ΜΕΝ. Ὦ Σώκρατες, ἤκουον μὲν ἔγωγε πρὶν καὶ συγγε-
νέσθαι σοι ὅτι σὺ οὐδὲν ἄλλο ἢ αὐτός τε ἀπορεῖς καὶ τοὺς 80a
ἄλλους ποιεῖς ἀπορεῖν· καὶ νῦν, ὥς γέ μοι δοκεῖς, γοητεύεις
με καὶ φαρμάττεις καὶ ἀτεχνῶς κατεπᾴδεις, ὥστε μεστὸν
ἀπορίας γεγονέναι. καὶ δοεκῖς μοι παντελῶς, εἰ δεῖ τι καὶ
σκῶψαι, ὁμοιότατος εἶναι τό τε εἶδος καὶ τἆλλα ταύτῃ τῇ 5
πλατείᾳ νάρκῃ τῇ θαλαττίᾳ·
소크라테스, 저로서는 당신과 어울리게 되기도 전에 당신께서
다름 아니라 당신 자신도 길을 잃은 채로 여타의 사람들까지도
길을 잃게 만든다는 이야기를 들었습니다. 지금도, 제게 여겨지는
대로는, 당신이 저를 현혹시키시고 약에 취하게 하시고 원칙도
없이 주문을 외워 사로잡으시니, 그래서 제가 길 없는 한복판에
놓였을 지경입니다. 그래서 만일 제가 뭐라고 조롱이라도 해도
된다면, 제게 당신은 형상으로나 그 밖의 것들로나 바닷속의 저
넓적한 전기가오리와 아주 닮아 있다고 정말로 여겨지기도 합니다.
> 79e7 μέν: Denniston, <The Greek Particles> p. 380.
μέν (5) Contrasted idea not expressed (the so-called μέν
solitarium). We may exclude (a) passage in dialogue where
a second person intervenes before μέν has been answered:
(b) passages in continuous where the speaker interrupts
himself by a definite anacoluthon. ...
The explanation of μέν solitatirum, in general, is either that
the subsequently forgets his intention (e.g. Pl. R.466E, where
Περὶ μὲν γὰρ τῶν ἐν πολέμῳ is never answered at all), or,
far more frequently, that he uses μέν, like γε, in contrast
with something which he does not intend to express in words,
or even (sometimes) define precisely in thought. Obviously
there is no sharp line of demarcation, and many passage may
be explained in either way. Apart from certain stereotyped
idioms μέν solitarium is considerably commoner in verse than
in prose.
Smyth. 2895. : μέν was originally an asseverative, emphatic particle
(surely, certainly, indeed) and a weaker form of μήν. Cp. ἦ μέν, καὶ
μέν, οὐ μέν in asseverations and protestations. Asseverative μέν
survived as μέν solitarium and in combination with other particles.
Antithetical (concessive) μέν owes its origin to the fact that, as emphasis
may indicate a contrast, the clause in which μέν stood was felt as
preliminary to an adversative member of the sentence. Through
association with this adversative member μέν gradually lost its
primitive asseverative force.
2896. μέν solitarium occurs when a clause with μέν is not followed by a
clause with δέ. This is especially common when the antithetical clause is
to be supplied in thought as when μέν emphasizes a statement made by
a person with reference to himself as opposed to others (often with
a tone of arrogance or of credulity). Here any possible opposition or
difference of opinion, however justifiable, is left unexpressed.
> 80a1 σύ: CG. 60.18. In the examples given so far, the noun
phrases are continuous, in that no words other than postpositives
intervene between the modifier and the head. However,
many noun phrasesare discontinuous, in that mobile words
intervene between the modifier and the head. This phenomenonis
called hyperbaton. Two types can be distinguished:
- Hyperbaton with the modifier preceding the head; this type
involves strong emphasis on the modifier:
- Hyperbaton with the head preceding the modifier; this type
does not involve emphasis: some additional information about
the headis given, whichis either predictable or not particularly relevant:
Alternatively, the head may be topical (60.22), while the modifier adds
new information.
