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answered: "You have only to walk about until your legs are heavy, and then to lie down, and the poison will act." At the same time he handed the cup to
Socrates Then raising the cup to his lips, quite readily and cheerfully he drank off the poison. And hitherto most of us had been able to control our sorrow; but now when we saw him drinking, and saw too that he had finished the draught, we could no longer forbear, and in spite of myself my own tears were flowing fast; so that I covered my face and wept, not for him, but at the thought of my own calamity in having to part from such a friend. and he walked about until, as he said, his legs began to fail, and then he lay on his back, according to the directions, and the man who gave him the poison now and then looked at his feet and legs; and after a while he pressed his foot hard, and asked him if he could feel; and he said: "No"; and then his leg, and so upwards and upwards, and showed us that he was cold and stiff. And he felt them himself, and said: "When the poison reaches the heart, that will be the end." He was beginning to grow cold about the groin, when he uncovered his face, for he had covered himself up, and said—they were his last words—he said: "Crito, I owe a cock to Asclepius; will you remember to pay the debt?" in a minute or two a movement was heard, and the attendants uncovered him; his eyes were set, and Crito closed his eyes and mouth. Such was the end, Echecrates, of our friend; concerning whom I may truly say, that of all the men of his time whom I have known, he was the wisest and justest and best.
551:"To-morrow, Phaedo, I suppose that these fair locks of yours will be severed." When he had spoken these words, he arose and went into a chamber to bathe; Crito followed him and told us to wait. When he came out, he sat down with us again after his bath, but not much was said. Soon the jailer, who was the servant of the Eleven, entered and stood by him, saying: "To you, Socrates, whom I know to be the noblest and gentlest and best of all who ever came to this place, I will not impute the angry feelings of other men, who rage and swear at me, when, in obedience to the authorities, I bid them drink the poison—indeed, I am sure that you will not be angry with me; for others, as you are aware, and not I, are to blame. And so fare you well, and try to bear lightly what must needs be—you know my errand." Then bursting into tears he turned away and went out. Socrates looked at him and said: "I return your good wishes, and will do as you bid." Then turning to us, he said: "How charming the man is: since I have been in prison he has always been coming to see me, and at times he would talk to me, and was as good to me as could be, and now see how generously he sorrows on my account. We must do as he says, Crito; and therefore let the cup be brought, if the poison is prepared: if not, let the attendant prepare some."
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in and generally passed the day with
Socrates. On our arrival the jailer who answered the door, instead of admitting us, came out and told us to stay until he called us. He soon returned and said that we might come in. On entering we found Socrates just released from chains, and Xanthippe, whom you know, sitting by him, and holding his child in her arms. Socrates, sitting up on the couch, bent and rubbed his leg, saying, as he was rubbing: "How singular is the thing called pleasure, and how curiously related to pain, which might be thought to be the opposite of it; Why, because each pleasure and pain is a sort of nail which nails and rivets the soul to the body I am not very likely to persuade other men that I do not regard my present situation as a misfortune, if I cannot even persuade you that I am no worse off now than at any other time in my life. Will you not allow that I have as much of the spirit of prophecy in me as the swans? For they, when they perceive that they must die, having sung all their life long, do then sing more lustily than ever, rejoicing in the thought that they are about to go away to the god whose ministers they are."
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mouths; and they are made to open in the middle, and have images of gods inside them. I say also that he is like
Marsyas the satyr. And are you not a flute-player? That you are, and a performer far more wonderful than Marsyas. He indeed with instruments used to charm the souls of men by the power of his breath, and the players of his music do so still: for the melodies of Olympus are derived from Marsyas who taught them But you produce the same effect with your words only, and do not require the flute: that is the difference between you and him. And if I were not afraid that you would think me hopelessly drunk, I would have sworn as well as spoken to the influence which they have always had and still have over me. For my heart leaps within me more than that of any Corybantian reveller, and my eyes rain tears when I hear them. And I observe that many others are affected in the same manner. And this is what I and many others have suffered from the flute-playing of this satyr.
