The Death Of Socrates

The Death of Socrates Author(s): Christopher Gill Source: The Classical Quarterly , May, 1973

The scene at the end of the Phaedo, in which Plato describes how Socrates dies by poisoning from hemlock, is moving and impressive. It gives us the sense of witnessing directly an actual event, accurately and vividly described, the death of the historical Socrates. There are, however, certain curious features in the scene, and in the effects of the hemlock on Socrates, as Plato presents them.

In the Phaedo hemlock has only one primary effect: it produces first heaviness and then numbness in the body. The numbness begins in the lowest part of the body, the feet, and then proceeds gradually upwards, to the groin and then the heart, death occurring when the heart is affected. The only other symptom is a single movement (dKtV01q, 118a12) immediately prior to death. The symptom of numbness in the lower legs is one that we meet in other ancient accounts, for instance in Aristophanes' Frogs (when Dionysus and Heracles are discussing possible routes to Hades), and in the Alexipharmaca of Nicander. But that is only one of a number of symptoms Nicander lists. He also speaks of disturbed consciousness, rolling eyes, choking in the throat and windpipe, gasping for breath, and contracted arteries.

Accounts of hemlock-poisoning in modern medical authorities recount more effects of this kind. They speak of salivation, nausea, vomiting, as well as dryness and choking in the lower throat; the pupils are dilated, the vision and hearing become imperfect, and the speech is thick. Paralysis occurs in the arms as well as the legs, and is often accompanied by spasms and convulsions. Thus, Plato's description gives only one or two of the symptoms of hemlock-poisoning. Furthermore, the death scene in the Phaedo gives a quite different impression of the effects of the drug from the medical accounts. In Plato's picture, the penetration of hemlock into the body is a process of calm, almost rhythmic regularity.

Contrast this with the hectic impact of the drug, as Nicander presents it: '.. . the eyes roll, and men roam the streets with tottering steps and crawling upon their hands; a terrible choking blocks the lower throat and the narrow passage of the windpipe; the extremities grow cold; and in the limbs the stout arteries are contracted; ... the victim draws breath like one swooning, and his spirit beholds Hades' (tr. Gow and Scholfield). Modern accounts, with their emphasis on nausea and unsteadiness of movement, give a similarly torrid picture of the physical collapse the drug induces.

The whole section plays on comic oppositions, as Dionysus criticizes various routes to Hades: hanging is stiflingly hot (nuttylpoiav, 122), it chokes the throat, hemlock is much too cold (Ovxpadv, 125), it freezes the legs. The choking in the throat that hemlock also induces is omitted, to sharpen the contrast with hanging. Nicander: Poems and Poetical Fragments, ed. with tr. and notes by Gow and Scholfield (Cambridge, E. Dwight, Toxicology, 1904), p. 259. R. Kobert, Lehrbuch der Intoxication (Stuttgart, 1906), ii, 1079-1080. R. Witthaus, Manual of Toxicology (New York, 1911), pp. 924-925. W. McNally, Toxicology (Chicago, 1937), p. 517. W. F. von Oettingen, Poisoning (New York, 1952), p. 317.

Paper For Above instruction

The death of Socrates as depicted in Plato's 'Phaedo' stands as a profound philosophical allegory, encapsulating the themes of mortality, the soul's liberation, and the ideal of stoic endurance. While it layers a vivid narrative of a real historical event, it also serves as a carefully constructed metaphor for Plato’s philosophical doctrines. Examining the physical details of Socrates' death, the effects of hemlock, and Plato's symbolic choices reveals a nuanced portrayal aimed at emphasizing the separation of the soul from the body and the pursuit of philosophical purity.

Plato's narrative of Socrates' death emphasizes a calm and orderly process, marking a stark contrast to modern and ancient medical accounts of hemlock poisoning, which describe a chaotic and agonizing end. Medical literature states that hemlock poisoning typically involves a range of symptoms: salivation, nausea, vomiting, pupil dilation, muscular paralysis, convulsions, and skin pallor. These effects are often rapid and disturbingly violent, leading to confusion and profound bodily collapse. However, Plato's account minimizes or omits many of these signs, instead illustrating a serene transition, suggesting that the philosophical intent of the scene overrides strict factual accuracy (Witthaus, 1911; McNally, 1937).

This discrepancy invites inquiry into Plato’s purpose: why did he depict this tranquil death scene? One compelling interpretation is that Plato aimed to portray the purity and transcendence of the soul, emphasizing that true death is a release of the psyche from its corporeal prison. The scene's focus on sensation, especially the gradual loss of feeling starting from the feet and progressing upwards, symbolizes the soul’s detachment and liberation (Gill, 1973). The internal symptom of numbness, carefully described as spreading in stages, aligns with the philosophical idea that the soul’s departure is a process of ascending from the physical to the spiritual realm.

Plato’s depiction also reflects his metaphysical stance that the soul is distinct from the body, and true philosophy involves the preparation for death through the purifying separation of the soul from corporeal influence. The scene's calmness mirrors the philosophical detachment: Socrates’ composure in facing death underscores his unwavering focus on the soul’s immortality and the ascendancy of reason over bodily passions. The quiet, measured effects of the poison, as narrated by Plato, symbolize this spiritual ascent—gradual, inevitable, and peaceful (Gill, 1973).

The narrative employs specific symbolic choices, such as Socrates’ covering his face, which may serve to de-emphasize the physical suffering and instead accentuate the philosophical significance of his death. Covering his face, while internal symptoms like numbness and sensation loss are occurring, signifies the attenuation of bodily concerns and the focus on the soul's journey. Moreover, Socrates' final irony—his remark about owing a cock to Asclepius—symbolizes his recognition of the spiritual victory over bodily mortality, reinforcing the idea that death is not an end but a transition (Gill, 1973).

Analyzing Plato’s selective depiction of Socrates’ death reveals his purpose: to illustrate his doctrine that the soul's liberation is a purification, achieved through philosophical discipline. The calmness and orderliness of Socrates' death scene serve as a visual metaphor for the soul’s ascent, aligning with Plato’s broader metaphysical doctrine that the physical body is a prison and the death process is a release rather than a catastrophe. The attenuated symptoms of poisoning reinforce this interpretation, emphasizing internal, spiritual progress over physical suffering (Gill, 1973).

In conclusion, Plato’s depiction of Socrates’ death in the 'Phaedo' is less an attempt to document an observed medical process and more a philosophical allegory that encapsulates the essence of his metaphysical views. By emphasizing serenity, inevitability, and progressive detachment, the scene becomes a powerful tableau of the soul’s liberation and the philosophical ideal of dying with equanimity and insight. Its symbolism underscores the central Platonic belief in the immortality of the soul and highlights death as a necessary step toward ultimate philosophical truth.

References

• Gill, C. (1973). The death of Socrates. The Classical Quarterly, 23(1), 25-28.
• McNally, W. (1937). Toxicology. Chicago: University of Chicago Press.
• Witthaus, R. (1911). Manual of Toxicology. New York: William Wood & Co.
• Oettingen, W. F. von. (1952). Poisoning. New York: Hafner Publishing Company.
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