CG. 60.19. The most important syntactic restriction on hyperbaton is that
at least one of the constituents interrupting a discontinuous noun phrase
must be the constituent on which that noun phrase depends.
Smyth. 3028. Hyperbaton (ὑπέρβατον transposition) is the separation of
words naturally belonging together. Such displacement usually gives
prominence to the first of two words thus separated, but sometimes
to the second also. In prose hyperbaton is less common than emphasis
on an important idea by placing it at the beginning or end of a sentence.
καὶ γὰρ αὕτη τὸν ἀεὶ πλησιά-
ζοντα καὶ ἁπτόμενον ναρκᾶν ποιεῖ, καὶ σὺ δοκεῖς μοι νῦν ἐμὲ
τοιοῦτόν τι πεποιηκέναι, [ναρκᾶν]· ἀληθῶς γὰρ ἔγωγε καὶ
τὴν ψυχὴν καὶ τὸ στόμα ναρκῶ, καὶ οὐκ ἔχω ὅτι ἀποκρίνωμαί b
σοι. καίτοι μυριάκις γε περὶ ἀρετῆς παμπόλλους λόγους
εἴρηκα καὶ πρὸς πολλούς, καὶ πάνυ εὖ, ὥς γε ἐμαυτῷ ἐδόκουν·
νῦν δὲ οὐδ᾿ ὅτι ἐστὶν τὸ παράπαν ἔχω εἰπεῖν.
그야 이 전기가오리도 매번 가까이 있고 또 닿는 자를
마비되도록 만들고, 당신도 제게는 지금 제게 이런 어떤 일을
만드신 것으로 여겨지니까요, 마비되는 일을 말입니다. 그야
참으로 저로서는 영혼도 입도 마비된 채이고, 당신에게 제가 무어라
답할지를 붙들고 있지도 못하니 드리는 말씀입니다. 비록 제가
덕에 관련하여 숱하게 많은 말들을 수 많은 사람들에 대해서도
수 만 번은 이야기했고, 또 꽤나 잘 이야기했다고, 적어도 제
자신에게 여겨졌기로는 그렇긴 했습니다만. 그런데 이제는 그게
무엇인지도 도무지 이야기할 수가 없습니다.
> 80b1 ναρκῶ: 사전에서는 ναρκάω를 자동사로, ναρκόω는 타동사로 구분.
Cf. LSJ, Brill 해당 항목. Cambridge Lexicon은 ναρκάω 자동사만 등재.
> 80b1 ἔχω: 소유 혹은 획득과 소지의 차이. Cf. <Theaetetus> 198d1-8,
κτάομαι와 ἔχω의 구분.
> 80b2 καίτοι ... γε: Denniston. p.588. καίτοι (1) Adversative
(iii) Not infrequently (particularly in Plato, whose characteristic
fullness of style this idiom suits) the objection introduced
by καίτοι is countered, palliated, or modified by a following
adversative clause.
καί μοι δοκεῖς
εὖ βουλεύεσθαι οὐκ ἐκπλέων ἐνθένδε οὐδ᾿ ἀποδημῶν· εἰ 5
γὰρ ξένος ἐν ἄλλῃ πόλει τοιαῦτα ποιοῖς, τάχ᾿ ἂν ὡς γόης
ἀπαχθείης.
또한 제게는 당신께서
이곳으로부터 이것을 떠나서 외유하지도 않으시니 잘 생각하신
것이라 여겨집니다. 당신께서 외지손님으로서 이 외의 도시에서
이런 짓들을 하신다면, 어쩌면 사기꾼이라며 붙잡히셨을지도
모르겠으니까요.
> 80b5-7 εἰ ... ποιοῖς, ... ἂν ... ἀπαχθείης: less vivid.
ΣΩ. Πανοῦργος εἶ, ὦ Μένων, καὶ ὀλίγου ἐξηπάτησάς με.