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518:, a fair resting-place, full of summer sounds and scents. Here is this lofty and spreading plane-tree, and the agnus castus high and clustering, in the fullest blossom and the greatest fragrance; and the stream which flows beneath the plane-tree is deliciously cold to the feet. Judging from the ornaments and images, this must be a spot sacred to Achelous and the Nymphs. How delightful is the breeze:--so very sweet; and there is a sound in the air shrill and summerlike which makes answer to the chorus of the cicadae. But the greatest charm of all is the grass, like a pillow gently sloping to the head. My dear Phaedrus, you have been an admirable guide.
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41:. First published in 1919 for voice and piano, in 1920 a different publisher reissued the piece "revised and corrected". A third version of the work exists, for small orchestra and voice, for which the manuscript has disappeared and which is available now only in print. The text is composed of excerpts of
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The wise are doubtful, and I should not be singular if, like them, I too doubted. I might have a rational explanation that
Orithyia was playing with Pharmacia, when a northern gust carried her over the neighbouring rocks; and this being the manner of her death, she was said to have been carried away
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And now, my boys, I shall praise
Socrates in a figure which will appear to him to be a caricature, and yet I speak, not to make fun of him, but only for the truth's sake. I say, that he is exactly like the busts of Silenus, which are set up in the statuaries' shops, holding pipes and flutes in their
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As
Socrates lay in prison we had been in the habit of assembling early in the morning at the court in which the trial took place, and which is not far from the prison. There we used to wait talking with one another until the opening of the doors (for they were not opened very early); then we went
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Often, I have wondered at
Socrates, but never more than on that occasion. I was close to him on his right hand, seated on a sort of stool, and he on a couch which was a good deal higher. He stroked my head, and pressed the hair upon my neck—he had a way of playing with my hair; and then he said:
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Crito made a sign to the servant, who was standing by; and he went out, and having been absent for some time, returned with the jailer carrying the cup of poison. Socrates said: "You, my good friend, who are experienced in these matters, shall give me directions how I am to proceed." The man
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The work differs from the musical forms of the period. The work is not acted and no scenery is required, unlike opera. Furthermore, the text is delivered by female voices, including the words of male characters. It lacks any musical sections that might be considered
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to be transparent, lucid, and unimpassioned – not so surprising as counter-reaction to the turmoil that came over him for writing an offensive postcard. He also appreciated the fragile humanity of the ancient Greek philosophers to which he was devoting his music.
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Nonetheless all parts are more or less in the same range, and the work can easily be sung by a single voice, and has often been performed and recorded by a single vocalist, female as well as male. Such single vocalist performances diminish however the effect of
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had written nearly eighty years earlier: and as usual, when Satie makes such allusions, the result is about the complete reversal of the former example. Where
Berlioz's symphony is more than an hour and a half of expressionistic, heavily orchestrated drama, an
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Summarising the critical reception at the time of the first performance, Hanlon states that "A small minority of critics praised this audacious aesthetic approach, however, the consensus was that it represented a form of musical impoverishment".
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Orchestral version recorded in 1954, available in the INA "memoire vivre" series of CDs : Suzanne Danco, soprano, Symphonic
Orchestra of Rome of the RAI conducted by Darius Milhaud. Also search Suzanne Danco Socrate on YouTube.
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I am fortunate in not having my sandals, and as you never have any, I think that we may go along the brook and cool our feet in the water; this will be the easiest way, and at midday and in the summer is far from being
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Recorded in 2015 and released in 2016 on the Winter & Winter CD label: Barbara
Hannigan, soprano, and Reinbert de Leeuw, piano - Socrate with melodies by Satie. Also search Barbara Hannigan Socrate on Youtube.
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by Boreas. according to another version of the story she was taken from Areopagus, and not from this place. But let me ask you, friend: have we not reached the plane-tree to which you were conducting us?
