模仿色诺芬:柏拉图在《会饮》中的戏剧式隐身

Imitating Xenophon:Plato's Dramatic Invisibility in His Symposium

柏拉图从未以真名在自己的对话中说话或行动,色诺芬则时或为之。二人也从未以真名品评过对方,柏拉图更是对色诺芬讳莫如深。若以文学戏剧的视角仔细观看二人的作品,比如他们的同名作品《会饮》,就会发现二人相互为对方安排了角色与苏格拉底同台搭戏。柏拉图为自己安排了阿波罗多洛斯这一角色,而色诺芬则由阿里斯托德莫斯担角。阿波罗多洛斯多愁善感,爱智慧爱得疯疯癫癫,阿里斯托德莫斯总是喜欢模仿苏格拉底,亦步亦趋。柏拉图和色诺芬的其他作品中也有类似的戏剧手法,他们经常暗自推许对方,乃至发出至高赞美之声,携手展现了一位“最正义”的苏格拉底。从柏拉图暗自模仿色诺芬来看,没有色诺芬的苏格拉底就没有柏拉图的苏格拉底,色诺芬不仅是苏格拉底的守护者和领路人,也是柏拉图的领路人。

Plato never speaks or appears under his real name in his dialogues, while Xenophon sometimes does. The two men never judge each other by their real names, and Plato does not mention Xenophon at all. If one looks closely at their works from the perspective of literary drama, such as their works with the same title Symposium, one will find that they arrange roles for each other to appear together with Socrates. By collecting the subtext of Plato's Symposium, we can find out that Plato arranges the role of Apollodorus for himself and the role of Aristodemus for Xenophon. Apollodorus is sentimental and madly in love with wisdom, and Aristodemus always likes imitating Socrates' every move. Plato and Xenophon have similar dramatic techniques in their other works, often covertly approving of or praising each other generously, both presenting a “most righteous” Socrates. From Plato's discernible imitation of Xenophon, we can see that without Xenophon's Socrates, there would be no Plato's Socrates. Xenophon is not only a defender and guide for Socrates, but also a guide for Plato.