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在《会饮》（Symposium）中，柏拉图（Plato）精妙地编撰了一组赞颂爱若斯的颂词，受到众多哲学家、神学家、诗人和艺术家的青睐，从古至今一直如此。公元3世纪，普罗提诺（Plotinus）根据《会饮》中的一些内容提出了太一（the One）流溢和回归太一的双向旅程学说。一些早期基督教作者跟随普罗提诺，将对话的“上升段落”解读为灵魂上升天堂的隐晦说辞。斐奇诺（Ficino）对柏拉图《会饮》的评注斐奇诺论柏拉图式的爱——柏拉图《会饮》之义疏.梁中和，李旸，译.上海：华东师范大学出版社，2012.——译者注(全书译者注统一使用星号注，下文再出现不再标注译者注，特此说明。)，则向文艺复兴时期欧洲的诗人和艺术家介绍了普罗提诺关于爱与美的观点，并将“柏拉图式的爱”（Platonic love）这个短语引入日常语言。《会饮》中的观点和形象还出现在托马斯？曼（Thomas Mann）的《魂断威尼斯》（Death in Venice）、福斯特（EMForster）的《莫里斯》（Maurice）、艾略特（TSEliot）的《鸡尾酒会》（The Cocktail Party）、弗吉尼亚？伍尔夫（Virginia Woolf）的《到灯塔去》（To the Lighthouse）和三岛由纪夫（Yukio Mishima）的《禁色》（Forbidden Colors）中。对话中描绘的场面和人物出现在很多绘画里，比如彼特？保罗？鲁本斯（Peter Paul Rubens）、皮埃罗？泰斯特（Pietro Testa）、阿斯穆斯？雅各布？卡斯滕斯（Asmus Jakob Karstens）、雅克路易斯？大卫（JacquesLouis David）、安瑟伦？费尔巴赫（Anselm Feuerbach）和约翰？拉法奇（John La Farge）等的作品里；此外，还出现在音乐创作中，比如埃里克？萨蒂（Erik Satie）和伦纳德？伯恩斯坦（Leonard Bernstein）的乐曲中。1969年BBC公司制作了《酒会》（The Drinking Party），其中的音乐《全为爱》（All about Love）以及摇滚音乐电影《摇滚芭比》（Hedwig and the Angry Inch）中都出现了来自《会饮》的片段。西格蒙德？弗洛伊德（Sigmund Freud）将柏拉图对爱（erōs）或热烈的欲望（passionate desire）的理解视为其力比多（libido）概念的原型，而对话中爱是“永久地拥有善好的欲求”（desire for eternal possession of the good）的想法，本身就富有哲学趣味。然而，《会饮》展示出的各种兴趣尽管历经了两千多年，但还是存有悬而未决的问题，比如每篇颂词之间的关系，《会饮》与柏拉图在其他对话中所表达的观点的关系，以及对话对后来艺术家和文学家之影响的本质等。本文集针对这些问题做出了一系列考察。 第一编《会饮》与柏拉图哲学 2通常认为，《会饮》是一篇“中期”对话，它放弃了苏格拉底式对话的某些典型特征，而倾向于《理想国》（Republic）式的庞大理论建构。但是，克里斯多夫？罗伊（Christopher Rowe)在《作为苏格拉底式对话的〈会饮〉》（The Symposium as a Socratic Dialogue）一文中认为，《会饮》并不符合这种分类法，因为它似乎一方面包含苏格拉底式的灵魂学，另一方面又囊括了柏拉图式的形而上学。在此文中，罗伊讨论了这种明显的张力。他首先反驳了各种不同的\\[特别是普瑞斯（Price）、弗拉斯托斯（Vlastos）和欧文（Irwin）的\\]解释策略，然后提出，实际上柏拉图式的理念与柏拉图式的灵魂学之间并没有必然联系，不应该根据这一特征（柏拉图式的理念）的呈现预期那一特征（柏拉图式的灵魂学）的出现。接着，罗伊说明了为什么应该把《会饮》看作一篇苏格拉底式的对话，并深入探讨了这个观点在哲学上的影响。 关于《会饮》的理解，更进一步阐释性的争议集中在对话各个部分的关系上。《会饮》是一篇充满奇妙构思的作品，它把专家、学者划分成两派，两派分别希望从哲学的和文学的角度给出解释。关于手头的话题，柏拉图为什么会给出这样一种演讲排序？哲学家苏格拉底的论述与他（非哲学的）同道的论述有着怎样的联系？在《苏格拉底之前的颂词在〈会饮〉中的角色——柏拉图的共同接受意见法》（The Role of the Earlier Speeches in the Symposium: Platos Endoxic Method）一文中，弗里斯比？CC谢菲尔德（Frisbee 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