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In June 1920 the first public performance of the orchestral version was presented. The public thought it was hearing a new musical joke by Satie, and laughed – Satie felt misunderstood by that behavior.
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I believe that the spot is not exactly here, but about a quarter of a mile lower down, where you cross to the temple of Artemis, and there is, I think, some sort of an altar of Boreas at the place.
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Although more recent translations were available, Satie preferred Victor Cousin's then antiquated French translation of Plato's texts: he found in them more clarity, simplicity and beauty.
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between January 1917 and the spring of 1918, with a revision of the orchestral score in October of that same year. During the first months he was working on the composition, he called it
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to a performance where the Princess and/or some of her (female) friends would read aloud texts of the ancient Greek philosophers. As Satie, after all, was not so much in favour of
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764:. Morris later choreographed the entire work, which premiered in 2010 (costume design by Martin Pakledinaz, lighting design and decor by Michael Chybowski).
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I should like to know, Socrates, whether the place is not somewhere here at which Boreas is said to have carried off Orithyia from the banks of the Ilissus?
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159:-style singing to a background of sparsely orchestrated, nearly repetitive music, picturing some aspects of Socrates' life, including his final moments.
155:, Satie's thirty-minute composition reveals little drama in the music: the drama is entirely concentrated in the text, which is presented in the form of
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creates a large space that it does not itself completely fill… Here, of course, is where Calder comes in: He was commissioned to do sets for
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critic Robert Shattuck described the 1977 National Tribute to Alexander Calder performance, “I have always gone away with the feeling that
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And is this the exact spot? The little stream is delightfully clear and bright; I can fancy that there might be maidens playing near.
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in October 1916. The Princess had specified that female voices should be used: originally the idea had been that Satie would write
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Dorf, Samuel. "Étrange n’est-ce pas? The Princesse Edmond de Polignac, Erik Satie’s Socrate, and a Lesbian Aesthetic of Music?”
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719:, based on an identical rhythmic structure. In 2015, ninety years after Satie's death, Cage's 1944 setting was performed by
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The first (private) performance of parts of the work had taken place in April 1918 with the composer at the piano and
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were glued on one of these paintings; the other has quotes of Cousin's translation of Plato on the frame.
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The vocal score (this is the piano version) was available in print from the end of 1919 on. It is said
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The piece is written for voice and orchestra, but also exists in a version for voice and piano. This
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Several more performances of the piano version were held, public as well as private, amongst others
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way. However, the specification remained that only female voices could be used (for texts of
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I have never noticed it; but I beseech you to tell me, Socrates, do you believe this tale?
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for one or two voices and instrumental accompaniment written by many Italian and German
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Fête donnée par des Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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Each speaker in the various sections is meant to be represented by a different singer (
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https://web.archive.org/web/20050406001920/http://hem.passagen.se/satie/db/socrate.htm
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There are shade and gentle breezes, and grass on which we may either sit or lie down.
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275:, Socrates, Phaedrus, Phaedo), according to Satie's indication two of these voices
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The orchestral version was not printed until several decades after Satie's death.
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Let us turn aside and go by the Ilissus; we will sit down at some quiet spot.
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713:. When in 1969 Éditions Max Eschig refused performing rights, Cage made
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you praised me, and I in turn ought to praise my neighbour on the right
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had been produced by Satie, concurrently with the orchestral version.
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1004:– Revue International de la Musique Francaise, Vol. 8, No. 23, 1987)
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singing (all the parts), in the salons of the Princess de Polignac.
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The music is characterised by simple repetitive rhythms, parallel
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321:'s translations of Plato's dialogues that can be found on the
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On the Concept of Irony with Continual Reference to Socrates
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This (abandoned) webpage gives an overview of recordings of
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Lead on, and look out for a place in which we can sit down.