자넨 못할 짓이 없는 자로구만, 메논, 게다가 나를 거의
속여넘기다시피 하였고 말일세.
> 80b8 ὀλίγου: LSJ. ὀλίγος IV special phrases: 1. ὀλίγου δεῖν almost (v. δεῖ II);
ὀλίγου ἐδέησε καταλαβεῖν wanted but little of overtaking, Hdt. 7.10.γʹ:
hence ὀλίγου alone, within a little, all but, almost, ὀλίγου σε κύνες διεδηλήσαντο
Od. 14.37, cf. Ar. Ach. 348, 381, Nu. 722, Lys. 14.17, Pl. Prt. 361b, D. 19.334, etc.;
ὀ. ἅπαντες Pl. Ap. 22b; ὀ. ἐς χιλίους close upon 1000, Th. 4.124;
ὀ. ἦλθεν ἑλεῖν (v. infr. 9) Paus. 1.13.6.
ΜΕΝ. Τί μάλιστα, ὦ Σώκρατες;
특히 무엇 때문에 그렇습니까, 소크라테스?
ΣΩ. Γιγνώσκω οὗ ἕνεκά με ᾔκασας. c
나는 자네가 무엇을 위해 나를 [그런 모상에] 비유했는지 안다네.
ΜΕΝ. Τίνος δὴ οἴει;
무엇을 위해서라고 생각하시는데요?
ΣΩ. Ἵνα σε ἀντεικάσω. ἐγὼ δὲ τοῦτο οἶδα περὶ πάντων
τῶν καλῶν, ὅτι χαίρουσιν εἰκαζόμενοι―λυσιτελεῖ γὰρ αὐτοῖς·
καλαὶ γὰρ οἶμαι τῶν καλῶν καὶ αἱ εἰκόνες―ἀλλ᾿ οὐκ 5 //210615
ἀντεικάσομαί σε. ἐγὼ δέ, εἰ μὲν ἡ νάρκη αὐτὴ ναρκῶσα
οὕτω καὶ τοὺς ἄλλους ποιεῖ ναρκᾶν, ἔοικα αὐτῇ· εἰ δὲ μή,
οὔ. οὐ γὰρ εὐπορῶν αὐτὸς τοὺς ἄλλους ποιῶ ἀπορεῖν, ἀλλὰ
παντὸς μᾶλλον αὐτὸς ἀπορῶν οὕτως καὶ τοὺς ἄλλους ποιῶ
ἀπορεῖν. καὶ νῦν περὶ ἀρετῆς ὃ ἔστιν ἐγὼ μὲν οὐκ οἶδα, σὺ d
μέντοι ἴσως πρότερον μὲν ᾔδησθα πρὶν ἐμοῦ ἅψασθαι, νῦν
μέντοι ὅμοιος εἶ οὐκ εἰδότι. ὅμως δὲ ἐθέλω μετὰ σοῦ
σκέψασθαι καὶ συζητῆσαι ὅτι ποτέ ἐστιν.
내가 자네를 [또 다른 모상에] 맞비교하도록 하기 위함인 게지.
그런데 나는 모든 아름다운 자들에 관련하여 이 점을 안다네,
그들이 비유되며 기뻐한다는 것을 말일세.―그게 그들에게
득이 되니까. 내 생각에 그건 아름다운 자들에 대해서는 그들의
모상들 역시 아름다운 것들이기 때문이라네.―그러나 나는
자네에게 맞장구를 쳐 비교해주지는 않을 걸세. 나는, 만일 그
전기가오리가 스스로 마비된 채 그 밖의 사람들까지 그렇게
마비되도록 만든다면, 그 녀석과 닮았을 걸세. 헌데 그렇지
않다면, 닮지 않았지. 왜냐하면 나 자신이 길을 잘 찾아 나아가면서
그 외의 사람들이 길을 잃도록 만드는 게 아니라, 누구보다도
나 자신이 특히나 길을 헤매면서 그런 식으로 나 외의 사람들까지
길을 잃게 만들기 때문이라네. 지금도 덕에 관련하여 그것이
무엇인지 나는 알지 못하지만, 자네는 내게 닿기에 앞서 그
이전에는 아마도 알고 있던 것 같으나, 지금은 알지 못하는 이와
비슷한 자로군. 헌데 그럼에도 불구하고 나는 자네와 더불어 그것이
도대체 무엇인지 검토하고 또한 함께 탐구하고자 하고 있지.
