περὶ Διόνυσον καὶ Ἀφροδίτην. There
are many points of mutual connexion between Eros, Dionysus and Aphrodite. Thus,
Dionysus is the patron-god of the theatre, as shown by the phrases οἱ περὶ τὸν Δ. τεχνῖται, “actors”
(Arist. Probl. XXX. 10), and Διονυσοκόλακες, “stage-lackeys” (Arist.
Rhet. III. 1205^{a} 23); and on the comic stage erotic scenes were
frequent. Moreover, Dionysus was sometimes represented (as by Praxilla of Sicyon, c.
450 B.C.) to be a son of Aphrodite; and in Aristoph. fr.
incert. 490 (Df.) οἶνος is termed Ἀφροδίτης γάλα. For the traditional inter-connexion of
“Wein, Weib und Gesang,” we may also compare Solon 26 ἔργα δὲ Κυπρο-
γενοῦς νῦν μοι φίλα καὶ Διονύσου |
καὶ Μουσέων, ἃ τίθησ᾽ ἀνδράσιν εὐφροσύνας.
Echoes of this phrase are to be found in Aristaen. I. ep. 3, p.
11; Plut. amat. 750 A; Lucian Symp. p. 444.
ἡμῖν τοῖς ὑστάτοις
. ὕστατος here is equivalent to ἔσχατος as used in 175 C
(where see note), i.e. placed on the extreme right.
ἐξαρκέσει ἡμῖν. “We shall be
content,” i.e. we shall not be called upon to speak: for the impers.
ἐξαρκεῖ c. dat. cp. 176
C, 192 B, 210
C.
τύχῃ ἀγαθῇ. “In Gottes
Namen” (Wolf); cp. Phileb. 57
E, Tim. 26 E.
πάντες ἄρα. For the position of ἄρα cp. Prot. 319
A
ἦ καλόν, ἦν δ᾽ ἐγώ, τέχνημα ἄρα κέκτησαι:
Rep. 358 C
πολὺ γὰρ ἀμείνων ἄρα κτλ.
This text is part of:
The Symposium of Plato. R. G. Bury. 1909. Cambridge. W. Heffer and Sons.
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