The madness of love, by Dr. Alex ‘Hitch’ Hitchens

In Plato’s Phaedrus, Socrates is a fan of conversation and a “lover of learning;” thus, he never ventures beyond the city walls for he feels “the country places and the trees are not willing to teach anything, but the human beings are in town” (30, 230d). Phaedrus, however, lures Socrates beyond Attica and the two engage in a conversation: first, they reiterate and discuss the recent speech of Lysias; second, Socrates offers his first speech on Eros/love; third, Socrates delivers a second speech to refute his first and appeal to the surrounding nymphs and gods (out of fear of their retaliation). It is Socrates second speech, which includes discussion on the madness of Eros, which I wish to focus this response.

Socrates begins his second speech because “it is necessary to purify [himself]” from the previous comments made (45, 243a). By the telling of (and in some cases, the invention of) various myths, Socrates elaborates for the sake of his argument and moves forward with his speech by outlining four types of madness. He says: “For if it were simply the case that madness is something bad, it would be beautifully said; but as things are, the greatest of good things come into being for us through madness, when, that is, it is given with a divine giving” (47, 244a). In order to prove his previous speech worthy of dismissal, Socrates attempts to further define the fourth type of madness mentioned—that of love.

This brings me to my example. In the 2005 romantic comedy Hitch, Alex ‘Hitch’ Hitchens (Will Smith) is something a “date doctor” who “tricks women… into getting out of their own way, so great guys…will have a fighting chance” (Hitch, 2005). Albert Brennaman (Kevin James) is a hopeless romantic who seeks the help of Hitch; Albert wants nothing more than to be granted a chance at love with the lady of his dreams, the esteemed Allegra Cole (Amber Valletta). All goes well at first until Hitch’s identity becomes public knowledge. When Allegra hears word, she believes Albert and Hitch have fooled her and she no longer wishes to continue her relationship with Albert. Then comes the following scene:

In this scene, Albert has become mad due to love. “I’m going out of my mind,” he says (Hitch, 2005). He continues to declare his feelings: “…I see a cab and I just want to dive in front of it because then I’ll stop thinking about her” (Hitch, 2005). Albert, in a state of sadness and “divine madness,” admits that although he is miserable, he would rather feel that way than be disconnected from Allegra entirely. According to Socrates’ terms, Hitch takes on the role of philosopher in saying that Albert’s feelings are and should be within his (Albert’s) control. Hitch exclaims: “…you can change, you can adapt. You can make it so you don’t ever have to feel like this, ever again” (Hitch, 2005).

Socrates declares that “madness, whenever someone…is furnished with wings, and, raising his new wings with eager striving to fly up, but lacking the power…he takes the blame for being in a manic condition” (54, 249d). Albert takes this blame for his current state (being in madness) and acts on that; by the end of the film, he has taken charge of his feelings and wooed Allegra back.

Socrates further claims: “there is no greater good than this that either human moderation or divine madness is capable of providing to a human being” (61, 256b). Therefore, it is through this divine madness that Albert Brennaman truly discovers his love for Allegra Cole. According to Socrates in the Phaedrus, love (being of one life’s greatest things) comes from the madness.

Sources:

Hitch. Dir. Andy Tennant. Perf. Will Smith, Kevin James, Eva Mendes, and Amber Valletta. 2005. Film.

Plato. Phaedrus. Trans. James H. Nichols, Jr. Ithaca, NY: Cornell University Press. Print.

“Sky Diving.” 11 June 2010. 15 September 2012. Web.