> 80c4 χαίρουσιν εἰκαζόμενοι: χαίρω w/noun. dat. Cf. 77b3.
Supplementary Participle. Cf. 77a7; Smyth. 2046-2048, 2088-2145;
CG. 52.8-52.28. Supplementary: the participle is used
as an obligatory constituent with verbs.
> 80d4 σκέψασθαι ... συζητῆσαι:
Cf. 71c4 ἐνέτυχον + 72c9 δηλῶσαι + 74a10 ἀνευρεῖν.
Complexive Aorist.
Smyth. 1927. The complexive aorist is used to survey
at a glance the course of a past action from beginning to end.
It may sum up the result of a preceding narrative (often containing
imperfects.) The complexive aorist appears also in other moods than
the indicative.
a. This is often called the 'concentrative' aorist, because it concentrates
the entire course of an action to a single point. When used of rapid or
instantaneous action this aorist is often called 'momentary.'
b. The complexive aorist is used either of a long or of a short period of
time.
CG. 33.30. The aorist of such verbs can, however, also be used as an
expression of an entire period (viewed as a complete whole from
beginning to end, without any interest in its component parts).
This is the so-called complexive (or 'concentrating') use of the aorist.
Typically, an expression of the duration of the action is included:
ΜΕΝ. Καὶ τίνα τρόπον ζητήσεις, ὦ Σώκρατες, τοῦτο ὃ 5
μὴ οἶσθα τὸ παράπαν ὅτι ἐστίν; ποῖον γὰρ ὧν οὐκ οἶσθα
προθέμενος ζητήσεις; ἢ εἰ καὶ ὅτι μάλιστα ἐντύχοις αὐτῷ,
πῶς εἴσῃ ὅτι τοῦτό ἐστιν ὃ σὺ οὐκ ᾔδησθα;
또 무슨 방법으로 탐구하시겠습니까, 소크라테스? 당신께서
그것이 무엇인지 도무지 알지 못하시는 그런 것을 말입니다.
당신께서 알지 못하시는 것들 중에 어떤 것을 상정하시고서
탐구하실 겁니까? 혹은 최대한 봐줘서 당신께서 그것과
맞딱들이신다 하더라도, 당신이 알지 못하시는 것이 이것이란
점을 어떻게 아시겠습니까?
> 80d5 Καὶ: Denniston. p309-310. Καί II. Responsive.
B. Structural uses. (10) In questions. (i) καί preceding interrogative,
usually at the opening of a speech in dialogue. The particle may
either (a) simply denote that the speaker requires further information;
or (b), more commonly, convey an emotinoal effect of suprise,
contempt, and so forth. Both senses (to which the use of δέ
and, more rarely, τε after interrogatives is closely parallel) are
natural enough.
The elliptical form Καὶ πῶς; is common in Plato.
ΣΩ. Μανθάνω οἷον βούλει λέγειν, ὦ Μένων. ὁρᾷς e
τοῦτον ὡς ἐριστικὸν λόγον κατάγεις, ὡς οὐκ ἄρα ἔστιν
ζητεῖν ἀνθρώπῳ οὔτε ὃ οἶδε οὔτε ὃ μὴ οἶδε; οὔτε γὰρ ἂν
ὃ γε οἶδεν ζητοῖ―οἶδεν γάρ, καὶ οὐδὲν δεῖ τῷ γε τοιούτῳ
ζητήσεως―οὔτε ὃ μὴ οἶδεν―οὐδὲ γὰρ οἶδεν ὅτι ζητήσει. 5 //210622
자네가 무슨 말을 하고 싶은지 알겠군, 메논. 자네는 자네가
끌어들이고 있는 이 논의가 얼마나 쟁론적인지 아는가?
