Symposium - AIC

Laura Candiotto
and wine to prevent intoxication, as explained by Eryximachus in 176c1-e3.
Rhythm, which transforms the fast and the slow from discordant to concordant, is realized
thanks to numeric harmony. In this perspective Eryximachus refers explicitly to the Pythagorean
doctrine 20 and establishes a relation between the harmony which manifests itself in the cosmos and an
“invisible” harmony. In fact it is the number 21 , a being that is invisible yet present in the visible,
which creates harmony within the proportional relation. Musical harmony, which can be perceived
through ears but which is realized through the numerical proportion between high-pitched and low
pitched sounds is thus the bond holding together body and soul 22 , the sensible and ideas. Conversely,
celestial harmony does not possess the double nature of Eros: Eryximachus argues in fact that in
harmony itself (thus in the idea of harmony) there is no duality 23 . Duality is rather the model
according to which the musician-demiurges must order the opposite forces which are present in the
physis. The medical-demiurgical-musical art thus implies the restoration of a hidden proportion. 24
Eryximachus’ discourse distinguishes thus two harmonizing actions: one creates harmony in
the sensible universe on the model of the intelligible; the other creates harmony between the sensible
and the intelligible.
The topic of the cosmological function of celestial harmony obviously recalls the Timaeus.
This dialogue clearly explains that the harmony of the microcosm should be related to that of the
macrocosm. Accordingly, the health of the body will be properly defined as the right equilibrium
among elements 25 , the health of the soul as the absence of excesses in the constitution of its nature,
good education and mode of life. Music 26 absolves the task of healing the soul by restoring the
balance lost 27 through incarnation. The right proportion amongst elements is intended by Timaeus as
conformity to nature, imbalance as a disorder that creates illness in the body and the soul. In fact,
nature has been created by the demiurge in the best possible way, yet it presents imbalances due to the
disorder of elements in the chora. This explains the necessity of the ordering role of a magistratedemiurge
who legislates, as well as the healing practice of a doctor who heals the soul and the body 28
taking as a model the constitution of the Universe 29 . In the Philebus 30 , the Good performs the function
of a good mixture so that the elements are well blended, insofar as, once again, an incorrect relation
between elements causes the ruin of the whole within which they are contained.
The composition of elements
How are elements composed? 31
Eryximachus’ discourse presents the theory of the composition of contraries, based on the law
that “the similar loves the similar” 32 . Eryximachus therefore endorses the concept of harmony as unity
of opposites, yet in a way different from Heraclitus: the unity in question is possible only if the
opposites become friends, transforming their nature from that of discordant opposites to a
composition of similar elements (i.e. to that of concordant ones). A qualitative change takes place.
Friendship does not imply a shift from opposition to identity, but from opposition to the proportion
20 For Pitagoras cosmic harmony depends on the unity produced by the tension between opposites and its essence is in
numbers in the opposition between the even and the odd. Cf. for example Philolaus, 44 a1 DK.
21 It is the number that enables a Harmonic combination intended as limit between high and low pitched sounds Cf. Phl.
26a3-5
22 Pelosi 2010.
23 Symp. 187 c5-7.
24 Jaeger 1936, Reale 1999.
25 The illnesses of the body caused by a disequilibrium of elements are described in Tim. 81e6-86a8.
26 Also the word, if it is that of true rhetoric, absolves the task of pharmakon. On this topic I refer to the second chapter of
my monography, Candiotto 2012, with the intention to explore further the theme of the analogy between music and true
rhetoric – especially in Phaedrus and Gorgias – in the near future. To emphasize the centrality of this theme it suffices to
mention – focusing on the symposium – the definition of Socrates as a flautist in Symp. 215b8.
27 Tim. 47 c-e. Cf. Barker 2000, Barker 2005, pp. 125-126.
28 Tim.88b5-c1
29 Tim. c7-d1
30 Phil. 64d9-65a5.
31 The Timaeus, again, is of fundamental importance in addressing this question. In particular, the theory of the composition
of elements through the mélange of Same and Different is presented in the passage 35a-b. For our study it is important to
emphasize the role played by harmony in inducing the Different, refractory to composition, to mix with the Identical.
Compositions in fact will be born from the union and subsequent subdivision in parts (through particular numerical
proportions) of Identical, Different and intermediate substance. Compositions are thus born from three elements, thanks to
the primary harmonizing work of the demiurge, who operates on the two opposite principles of the Same and the Different.
For further reading, Cf. Brisson 1998.
32 Thivel (2004) questions whether Eryximachus’ theory is to be considered mainly as a theory of the opposites, arguing for
the preeminence of the theory of the similar in his discourse.
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