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created a dance in 1983 to the third section of Socrate,
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in three parts". "Symphonic drama" appears to allude to
883:"Music and Mobiles when Calder and Satie Joined Forces"
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Give a dog a bone: Some investigations into Erik Satie
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is a work for voice and piano (or small orchestra) by
856:(Dissertation). Newcastle University. pp. 69–70.
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Satie and the French Musical Canon: A Reception Study
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that were supposed to have taken place between men).
390:) in 1833. Today this river runs mostly underground.
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734:(1919–1980) made two paintings on the theme of the
49:'s dialogues, all of the chosen texts referring to
1557:Sonnerie pour réveiller le bon gros Roi des Singes
425:Do you see the tallest plane-tree in the distance?
224:("Portrait of Socrates"), text taken from Plato's
1594:Metropolitan Church of Art of Jesus the Conductor
1016:. Translated by Bullock, Michael. Marion Boyars.
1473:Choses vues Ă droite et Ă gauche (sans lunettes)
1329:Les trois valses distinguées du précieux dégoûté
946:"Birth of the Colorado Springs Fine Arts Center"
1252:Croquis et agaceries d'un gros bonhomme en bois
799:List of composers and their preferred lyricists
325:website. The original French text can be found
250:("Death of Socrates"), text taken from Plato's
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1543:Petit prélude de 'La Mort de Monsieur Mouche'
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1480:Cinq grimaces pour Le songe d'une nuit d'été
1434:Veritables Preludes flasques (pour un chien)
830:, Jg. 38 (1985), booklet 2, p. 118–121.
669:in 1936.” In 1936 the American premiere of
637:Reception in music, theatre and art history
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746:: pieces of the printed score of Satie's
217:The three parts of the composition are:
1822:The unexamined life is not worth living
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742:), both paintings referring to Satie's
930:: CS1 maint: archived copy as title (
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980:. Twayne Pub., 1988, reissued 1992 –
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370:Part II – On the banks of the Ilissus
214:is composed entirely as recitative.
174:This procedure is similar to secular
167:, with the text delivered instead as
119:First page of Satie's manuscript for
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1378:Prélude de la porte héroïque du ciel
677:by Alexander Calder was held at the
1455:Vieux sequins et vieilles cuirasses
881:Shattuck, Roger (6 November 1977).
618:became an admirer of Satie hearing
313:The translation of the libretto of
2021:Serenade after Plato's "Symposium"
1900:Double Herm of Socrates and Seneca
738:(1952 and 1979, a year before his
71:(Fondation Singer-Polignac, Paris)
14:
1385:Préludes flasques (pour un chien)
1308:Heures séculaires et instantanées
685:for the opening week of the FAC.
683:Colorado Springs Fine Arts Center
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1427:Trois morceaux en forme de poire
961:on Royal Conservatoire The Hague
681:. The work then traveled to the
2492:Cultural depictions of Socrates
994:, translated by Todd Niquette,
852:Hanlon, Ann-Marie (June 2013).
1245:Chapitres tournés en tous sens
1014:Satie Seen Through His Letters
777:up to the early 21st century:
723:and Slava Poprugin for the CD
1:
866:: CS1 maint: date and year (
332:Part I – Portrait of Socrates
75:The work was commissioned by
69:, Princess Edmond de Polignac
1600:The Minimalism of Erik Satie
1146:Trois petites pièces montées
709:, was also based on Satie's
523:Part III – Death of Socrates
239:"), text taken from Plato's
1002:Le rideau se leve sur un os
695:for two pianos in 1944 for
317:that follows is taken from
142:a "dramatic symphony" that
77:Princess Edmond de Polignac
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2477:Compositions by Erik Satie
1815:I know that I know nothing
1614:Musée-Placard d'Erik Satie
1441:Verset laĂŻque et somptueux
1413:Sonneries de la Rose+Croix
653:to create a stage set for
151:forced into the form of a
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2002:The Plot to Save Socrates
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1420:Sports et divertissements
1350:Petite ouverture Ă danser
1266:Descriptions automatiques
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725:Paris joyeux & triste
691:transcribed the music of
566:Satie described he meant
16:Composition by Erik Satie
1778:Socratic intellectualism
1008:Volta, Ornella (1989). "
971:French Literature Series
57:Commission – composition
1903:(3rd-century sculpture)
1406:Sonatine bureaucratique
1238:Avant-dernières pensées
1185:Quatre petites mélodies
1164:Bonjour Biqui, Bonjour!
