Socrates on Trial | |
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Written by | Andrew David Irvine |
Characters | Strepsiades Pheidippides Socrates Stronger Argument Weaker Argument Meletus Anytus Lykon Crito Xanthippe Executioner Chorus |
Date premiered | 2007 |
Place premiered | Chan Centre for the Performing Arts, Vancouver, British Columbia, Canada |
Original language | English |
Subject | The trial of Socrates |
Genre | Historical drama |
Setting | Ancient Athens |
Socrates on Trial is a play depicting the life and death of the ancient Greek philosopher Socrates. It tells the story of how Socrates was put on trial for corrupting the youth of Athens and for failing to honour the city's gods. The play contains adaptations of several classic Greek works: the slapstick comedy, Clouds, written by Aristophanes and first performed in 423 BCE; the dramatic monologue, Apology, written by Plato to record the defence speech Socrates gave at his trial; and Plato's Crito and Phaedo, two dialogues describing the events leading to Socrates’ execution in 399 BCE. The play was written by Andrew David Irvine of the University of British Columbia and premiered by director Joan Bryans of Vital Spark Theatre Company in 2007 at the Chan Centre for the Performing Arts in Vancouver. [1]
In the judgment of one reviewer, the play succeeds in presenting Socrates both as Plato's wise mentor and as the “pompous, arrogant and often petulant” teacher presented by Aristophanes, [2] giving modern audiences a greater appreciation of why Socrates eventually ended up being sentenced to death.
In the judgment of another reviewer, the play is “a worthy analogue of an ancient masterpiece.” [3]
The play takes place in three acts spread over a quarter century. Act One, like Aristophanes’ Clouds on which the act is based, is satirical. The act opens with Strepsiades, an Athenian businessman, worried about his lazy son Pheidippides. To educate him, Strepsiades enrolls him in Socrates’ School of Thinkology. While at the school, the young man is encouraged to consider both sides of every argument. Unfortunately, rather than being impressed by the Stronger Argument, which advocates virtue, excellence and moderation, Pheidippides is influenced more by the Weaker Argument, which advocates immorality, debauchery and dissoluteness. The result is a “mind blowing, portrayal of debauchery and irreverence” [4] in which, rather than being educated, Pheidippides ends up being further corrupted by Socrates and his school.
Act Two takes place twenty-four years later. Socrates has been charged with corrupting the young and failing to recognize the city's traditional gods. The three men making the charges are Meletus, Anytus and Lykon. All three have given their speeches and Socrates is now required to defend himself in front of the jury. The speech Socrates gives is at times humorous and at times moving. However, far from apologizing for the influence he has had over the city's youth, Socrates remains defiant. Repeatedly he tells the jury that he has never run a school or worked as a teacher. Even so, the Athenians have been lucky to have had him raising questions about what they think they know, and about the nature of justice. The act ends with Socrates reminding the jury that he is innocent of all charges and that they have a duty, not to reward the speaker who has delivered the most polished speech, but to see that justice is done.
Act Three takes place a month later on the eve of Socrates’ execution. In Socrates’ jail cell, Socrates’ best friend, Crito, and Socrates’ wife, Xanthippe, take turns trying to convince the condemned man that he should escape, something that might easily be arranged. Socrates refuses, saying that to do so would further corrupt the young, something he swore to the jury he would never do.
To fulfill the order of execution, Socrates is required to drink a cup of hemlock, a type of poison. His last words, after the hemlock has begun to do its work, is that he and his friends owe a debt to Asclepius, the god of medicine. Some commentators have understood these words to mean that Socrates’ last concern, as he was preparing to enter the afterlife, was with the health of his soul. A much more likely explanation is that the offering was simply part of an annual religious festival that recognized the debt all Athenians owed to Asclepius for having recently delivered them from the plague. [5] Having just told all of Athens that he respected the gods of the city and that he was not a corruptor of the young, Socrates would have been especially concerned to observe the city's rituals. The play ends with Socrates’ friends mourning their loss.
