The picture of Sokrates, in the Symposion, forms a natural contrast and complement to the picture of him in the Phædon; though the conjecture of Schleiermacher[46]--that the two together are intended to make up the Philosophus, or third member of the trilogy promised in the Sophistês--is ingenious rather than convincing. The Phædon depicts Sokrates in his last conversation with his friends, immediately before his death; the Symposion presents him in the exuberance of life, health, and cheerfulness: in both situations, we find the same attributes manifested--perfect equanimity and self-command, proof against every variety of disturbing agency--whether tempting or terrible--absorbing interest in philosophical dialectic. The first of these two elements, if it stood alone, would be virtuous sobriety, yet not passing beyond the limit of mortal virtue: the last of the two superadds a higher element, which Plato conceives to transcend the limit of mortal virtue, and to depend upon divine inspiration or madness.[47] [Footnote 46: Einleitung zum Gastmahl, p. 359 seq.] [Footnote 47: Plato, Phædrus, p. 256 C-E. [Greek: sôphrosu/nê thnêtê/--e)rôtikê\ mani/a: sôphrosu/nê a)nthrôpi/nê--thei/a mani/a.] Compare p. 244 B.] [Side-note: Symposion of Plato compared with that of Xenophon.] The Symposion of Plato affords also an interesting subject of comparison with that of his contemporary Xenophon, as to points of agreement as well as of difference.[48] Xenophon states in the beginning that he intends to describe what passed in a scene where he himself was present; because he is of opinion that the proceedings of excellent men, in hours of amusement, are not less worthy of being recorded than those of their serious hours. Both Plato and Xenophon take for their main subject a festive banquet, destined to celebrate the success of a young man in a competitive struggle. In Plato, the success is one of mind and genius--Agathon has gained the prize of tragedy: in Xenophon, it is one of bodily force and skill--Autolykus victor in the pankration. The Symposion of Xenophon differs from that of Plato, in the same manner as the Memorabilia of Xenophon generally differ from the Sokratic dialogues of Plato--that is, by approaching much nearer to common life and reality. It describes a banquet such as was likely enough to take place, with the usual accompaniments--a professional jester, and a Syracusan ballet-master who brings with him a dancing-girl, a girl to play on the flute and harp, and a handsome youth. These artists contribute to the amusement of the company by music, dancing, throwing up balls and catching them again, jumping into and out of a circle of swords. All this would have occurred at an ordinary banquet: here, it is accompanied and followed by remarks of pleasantry, buffoonery and taunt, interchanged between the guests. Nearly all the guests take part, more or less: but Sokrates is made the prominent figure throughout. He repudiates