534:- The Death of Socrates
382:as seen from the river
345:Alcibiades and Socrates
1943:Der geduldige Socrates
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506:Yes, this is the tree.
465:Such is the tradition.
391:
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233:Les bords de l'Ilissus
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1908:The Death of Socrates
760:with a set design by
758:The Death of Socrates
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378:The ruins of ancient
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117:
64:
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2442:Religious skepticism
1798:Socratic questioning
1494:Geneviève de Brabant
1231:Aperçus désagréables
1206:Trois poèmes d'amour
1139:La belle excentrique
1071:List of compositions
730:The Belgian painter
626:music on his piano.
341:Marcello Bacciarelli
1989:(1st-century essay)
1722:Cultural depictions
1536:Les Pantins dansent
1522:Le Fils des Ă©toiles
1515:La statue retrouvée
1508:La Diva de l'Empire
532:Jacques-Louis David
235:("The banks of the
222:Portrait de Socrate
2029:Barefoot in Athens
1529:Le piège de Méduse
1487:En habit de cheval
1465:Other compositions
1371:Prélude d'Eginhard
1273:Embryons desséchés
887:The New York Times
827:Die Musikforschung
679:Wadsworth Atheneum
588:First performances
536:
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182:composers such as
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45:'s translation of
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2425:Euthyphro dilemma
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2289:Second Alcibiades
1986:De genio Socratis
1967:Socrates on Trial
1773:Socratic dialogue
1738:Trial of Socrates
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1322:Le poisson rĂŞveur
1178:Messe des pauvres
1000:(Original title:
976:Alan M. Gillmor,
973:34 (2007): 87–99.
736:death of Socrates
705:. A later dance,
699:'s dance, titled
583:Reception history
323:Gutenberg Project
138:Romeo et Juliette
67:Winnaretta Singer
65:Self portrait by
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2430:Form of the Good
2401:Socratic Letters
2149:First Alcibiades
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1919:(1950 sculpture)
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1793:Socratic paradox
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1743:Socratic problem
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1619:Surrealist music
1567:Related articles
1259:Danses gothiques
1117:Orchestral works
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131:as a "symphonic
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901:"Archived copy"
899:
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716:Cheap Imitation
639:
590:
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564:
525:
372:
334:
319:Benjamin Jowett
308:
262:
248:Mort de Socrate
127:Satie presents
123:
112:
98:Satie composed
70:
59:
17:
12:
11:
5:
2505:
2503:
2495:
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2489:
2487:1919 oratorios
2484:
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1783:Socratic irony
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1596:
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1550:Salut drapeau!
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1392:Premier Menuet
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1357:Pièces froides
1353:
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1227:
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1199:Trois mélodies
1195:
1188:
1181:
1174:
1167:
1159:
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1142:
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1132:Le BĹ“uf Angora
1128:
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1005:
989:
974:
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959:Slava Poprugin
951:
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844:
832:
809:
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794:
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782:
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769:
766:
721:Alexei Lubimov
659:New York Times
647:Virgil Thomson
638:
635:
620:Virgil Thomson
616:Gertrude Stein
589:
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281:mezzo-sopranos
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144:Hector Berlioz
118:
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104:Vie de Socrate
58:
55:
15:
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2178:
2177:Hippias Minor
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2170:Hippias Major
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2018:
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2011:
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1997:(1841 thesis)
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1938:(423 BC play)
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1768:Social gadfly
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1632:Ornella Volta
1630:
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1315:Le Piccadilly
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1037:
1036:
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1025:
1019:
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1006:
1003:
999:
998:
993:
992:Ornella Volta
990:
987:
986:0-393-30810-3
983:
979:
975:
972:
968:
967:
960:
955:
952:
947:
941:
938:
933:
927:
913:on 2015-09-05
909:
902:
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874:
869:
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829:
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823:
822:Andreas Traub
819:
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485:
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477:
476:
472:
469:
468:
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461:
460:
456:
453:
452:
449:Move forward.