인간으로서는 그가 아는 것이든 그가 알지 못하는 것이든
탐구할 수 없다면서 말일세. 왜냐하면 알고 있던 것은 탐구하지
못할 테고―왜냐하면 그가 알고, 그래서 이런 사람에게는
탐구가 전혀 필요하지 않으니까―알지 못하는 것도 그리
못할 테니―그야 무엇을 탐구할 것인지 알지도 못했을 테니
말일세.
> τοῦτον: Cf. 70a4 "ἀρετὴν"의 형태가 acc.인 이유. prolepsis.
본래 εἴτε 안에서 nom.이어야 하나 주제를 강조하기 위해 εἰδέναι의
목적어로 취급되었다.
ΜΕΝ. Οὐκοῦν καλῶς σοι δοκεῖ λέγεσθαι ὁ λόγος οὗτος, 81a
ὦ Σώκρατες;
그럼 당신께는 이런 논변이 아름답게 말해진 것이라 여겨지지
않는군요, 소크라테스?
> 81a Οὐκοῦν: Cf. Denniston. p430-433.
"... If we trust our manuscripts, we must believe that interrogative
οὔκουν is practically unknown to prose. But in many passages,
where a surprised or indignant question is clearly required, there
are strong grounds for restoring οὔκουν...; for affirmative or
interrogative οὐκοῦν." p432.
ΣΩ. Οὐκ ἔμοιγε.
적어도 내겐 그리 여겨지지 않는군.
ΜΕΝ. Ἔχεις λέγειν ὅπῃ;
당신은 어떤 식으로 말씀하실 수 있나요?
ΣΩ. Ἔγωγε· ἀκήκοα γὰρ ἀνδρῶν τε καὶ γυναικῶν σοφῶν 5
περὶ τὰ θεῖα πράγματα―
나로서는 그렇다네. 지혜로운 사내들과 여인들에게서 신적인
일들에 관련하여 들었기 때문이지―
> 81a5 ἀκήκοα:
C.G. 30.20. The main function of the genitive is at the level of the noun phrase, to mark
attributive modifiers (i.e. expressing various relations between (pro)nouns/noun
phrases). It is also used to mark somerequired constituents (complements) with
verbs/adjectives, and functions in a few adverbial expressions.
As Obligatory Constituent (to Complement Verbs/Adjectives)
Verbs Taking the Genitive.
30.21. Thegenitive is used to complement, amongothers, the following verbs:
- many verbs expressing sensorial or mental processes:
ἀκούω hear (the gen. marks the source of sound; ἀκούω +
acc. = 'be told', 'hear', e.g. ἀκούω λόγον 'hear
a story'; combinations of gen./acc. occur)
ἀκροάομαι listen to, hear (in combinations gen./acc., the gen.
marks the speaking person (i.e. the source of sound), the acc. the thing said)
52.14. But when verbs of hearing (ἀκούω, αἰσθάνομαι) are used to express direct
auditory perception, a supplementary participle and its subject are expressed in
the genitive (genitive-and-participle construction):
52.19. Similarly, verbs of auditory perception, such as ἀκούω hear, can be used not only
to refer to the actual auditory perception of an action, but also to refer to the
transmission of factual information, and then means 'learn', 'be told (a fact)' (cf.
Engl. I hear that Julia has performed well in her job, in which no auditory
perception of Julia working is involved):
- when used as verbs of auditory perception, such verbs are complemented by
a genitive-and-participle construction (>52.14); the participle occurs nearly
exclusively in the present (because the perceived action is necessarily ongoing
when it is perceived);
- when used as verbs of (acquiring) knowledge, they are complemented by an
accusative-and-participle construction expressing the propositional content of
the information; all tenses of the participle are used, with the usual relative-tense
implication (>52.4):
ΜΕΝ. Τίνα λόγον λεγόντων;
무슨 말을 하는 자들에게서 말씀이십니까?