Socrates on Trial strongly encourages audience participation. [6] During Socrates’ day, juries were much larger than they are today. Juries of several hundred, or even several thousand, were not uncommon. [7] Large juries were thought to make it more difficult for jurors to be bribed.
Athenian juries were also not quiet. If people thought a speaker was stretching or misrepresenting the truth, they’d often yell out, much to the delight of onlookers. [8]
In the play, audience members are asked to serve as members of the jury. In Act Two they are encouraged join the actors in heckling Socrates. At the end of the act they are also given the job of voting to determine Socrates’ guilt or innocence.
One effective way of holding the vote is to have audience members walk to the front of the theatre to choose either a black or white stone and place it in a bronze container. Voting by a public show of hands – which was common in Athenian assemblies, but rare in Athenian trials [9] – is not recommended, since a persuasive performance on the part of the actor playing the role of Socrates might encourage more audience members to vote in favour of Socrates’ acquittal than history allows.
In large theatres, directors may choose to restrict the size of the jury. However, given the large size of Athenian juries, it is more realistic to use larger rather than smaller portions of the audience for this purpose. Past directors have reported that participating as jurors is something audience members enjoy. [10]
Because Socrates’ trial took place not long after the end of the Peloponnesian War, Athens’ humiliating loss to Sparta was still on many people's minds. During wartime, it was understood by the Greeks that victory came from two sources: the protection of the gods, and the unwavering loyalty of a city's young soldiers. [11] So the charge of corrupting the young and failing to recognize the city's gods was serious, and much like the charge of treason. [12]
Also on people's minds could have been the relationships Socrates had to several of Athens' most famous wartime traitors, including Critias and Alcibiades. Critias was reportedly related to Plato's mother, Perictione. Following the war, he became a leading member of the ruthless oligarchic regime the Spartans installed in Athens for eight months in 404-403, the Thirty Tyrants. Although some modern authors see this connection as a possible indication of Socrates' sympathy for the anti-democratic Spartans, this claim is hard to reconcile with the fact that it was the Thirty Tyrants who passed a law forbidding Socrates from speaking to any man under thirty, fearing his influence over the young. [13] Socrates' connection to Alcibiades is similarly controversial, even though many of the details of Alcibiades's flamboyant life are well known. Alcibiades and Socrates fought together during the siege of Potidaea and again at the Battle of Delium, prior to Alcibiades' election to the post of Strategos (or General) and his eventual defection to Sparta. According to both Plato and Plutarch, as a young man Alcibiades admired and respected Socrates. [14] Even so, the degree to which Socrates may have influenced his actions remains unclear. [15]
One point of historical departure in the play is that the script gives the jury only a single opportunity to vote. [16] Originally two votes were taken: the first to determine Socrates’ guilt or innocence, the second to choose between proposed penalties after he was found guilty. [17] In contexts requiring greater historical authenticity, this second vote can easily be reintroduced although, depending on the size of the jury, doing so may add to the act's running time.
The first workshop production of the play was mounted in Vancouver in 2006 by Vital Spark Theatre with Stephen Wexler playing the role of Socrates. The full play was premiered on March 14, 2007, at the Chan Centre for the Performing Arts in Vancouver. A 2008 production, also at the Chan Centre, included Paul Toolan in the title role. All three productions were directed by Joan Bryans.
The American premier of the play was held at College Theatre within the State University of New York at Potsdam. It took place on April 29, 2009, and was directed by Mandy Keister.
In 2012, the play was adapted into the opera The Trial of Socrates, with libretto and score by Andrew Hopper of the Birmingham Conservatoire. The opera was premiered in Birmingham on May 8, 2012.
On September 25, 2015, the play had its European premiere in Athens at the Alkmini Theatre under the direction of Anna Lazou. The translation into Greek was done by Giannis Spyridis. The title role was played by Demophilus-Vias Mpillinis and Thanassis Nakos. Music was provided by Christos Pantas. Costumes and masks were by Katerina Mpillinis.