448:
445:
444:
440:
437:
436:
432:
429:
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424:
421:
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412:
407:
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139:
134:
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82:
78:
68:
63:
56:
54:
52:
48:
44:
43:Victor Cousin
40:
36:
35:
27:
23:
19:
2434:
2393:
2375:
2368:
2361:
2354:
2336:
2329:
2322:
2315:
2308:
2301:
2294:
2287:
2282:Rival Lovers
2280:
2273:
2266:
2259:
2252:
2245:
2238:
2231:
2224:
2217:
2210:
2203:
2196:
2189:
2182:
2175:
2168:
2161:
2154:
2147:
2140:
2133:
2126:
2119:
2112:
2105:
2098:
2091:
2084:
2077:
2070:
2063:
2035:
2027:
2019:
2005:(2006 novel)
2000:
1992:
1984:
1965:
1958:
1957:
1949:
1946:(1721 opera)
1941:
1933:
1914:
1906:
1898:
1839:Sophroniscus
1717:Bibliography
1656:
1644:
1623:
1605:
1598:
1580:
1573:
1555:
1548:
1541:
1534:
1527:
1520:
1513:
1506:
1499:
1492:
1485:
1478:
1471:
1453:
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1439:
1432:
1425:
1418:
1411:
1404:
1397:
1390:
1383:
1376:
1369:
1362:
1355:
1348:
1341:
1334:
1327:
1320:
1313:
1306:
1299:
1292:
1285:
1278:
1271:
1264:
1257:
1250:
1243:
1236:
1229:
1222:
1204:
1197:
1191:
1190:
1183:
1176:
1169:
1162:
1144:
1137:
1130:
1123:
1105:
1098:
1091:
1084:
1013:
1009:
1001:
995:
977:
970:
954:
940:
915:. Retrieved
908:the original
895:
886:
876:
853:
847:
835:
825:
813:
787:
783:
774:
762:Robert Bordo
757:
752:
747:
743:
729:
724:
714:
710:
706:
702:Idyllic Song
700:
692:
687:
670:
666:
662:
654:
644:
640:
632:
628:
623:
622:perform the
613:
598:
594:Jane Bathori
591:
575:
567:
565:
537:
393:
387:
349:
344:
314:
312:
309:
293:
285:
270:
263:
251:
247:
240:
232:
225:
221:
216:
211:
207:
173:
161:
136:
128:
126:
120:
103:
99:
97:
74:
33:
32:
31:
28:, circa 1919
18:
2370:Oeconomicus
2363:Memorabilia
2040:(1971 film)
2032:(1966 film)
1970:(2007 play)
1954:(1759 play)
1585:(1924 film)
1364:Poudre d'or
1301:Gymnopédies
1294:Gnossiennes
1216:Piano music
1156:Vocal music
754:Mark Morris
707:Second Hand
611:attending.
609:Paul Valéry
605:James Joyce
409:unpleasant.