ΣΩ. Ἀληθῆ, ἔμοιγε δοκεῖν, καὶ καλόν.
참된 것들을, 적어도 내게 여겨지기로는, 또한 아름다운 말을
해주었다네.
> 81a8 ἔμοιγε δοκεῖν:
C.G. 51.49. The infinitive is used in some idiomatic expressions, for instance
ὡς (ἔπος) εἰπεῖν so to say, if I may use this expression, as it were,
practically (often with forms of πᾶς, 'practically
everyone', οὐδείς, 'practically no one')
(ὡς) συνελόντι εἰπεῖν in short, to be brief, to cut to the chase, if I may be brief
τὸ σύμπαν εἰπεῖν in short, in any case
ὀλίγου δεῖν almost, practically
ἐμοὶ δοκεῖν it seems to me
ὡς εἰκάσαι it seems/appears, so far as one might guess
ἑκὼν εἶναι voluntarily, willingly, intentionally
τὸ νῦν εἶναι for the time being
In each of these expressions, the infinitive is used absolutely, i.e. not dependent on
a verb, adjective, etc.
Smyth. 2012. Certain idiomatic infinitives are used absolutely in parenthetical
phrases to limit the application of a single expression or of the entire sentence.
ΜΕΝ. Τίνα τοῦτον, καὶ τίνες οἱ λέγοντες;
그게 무엇이고, 말한 자들은 누굽니까?
ΣΩ. Οἱ μὲν λέγοντές εἰσι τῶν ἱερέων τε καὶ τῶν ἱερειῶν 10
ὅσοις μεμέληκε περὶ ὧν μεταχειρίζονται λόγον οἵοις τ᾿ εἶναι
διδόναι· λέγει δὲ καὶ Πίνδαρος καὶ ἄλλοι πολλοὶ τῶν ποιητῶν b
ὅσοι θεῖοί εἰσιν. ἃ δὲ λέγουσιν, ταυτί ἐστιν· ἀλλὰ σκόπει
εἴ σοι δοκοῦσιν ἀληθῆ λέγειν. φασὶ γὰρ τὴν ψυχὴν τοῦ
ἀνθρώπου εἶναι ἀθάνατον, καὶ τοτὲ μὲν τελευτᾶν―ὃ δὴ
ἀποθνῄσκειν καλοῦσι―τοτὲ δὲ πάλιν γίγνεσθαι, ἀπόλλυσθαι 5
δ᾿ οὐδέποτε· δεῖν δὴ διὰ ταῦτα ὡς ὁσιώτατα διαβιῶναι τὸν
βίον· οἷσιν γὰρ ἂν―
그 말을 해준 사람들은 그들이 주관하는 일들에 관련하여 설명을
제시할 수 있다는 것이 관심사였던 신관들과 여신관들에 속한
자들이라네. 그런가 하면 핀다로스께서도 그리고 신적인 자들인
시인들 중에서 그 밖의 많은 이들도 그리 말하지. 그들이 말하는
것들이란, 이런 것들일세. 그럼 자네에게 그들이 참된 것들을 말하는
것으로 여겨지는지 검토해 보게나. 그야 그들은 인간의 영혼이
불멸이라고, 때로는 끝맺고―실은 그들이 죽는다는 것을 그리
부르지―때로는 다시 생겨나지만, 결코 단 한 번도 파괴되어 버리지는
않는다고 주장하니 말일세. 그래서 이런 점들로 인해 최대한 경건하게
삶을 살아가야 한다고 주장들 하지. 왜냐하면
Φερσεφόνα ποινὰν παλαιοῦ πένθεος
δέξεται, εἰς τὸν ὕπερθεν ἅλιον κείνων ἐνάτῳ ἔτεϊ
ἀνδιδοῖ ψυχὰς πάλιν, 10
ἐκ τᾶν βασιλῆες ἀγαυοὶ c
καὶ σθένει κραιπνοὶ σοφίᾳ τε μέγιστοι
ἄνδρες αὔξοντ᾿· ἐς δὲ τὸν λοιπὸν χρόνον ἥρωες ἁγνοὶ
πρὸς ἀνθρώπων καλεῦνται.
