The speech of Agathon is conceived in a higher strain, and receives the real, if half-ironical, approval of Socrates. It is the speech of the tragic poet and a sort of poem, like tragedy, moving among the gods of Olympus, and not among the elder or Orphic deities. In the idea of the antiquity of love he cannot agree; love is not of the olden time, but present and youthful ever. The speech may be compared with that speech of Socrates in the Phaedrus in which he describes himself as talking dithyrambs. It is at once a preparation for Socrates and a foil to him. The rhetoric of Agathon elevates the soul to 'sunlit heights,' but at the same time contrasts with the natural and necessary eloquence of Socrates. Agathon contributes the distinction between love and the works of love, and also hints incidentally that love is always of beauty, which Socrates afterwards raises into a principle. While the consciousness of discord is stronger in the comic poet Aristophanes, Agathon, the tragic poet, has a deeper sense of harmony and reconciliation, and speaks of Love as the creator and artist. All the earlier speeches embody common opinions coloured with a tinge of philosophy. They furnish the material out of which Socrates proceeds to form his discourse, starting, as in other places, from mythology and the opinions of men. From Phaedrus he takes the thought that love is stronger than death; from Pausanias, that the true love is akin to intellect and political activity; from Eryximachus, that love is a universal phenomenon and the great power of nature; from Aristophanes, that love is the child of want, and is not merely the love of the congenial or of the whole, but (as he adds) of the good; from Agathon, that love is of beauty, not however of beauty only, but of birth in beauty. As it would be out of character for Socrates to make a lengthened harangue, the speech takes the form of a dialogue between Socrates and a mysterious woman of foreign extraction. She elicits the final truth from one who knows nothing, and who, speaking by the lips of another, and himself a despiser of rhetoric, is proved also to be the most consummate of rhetoricians (compare Menexenus).