"Socrates didn't care to visit the theater, as a rule, except when the plays of Euripides (which some think, he himself had helped to compose), were performed"
About this Quote
Socrates, the supposed patron saint of pure reason, suddenly develops a taste for the theater only when his favorite playwright is on the bill - and Mendelssohn knows how deliciously suspicious that looks. The line isn’t just gossip; it’s a calibrated jab at the fantasy that philosophy lives above culture, untainted by performance, politics, and taste. By treating Socrates as a selective attendee, Mendelssohn humanizes him, then sharpens the point: even the man who questioned Athens for a living had preferences, alliances, and perhaps a hand in the very art form philosophers often pretend to outgrow.
The parenthetical - “which some think, he himself had helped to compose” - is the real blade. It slips in as hearsay, but it reframes everything: Socrates isn’t merely a discerning spectator; he may be an uncredited collaborator. That insinuation collapses the clean boundary between the philosopher and the poet, between critique and creation. Socrates becomes a brand, a network, a participant in cultural production, not just its stern evaluator.
In Mendelssohn’s Enlightenment context, this matters. He’s writing from a world trying to reconcile reason with aesthetic experience, and from the specific German-Jewish project of proving that intellectual seriousness doesn’t require a purge of art, feeling, or public culture. The quote functions as a sly defense of the theater and of Euripides: if even Socrates can’t resist when the drama gets ethically and psychologically sharp, maybe the stage isn’t philosophy’s frivolous rival - it’s one of its most effective delivery systems.
The parenthetical - “which some think, he himself had helped to compose” - is the real blade. It slips in as hearsay, but it reframes everything: Socrates isn’t merely a discerning spectator; he may be an uncredited collaborator. That insinuation collapses the clean boundary between the philosopher and the poet, between critique and creation. Socrates becomes a brand, a network, a participant in cultural production, not just its stern evaluator.
In Mendelssohn’s Enlightenment context, this matters. He’s writing from a world trying to reconcile reason with aesthetic experience, and from the specific German-Jewish project of proving that intellectual seriousness doesn’t require a purge of art, feeling, or public culture. The quote functions as a sly defense of the theater and of Euripides: if even Socrates can’t resist when the drama gets ethically and psychologically sharp, maybe the stage isn’t philosophy’s frivolous rival - it’s one of its most effective delivery systems.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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