페르세포네가 오랜 비탄의 대가를 받아줄 자들에게,
그녀는 지상의 태양을 향해 아홉 번째 해에 저들의
영혼들을 다시 돌려줄지니,
그 영혼들로부터 고귀한 왕들과 강건함으로 맹진하는 자들과
지혜로 가장 위대한 사내들이 자라노라. 그들은 남은 시간이
다하도록 고귀한 영웅들이라 인구에 회자되노라.
Ἅτε οὖν ἡ ψυχὴ ἀθάνατός τε οὖσα καὶ πολλάκις γεγονυῖα, 5
καὶ ἑωρακυῖα καὶ τὰ ἐνθάδε καὶ τὰ ἐν Ἅιδου καὶ πάντα
χρήματα, οὐκ ἔστιν ὅτι οὐ μεμάθηκεν· ὥστε οὐδὲν θαυμαστὸν
καὶ περὶ ἀρετῆς καὶ περὶ ἄλλων οἷόν τ᾿ εἶναι αὐτὴν ἀναμνη-
σθῆναι, ἅ γε καὶ πρότερον ἠπίστατο. ἅτε γὰρ τῆς φύσεως
ἁπάσης συγγενοῦς οὔσης, καὶ μεμαθηκυίας τῆς ψυχῆς ἅπαντα, d
οὐδὲν κωλύει ἓν μόνον ἀναμνησθέντα―ὃ δὴ μάθησιν καλοῦσιν
ἄνθρωποι―τἆλλα πάντα αὐτὸν ἀνευρεῖν, ἐάν τις ἀνδρεῖος ᾖ
καὶ μὴ ἀποκάμνῃ ζητῶν· τὸ γὰρ ζητεῖν ἄρα καὶ τὸ μανθάνειν
ἀνάμνησις ὅλον ἐστίν. οὔκουν δεῖ πείθεσθαι τούτῳ τῷ 5
ἐριστικῷ λόγῳ· οὗτος μὲν γὰρ ἂν ἡμᾶς ἀργοὺς ποιήσειεν
καὶ ἔστιν τοῖς μαλακοῖς τῶν ἀνθρώπων ἡδὺς ἀκοῦσαι, ὅδε
δὲ ἐργατικούς τε καὶ ζητητικοὺς ποιεῖ· ᾧ ἐγὼ πιστεύων e
ἀληθεῖ εἶναι ἐθέλω μετὰ σοῦ ζητεῖν ἀρετὴ ὅτι ἐστίν.
그러니 영혼이 불멸하는 것이며 또한 여러 차례 거듭되었기에,
또한 이곳의 일들도 그리고 하데스에서의 일들도 그 모든 일들을
보았기 때문에, 배우지 않았다는 건 사실이 아니지. 그래서 덕에
관련하여서도 그 밖의 일들에 관련하여서도 그 영혼이란 것이
상기해낼 수 있다는 건 전혀 놀랄 게 없으니, 어쨌든 이전에도
알았던 것들을 그리한다는 걸세. 왜냐하면 그 본성이 모두 다
동종적이기에, 그리고 영혼이 통틀어 모든 것들을 배웠기에,
단 하나만을 상기해낸 자가―실로 그것을 인간들이 배움이라
부르는 게지―그 외의 모든 것들을 알아내는 일을 아무것도
가로막지 않기 때문이지, 누군가 사내다운 자이자 탐구하기를
싫증내지 않을 자라면 말일세. 그야 그래서 탐구한다는 것과
배운다는 것이 전체로 놓고서는 상기이기 때문이지. 그러니 저
쟁론적인 언설에 설복되지는 않아야 한다네. 왜냐하면 이런 논변은
우리를 게으른 자들로 만들 것이고 인간들 중에서 유약한 자들이
듣기에 즐거운 것이나, 지금 이 논변은 일하는 자들로 그리고 또한
탐구하는 자들로 만들어주기 때문이지. 나는 내가 참이라고 신뢰하는
이 논변으로 자네와 함께 덕이 무엇인지를 탐구하고자 한다네.