298:, and long
206:203, 209),
2471:Categories
2324:Theaetetus
2268:Protagoras
2240:Parmenides
2226:On Justice
2163:Hipparchus
2135:Euthydemus
1978:Literature
1935:The Clouds
1857:Lamprocles
1845:Phaenarete
1501:Je te veux
1399:Sarabandes
1280:Enfantines
1062:Erik Satie
1023:071452980X
978:Erik Satie
917:2015-09-04
840:Volta 1989
805:References
768:Recordings
675:mobile set
601:André Gide
353:Alcibiades
273:Alcibiades
190:649–686),
169:recitative
157:recitativo
39:Erik Satie
26:Erik Satie
2482:Oratorios
2436:Peritrope
2377:Symposium
2317:Symposium
2310:Statesman
2233:On Virtue
2205:Menexenus
2142:Euthyphro
2114:Demodocus
2086:Clitophon
2079:Charmides
2049:Dialogues
1863:Menexenus
1851:Xanthippe
1607:Monotones
1582:Entr'acte
1575:A Romance
1448:Vexations
1336:Nocturnes
862:cite book
689:John Cage
673:, with a
562:Whiteness
266:reduction
260:The music
227:Symposium
198:77–177),
93:dialogues
85:melodrama
2458:Category
2348:Xenophon
2296:Sisyphus
2275:Republic
2261:Philebus
2254:Phaedrus
2121:Epinomis
2093:Cratylus
2072:Axiochus
2037:Socrates
1951:Socrates
1916:Socrates
1885:Socrates
1847:(mother)
1841:(father)
1761:Concepts
1706:Socrates
1651:Category
1625:The Gift
1610:(ballet)
988:, 387pp.
926:cite web
793:See also
645:In 1936
511:Socrates
503:Phaedrus
494:Socrates
486:Phaedrus
478:Socrates
470:Phaedrus
462:Socrates
454:Phaedrus
446:Socrates
438:Phaedrus
430:Socrates
422:Phaedrus
414:Socrates
405:Phaedrus
397:Socrates
362:Socrates
306:The text
300:ostinati
296:cadences
289:dialogue
242:Phaedrus
176:cantatas
153:symphony
89:reciting
51:Socrates
2418:Related
2395:Halcyon
2356:Apology
2338:Timaeus
2331:Theages
2303:Sophist
2156:Gorgias
2128:Eryxias
2100:Critias
2065:Apology
1959:Socrate
1883:include
1807:Phrases
1224:Allegro
1192:Socrate
1171:Ludions
1107:Relâche
1093:Mercure
1078:Ballets
1010:Socrate
775:Socrate
748:Socrate
744:Socrate
740:suicide
732:Jan Cox
711:Socrate
693:Socrate
671:Socrate
667:Socrate
663:Socrate
655:Socrate
624:Socrate
576:Socrate
568:Socrate
388:Ilissus
315:Socrate
277:soprano
237:Ilissus
212:Socrate
184:Vivaldi
180:Baroque
129:Socrate
121:Socrate
100:Socrate
34:Socrate
2247:Phaedo
2191:Laches
1871:(wife)
1853:(wife)
1832:Family
1343:Ogives
1100:Parade
1020:
984:
649:asked
570:to be
541:Phaedo
384:Ilisos
380:Athens
253:Phaedo
192:Handel
2387:Other
2219:Minos
2198:Lysis
2107:Crito
2057:Plato
2013:Other
1927:Stage
1879:Works
1869:Myrto
1865:(son)
1859:(son)
1663:Audio
1125:Danse
911:(PDF)
904:(PDF)
572:white
327:here.
165:arias
149:opera
133:drama
47:Plato
2212:Meno
1881:that
1731:Life
1018:ISBN
982:ISBN
932:link
868:link
820:and
607:and
516:Here
433:Yes.
200:Bach
2184:Ion
1892:Art
1012:".
514:By
208:etc
204:BWV
196:HWV
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928:}}
924:{{
885:.
864:}}
860:{{
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657:.
603:,
343:,
302:.
283:.
188:RV
171:.
53:.
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1820:"
1817:"
1813:"
1698:e
1691:t
1684:v
1054:e
1047:t
1040:v
1026:.
948:.
934:)
920:.
889:.
870:)
842:.
386:(
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140:,
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