The play was originally published in 2008 by the University of Toronto Press. Permission from the publisher has been granted royalty free for educational and other not-for-profit performances and readings, provided appropriate acknowledgement is given to both the playwright and the publisher. [18]
In the words of reviewer Maya Alapin, “The play is refreshingly illuminating on the relationship between Socrates’ execution and the lasting influence of Aristophanes’ negative depiction of him on the evolution of the Athenian psyche. This connection, often underemphasized in modern analysis, is especially poignant given the unity of the three Acts ... The play succeeds in recreating an atmosphere of direct democracy and of depicting Socrates as deeply convinced of his own innocence. His commitment to obeying the laws is also emphasized, as is his persistent questioning of the general Athenian standard of moral education. Profound ethical questions surrounding the justness or unjustness of executing democratic dissenters are unambiguously raised. ... There is no doubt that the play is engaging, funny, insightful, and true to central Socratic positions and that it will appeal to a modern audience, particularly to students." [19]
Aristophanes, son of Philippus, of the deme Kydathenaion, was a comic playwright or comedy-writer of ancient Athens and a poet of Old Attic Comedy. Eleven of his forty plays survive virtually complete. These provide the most valuable examples of a genre of comic drama known as Old Comedy and are used to define it, along with fragments from dozens of lost plays by Aristophanes and his contemporaries.
The Trial of Socrates was held to determine the philosopher's guilt of two charges: asebeia (impiety) against the pantheon of Athens, and corruption of the youth of the city-state; the accusers cited two impious acts by Socrates: "failing to acknowledge the gods that the city acknowledges" and "introducing new deities".
A sophist was a teacher in ancient Greece in the fifth and fourth centuries BC. Sophists specialized in one or more subject areas, such as philosophy, rhetoric, music, athletics and mathematics. They taught arete, "virtue" or "excellence", predominantly to young statesmen and nobility.
Alcibiades was an Athenian statesman and general. The last of the Alcmaeonidae, he played a major role in the second half of the Peloponnesian War as a strategic advisor, military commander, and politician, but subsequently fell from prominence.
Anytus, son of Anthemion of the deme Euonymon, was a politician in Classical Athens. Anytus served as a general in the Peloponnesian War of 431 to 404 BCE, and later became a leading supporter of the democratic forces opposed to the Thirty Tyrants who ruled Athens from 404 to 403 BCE. He is best remembered as one of the prosecutors of the philosopher Socrates in 399 BCE; probably because of that role, Plato depicted Anytus as an interlocutor in the dialogue Meno.
The Clouds is a Greek comedy play written by the playwright Aristophanes. A lampooning of intellectual fashions in classical Athens, it was originally produced at the City Dionysia in 423 BC and was not as well received as the author had hoped, coming last of the three plays competing at the festival that year. It was revised between 420 and 417 BC and was thereafter circulated in manuscript form.
The Symposium is a philosophical text by Plato, dated c. 385–370 BC. It depicts a friendly contest of extemporaneous speeches given by a group of notable men attending a banquet. The men include the philosopher Socrates, the general and political figure Alcibiades, and the comic playwright Aristophanes. The speeches are to be given in praise of Eros, the god of love and desire.
The Birds is a comedy by the Ancient Greek playwright Aristophanes. It was performed in 414 BC at the City Dionysia in Athens where it won second place. It has been acclaimed by modern critics as a perfectly realized fantasy remarkable for its mimicry of birds and for the gaiety of its songs. Unlike the author's other early plays, it includes no direct mention of the Peloponnesian War and there are few references to Athenian politics, and yet it was staged not long after the commencement of the Sicilian Expedition, an ambitious military campaign that greatly increased Athenian commitment to the war effort. In spite of that, the play has many indirect references to Athenian political and social life. It is the longest of Aristophanes's surviving plays and yet it is a fairly conventional example of Old Comedy.
Crito is a dialogue that was written by the ancient Greek philosopher Plato. It depicts a conversation between Socrates and his wealthy friend Crito of Alopece regarding justice (δικαιοσύνη), injustice (ἀδικία), and the appropriate response to injustice after Socrates's imprisonment, which is chronicled in the Apology.