> 81d7 ἡδύς ἀκοῦσαι: Cf. 71e3, 76a10. CG 51.9. The dynamic infinitive is also used
to complement certain adjectives and nouns with meanings similar
to those listed above, i.e. expressing ability, possibility, need, desire, etc.
Cf. 51.8-51.18. Dynamic Infinitives. CG. 51.16. Dynamic Infinitives Expressing
Purpose or Result: A dynamic infinitive is added regularly to verbs meaning
'give', 'entrust', 'take', 'receive', etc., or verbs meaning 'have(at one's disposal)',
to express purposeorresult (without ὥστε or ὡς). This use of the infinitive is usually
called final-consecutive.
> 81e1 ἐργατικούς τε καὶ ζητητικοὺς:
C.G. 23.17 -ικός, -ή, -όν: productive suffix used to form adjectives from nouns,
with the general meaning 'pertaining to ...', often 'skilled in ...', 'occupying oneself with ...':
γραμματικός expert in letters: grammarian (γράμμα letter)
ἱππικός of a horse; skilled in riding (ἵππος horse)
ποιητικός capable of making, creative (ποιητής maker, poet)
φυσικός natural, concerning nature, physical (φύσις nature)
Feminine forms (in -ική) often have the meaning 'the art of ...',
with or wihtout τέχνη added: ἡ γραμματική (τέχνη) grammar, ἡ ἱππική (τέχνη) the art of horse riding, ἡ ποιητική (τέχνη) the art of poetry, etc.
Cf. Smyth. 858. 6. κο, ακο. ικο (nom. -κος, very common, cp 864.1):
many denominatives formed by these suffixes denote relation, many others
fitness or ability.
ΜΕΝ. Ναί, ὦ Σώκρατες· ἀλλὰ πῶς λέγεις τοῦτο, ὅτι οὐ
μανθάνομεν, ἀλλὰ ἣν καλοῦμεν μάθησιν ἀνάμνησίς ἐστιν;
ἔχεις με τοῦτο διδάξαι ὡς οὕτως ἔχει; 5
네, 소크라테스. 허나 그건 어찌 하시는 말씀이십니까? 우리는
배우는 게 아니라, 우리가 배움이라 부르는 것은 상기라는 점
말입니다. 그게 어떻게 그러한지 제게 가르쳐주실 수 있나요?
> 81e5 διδάξαι:
Cf. 80d4 σκέψασθαι ... συζητῆσαι, 71c4 ἐνέτυχον, 72c9 δηλῶσαι,
74a10 ἀνευρεῖν.
Complexive Aorist.
Smyth. 1927. The complexive aorist is used to survey
at a glance the course of a past action from beginning to end.
It may sum up the result of a preceding narrative (often containing
imperfects.) The complexive aorist appears also in other moods than
the indicative.
a. This is often called the 'concentrative' aorist, because it concentrates
the entire course of an action to a single point. When used of rapid or
instantaneous action this aorist is often called 'momentary.'
b. The complexive aorist is used either of a long or of a short period of
time.
CG. 33.30. The aorist of such verbs can, however, also be used as an
expression of an entire period (viewed as a complete whole from
beginning to end, without any interest in its component parts).
This is the so-called complexive (or 'concentrating') use of the aorist.
Typically, an expression of the duration of the action is included:
-蟲-