 The idea is the one mentioned earlier. Some love stories—the good ones—are tragedies (in the special sense of the term introduced in the Laws): they involve the kind of love found in the best kind of life, a life that comes as close as possible to the divine—one in which we achieve happiness by having good things be ours forever (205d1–206a12). Other love stories are comedies: they involve a lesser kind of love. Others still are satyr plays: genital farces. But the true story of love, the story that is Plato’s Symposium itself, is the story of all these stories. In the Symposium, it takes the form appropriate to its genre and audience. But in the Phaedrus, we learn of the longer more technical road it might take in the future, when armed with a scientific psychology and rhetoric it becomes a matter for experts.