"The Death of Socrates" (1787) by Jacques-Louis David

 "The Death of Socrates" (1787) by Jacques-Louis David

Written by Dipanjan Kundu

In "The Death of Socrates" (1787) Jacques Louis David ostends the features of Socrates, ensconced in the middle, as a stoic philosopher, embracing death nonchalantly. Plato in his dialogues, like "Phaedo" and "Crito" recounts that his teacher, Socrates, was accused of questioning the Athenian deities and corrupting the youth. Beside the execution by drinking hemlock, he was given the alternative of exile also. But Socrates, a lifelong intrepid champion of truth and spiritual triumph, ushers in death. This demeanour of firm commitment and resolve to value his ethics more than life is brightly reflected in the painting. The uplifted left hand of Socrates pointing to the firmament reinstates his tenacious belief and assurance behind his decision. The light from the upper left corner illuminates his stoic, calm composure, which is in vivid contrast to the red, sloppy garment of the executioner. As in David's another portrait, Oath of the Horatii (1784), here also the weaker, grieving characters are delineated in a sloven, depressed manner with lowered heads, whereas the valiant one is depicted in sinewy, angular dimensions. Painted two years before the Fall of Bastille during French Revolution and after the American Independence, this picture conveys a resolute motif of import. Jacques Louis David has played with chronology in this painting. Socrates, executed at the age of 71, was not so muscular on deathbed as carved by David. There were originally 15 disciples present at the actual happening, though here David poses only 12, after the 12 disciples of Christ in "The Last Supper". This painting can be dissected from two sides. From right side, the impassioned, mourning pupils, broken into tears, accentuate the stoic, stalwart, and rational reception of imminent death by Socrates, which leads to the space between his right hand and the chalice of poison, that, being posited in the middle, maturates the climax in the narrative. But from the left side, the painting ostends another old man whose identity essentially alters the way of reading and temporal framework of the painting holistically. This man is Plato, the greatest disciple of Socrates. But during the execution, he was not only a young man, but also absent then. But David draws him in such a direction as if the whole picture is being radiated from the back of his head. Plato in his old age, approaching towards the ultimate destiny, is rememorating the moment of his Guru's quietude near death. Hence, in a way, read from the left side, we are witnessing not the death of Socrates as it is happening, but the phenomenon which took place a long time ago. We are actually looking at Plato's memory. The resemblance in attitude between Plato and Socrates can be evinced in another painting, "The School of Athens" by Raphael, wherein Plato's right hand is directed upwards as is here Socrates' left hand. David has encrypted his short signature twice in the painting, below the seats of Plato and Crito. Precisely, here you are looking at a loaded and encoded work of sheer genius!