The Apology of Socrates, written by Plato, is a Socratic dialogue of the speech of legal self-defence which Socrates spoke at his trial for impiety and corruption in 399 BC.
Phædo or Phaedo, also known to ancient readers as On The Soul, is one of the best-known dialogues of Plato's middle period, along with the Republic and the Symposium. The philosophical subject of the dialogue is the immortality of the soul. It is set in the last hours prior to the death of Socrates, and is Plato's fourth and last dialogue to detail the philosopher's final days, following Euthyphro, Apology, and Crito.
The Apology of Socrates to the Jury, by Xenophon of Athens, is a Socratic dialogue about the legal defence that the philosopher Socrates presented at his trial for the moral corruption of Athenian youth; and for asebeia (impiety) against the pantheon of Athens; judged guilty, Socrates was sentenced to death.
Memorabilia is a collection of Socratic dialogues by Xenophon, a student of Socrates. The lengthiest and most famous of Xenophon's Socratic writings, the Memorabilia is essentially an apologia (defense) of Socrates, differing from both Xenophon's Apology of Socrates to the Jury and Plato's Apology mainly in that the Apologies present Socrates as defending himself before the jury, whereas the former presents Xenophon's own defense of Socrates, offering edifying examples of Socrates' conversations and activities along with occasional commentary from Xenophon. Memorabilia was particularly influential in Cynic and later Stoic philosophy.
Chaerephon, of the Athenian deme Sphettus, was an ancient Greek best remembered as a loyal friend and follower of Socrates. He is known only through brief descriptions by classical writers and was "an unusual man by all accounts", though a man of loyal democratic values.
Aeschines of Sphettus or Aeschines Socraticus, son of Lysanias, of the deme Sphettus of Athens, was a philosopher who in his youth was a follower of Socrates. Historians call him Aeschines Socraticus—"the Socratic Aeschines"—to distinguish him from the more historically influential Athenian orator also named Aeschines. His name is sometimes but now rarely written as Aischines or Æschines.
Acropolis Now is a BBC Radio sitcom set in Ancient Greece, written by Lynne Truss. It was broadcast on BBC Radio 4 in two series in 2000 and 2002, with subsequent reruns on BBC 7 in 2006, 2007, 2008, 2009, 2010 and 2012. The show follows the fictional adventures of historical Greek characters in Athens: Heraclitus, Aristophanes, Socrates, Plato, Xanthippe, and the Oracle. It is loosely narrated by a chorus, in the convention of Greek dramas.
The prominent Athenian statesman Alcibiades has been criticized by ancient comic writers and appears in several Socratic dialogues. He enjoys an important afterlife, in literature and art, having acquired symbolic status as the personification of ambition and sexual profligacy. He also appears in several significant works of modern literature.
Crito of Alopece was an ancient Athenian agriculturist depicted in the Socratic literature of Plato and Xenophon, where he appears as a faithful and lifelong companion of the philosopher Socrates. Although the later tradition of ancient scholarship attributed philosophical works to Crito, modern scholars do not consider him to have been an active philosopher, but rather a member of Socrates' inner circle through childhood friendship.
Socrates was a Greek philosopher from Athens who is credited as the founder of Western philosophy and among the first moral philosophers of the ethical tradition of thought. An enigmatic figure, Socrates authored no texts and is known mainly through the posthumous accounts of classical writers, particularly his students Plato and Xenophon. These accounts are written as dialogues, in which Socrates and his interlocutors examine a subject in the style of question and answer; they gave rise to the Socratic dialogue literary genre. Contradictory accounts of Socrates make a reconstruction of his philosophy nearly impossible, a situation known as the Socratic problem. Socrates was a polarizing figure in Athenian society. In 399 BC, he was accused of impiety and corrupting the youth. After a trial that lasted a day, he was sentenced to death. He spent his last day in prison, refusing offers to help him escape.
Socrates is a 1971 Spanish-Italian-French television film directed by Roberto Rossellini. The film is an adaptation of several Plato dialogues, including The Apology, Euthyphro, Crito, and Phaedo.