"I believe that I have said enough; but if there is anything more which you desire or which in your opinion needs to be supplied, ask and I will answer." Now, Socrates, what do you think?
Is not the discourse excellent, more especially in the matter of the language?
Soc.
Yes, quite admirable; the effect on me was ravishing.
And this I owe to you, Phaedrus, for I observed you while reading to be in an ecstasy, and thinking that you are more experienced in these matters than I am, I followed your example, and, like you, my divine darling, I became inspired with a phrenzy.
Phaedr.
Indeed, you are pleased to be merry.
Soc.
Do you mean that I am not in earnest?
Phaedr.
Now don't talk in that way, Socrates, but let me have your real opinion; I adjure you, by Zeus, the god of friendship, to tell me whether you think that any Hellene could have said more or spoken better on the same subject.
Soc.
Well, but are you and I expected to praise the sentiments of the author, or only the clearness, and roundness, and finish, and tournure of the language?
As to the first I willingly submit to your better judgment, for I am not worthy to form an opinion, having only attended to the rhetorical manner; and I was doubting whether this could have been defended even by Lysias himself; I thought, though I speak under correction, that he repeated himself two or three times, either from want of words or from want of pains; and also, he appeared to me ostentatiously to exult in showing how well he could say the same thing in two or three ways.
Phaedr.
Nonsense, Socrates; what you call repetition was the especial merit of the speech; for he omitted no topic of which the subject rightly allowed, and I do not think that any one could have spoken better or more exhaustively.
Soc.
There I cannot go along with you.
Ancient sages, men and women, who have spoken and written of these things, would rise up in judgment against me, if out of complaisance I assented to you.
Phaedr.
Who are they, and where did you hear anything better than this?
Soc.
I am sure that I must have heard; but at this moment I do not remember from whom; perhaps from Sappho the fair, or Anacreon the wise; or, possibly, from a prose writer.
Why do I say so?
Why, because I perceive that my bosom is full, and that I could make another speech as good as that of Lysias, and different.
Now I am certain that this is not an invention of my own, who am well aware that I know nothing, and therefore I can only infer that I have been filled through the cars, like a pitcher, from the waters of another, though I have actually forgotten in my stupidity who was my informant.
Phaedr.
That is grand:-but never mind where you beard the discourse or from whom; let that be a mystery not to be divulged even at my earnest desire.
Only, as you say, promise to make another and better oration, equal in length and entirely new, on the same subject; and I, like the nine Archons, will promise to set up a golden image at Delphi, not only of myself, but of you, and as large as life.
Soc.
You are a dear golden ass if you suppose me to mean that Lysias has altogether missed the mark, and that I can make a speech from which all his arguments are to be excluded.
The worst of authors will say something which is to the point.
Themes
◆Divine Intoxicationpraxis
Ecstatic, non-rational receptivity to the divine figured as drunkenness — Plato's symposium wine, Rumi's sukr, Eckhart's 'sober drunkenness'; the passive/receptive metaphor for divine encounter, distinct from divine_madness's active possessing rapture.
The passage explicitly describes a 'phrenzy' and 'ecstasy' induced by divine inspiration that transcends ordinary reason.
Ecstatic irrational rapture — Plato's mania, Bruno's furore — by which the soul transcends ordinary reason and attains direct contact with divine reality; madness reframed as higher knowledge.
Socrates describes his state as a 'phrenzy' and 'ecstasy' where he is inspired by the divine, aligning with the definition of ecstatic irrational rapture.
Diotima's staged ascent from love of beautiful bodies → beautiful souls → beautiful pursuits → beautiful knowledge → Beauty itself; the canonical scala amoris that grounds Plotinus's On the Beautiful and Bruno's Eroici Furori — distinct from generic spiritual_ascent in that eros is the specific motive force.
The dialogue centers on the nature of love and friendship, which are central themes in Diotima's ascent narrative.