τεκμήριον δὲ...γὰρ. Cp. Critias 110 E, Apol. 40 C: Xen. Symp. IV. 17 τεκμήριον δέ: θαλλοφόρους γὰρ...ἐκλέγονται.
γονῆς...οὔτε λέγονται. This is a rash
statement on the part of Phaedrus; for Alcaeus (fr. 13 Bgk.) makes Eros son of
Zephyros and Iris; Simonides (fr. 43), son of Ares and Aphrodite; Euripides
(Hippol. 534), son of Zeus; Sappho (fr. 132), of Gê and
Uranos; Ibycus (fr. 31), of Chaos; see also the statements in 199 D, 203 ff. infra. On the other
hand ignorance or doubt as to the parentage of Eros is expressed in Theocr.
Id. XIII. 1, 2 οὐχ ἁμῖν τὸν Ἔρωτα μόνοις
ἔτεχ᾽ ...ᾧτινι τοῦτο θεῶν ποκα τέκνον ἔγεντο;
Anth. Pal. V. 176. 7—8 πατρὸς δ᾽ οὐκέτ᾽
ἔχω φράζειν τίνος: οὔτε γὰρ Αἰθήρ, | οὐ Χθών φησι τεκεῖν τὸν θρασύν, οὐ Πέλαγος. For the
usual Greek assumption that the poets are religious teachers, cp. Ar.
Ran. 1054 τοῖς μὲν γὰρ παιδαρίοισιν
| ἔστι διδάσκαλος ὅστις φράζει, τοῖς ἡβῶσιν
δὲ ποιηταί: and see Adam, R. T. G. pp. 9 ff.
ἰδιώτου. For this distinction between the
prose-writer and the poet, cp. Phaedrus
258 D; Laws 890 A; Rep. 366 E. The term ἰδιώτης may be taken as a survival of the time when the poet alone had
his work “published”—at religious festivals, theatrical
shows, κῶμοι, etc.
Ἠσίοδος
κτλ. The reference is to Theog. 116
ff. ἤτοι μὲν πρώτιστα Χάος γένετ᾽ , αὐτὰρ
κτλ. Cp. Ar. Av. 693 ff. Χάος ἦν
καὶ Νὺξ κτλ. The order of the text I have adopted, in the passage
following, is that proposed by Schanz, except that he reads ὁμολογεῖ <ὅς> φησι, while Burnet, accepting the
transposition, prints σύμφησι instead of ὁμολογεῖ φησι. Hug and others eject the clause φησι...Ἔρωτα as a marginal prose paraphrase of the words
of Hesiod; since, as it stands in the traditional order, the clause is obviously
tautologous: but tautology is in itself no objection, but rather characteristic of
Ph.'s style (see Teuffel in Rhein. Mus. XXIX. p. 133); and
there is force in Hermann's remark “aegre intelligo quomodo aliquis
clarissimis poetae verbis (paraphrasin) addendam existimaverit, multoque verisimilius
videtur Hesiodi locum...postmodo adscriptum...irrepsisse.” I bracket the
clause as a gloss on ὁμολογεῖ. The clause Παρμενίδης...πάντων is rightly defended by Hug, against
Voegelin and others, on the grounds that (1) οὕτω
πολλαχόθεν in the following sentence is more appropriate after three than
after two instances, and (2) Agathon in 195 C, when
alluding to Phaedrus's speech, expressly mentions Ἡσίοδος
καὶ Παρμενίδης. The authority of Hesiod is similarly cited by Plut. amat. 756 E.
Ἀκουσίλεως. Acusilaus of Argos, the
“logographer,” about B.C. 475 (?), wrote in the Ionic dialect
several books of Genealogies, largely based on Hesiod (see the fragg. in A. Kordt,
De Acusilao, 1903). But the reputed work of A., extant in the time of
Hadrian, was probably a forgery: a collector of myths is not, properly speaking, a
“logographer” at all (see Jevons, Gk. Lit. p. 299).
Cp. Clem. Alex. VI. ii. 26. 7 τὰ δὲ Ἡσιόδου μετήλλαξαν
εἰς πεζὸν λόγον καὶ ὡς ἴδια ἐξένεγκαν Εὔμηλός τε καὶ Ἀκουσίλαος οἱ
ἱστοριογράφοι. Hug, retaining the order of the MSS., would explain the
fact that A. is put last as due to his being an ἰδιώτης, the others ποιηταί.
Παρμενίδης. See Parmen. frag. 132 (Karsten), R. and P. 101 A; Arist.
Met. I. 4. 984^{b} 25; Plut. amat. 756 F. It
is to be presumed that the famous Eleate relegated this theogony to his “Way
of Opinion.” Cp. Spenser's lines (H. to Love), “Or
who alive can perfectly declare The wondrous cradle of thine infancie... For ere this
worlds still moving mightie masse Out of great Chaos ugly prison crept... Love... Gan
reare his head, by Clotho being waked.”
τὴν Γένεσιν...μητίσατο. Hermann and Hug
follow Stallbaum in supplying Γένεσις as the subject
of μητίσατο: cp. Phaedo 94 D
οὗ λέγει τὸν Ὀδυσσέα στῆθος δὲ πλήξας κραδίην
ἠνίπαπε μύθῳ. For the personification of γένεσις, cp. Hom. Il. XIV. 201 Ὠκεανόν τε θεῶν γένεσιν καὶ μητέρα Τηθύν (cited by Plato in
Theaet. 180 D, Crat. 402 B). Plutarch (loc. cit. differs by making Ἀφροδίτη the
subject of μητίσατο. It is, of course, possible that
another (suppressed) subject is intended; since we do not know what the context was in
the original.
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