into his head； but I dare
say that you would recognize a rhetorical necessity in the
succession of the several parts of the composition？
Phaedr。 You have too good an opinion of me if you think that I
have any such insight into his principles of composition。
Soc。 At any rate； you will allow that every discourse ought to be
a living creature； having a body of its own and a head and feet； there
should be a middle； beginning； and end； adapted to one another and
to the whole？
Phaedr。 Certainly。
Soc。 Can this be said of the discourse of Lysias？ See whether you
can find any more connexion in his words than in the epitaph which
is said by some to have been inscribed on the grave of Midas the
Phrygian。
Phaedr。 What is there remarkable in the epitaph？
Soc。 It is as follows：…
I am a maiden of bronze and lie on the tomb of Midas；
So long as water flows and tall trees grow；
So long here on this spot by his sad tomb abiding；
I shall declare to passers…by that Midas sleeps below。
Now in this rhyme whether a line comes first or comes last； as you
will perceive； makes no difference。
Phaedr。 You are making fun of that oration of ours。
Soc。 Well； I will say no more about your friend's speech lest I
should give offence to you； although I think that it might furnish
many other examples of what a man ought rather to avoid。 But I will
proceed to the other speech； which； as I think； is also suggestive
to students of rhetoric。
Phaedr。 In what way？
Soc。 The two speeches； as you may remember； were unlike…I the one
argued that the lover and the other that the non…lover ought to be
accepted。
Phaedr。 And right manfully。
Soc。 You should rather say 〃madly〃； and madness was the argument
of them； for； as I said； 〃love is a madness。〃
Phaedr。 Yes。
Soc。 And of madness there were two kinds； one produced by human
infirmity； the other was a divine release of the soul from the yoke of
custom and convention。
Phaedr。 True。
Soc。 The divine madness was subdivided into four kinds； prophetic；
initiatory； poetic； erotic； having four gods presiding over them；
the first was the inspiration of Apollo； the second that of
Dionysus； the third that of the Muses； the fourth that of Aphrodite
and Eros。 In the description of the last kind of madness； which was
also said to be the best； we spoke of the affection of love in a
figure； into whi
