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Plato: Phaedrus · 23 of 38 · tr. Benjamin Jowett

Section 1w

Why, he begins in this manner: "Be it enacted by the senate, the people, or both, on the motion of a certain person," who is our author; and so putting on a serious face, he proceeds to display his own wisdom to his admirers in what is often a long and tedious composition. Now what is that sort of thing but a regular piece of authorship? Phaedr. True. Soc. And if the law is finally approved, then the author leaves the theatre in high delight; but if the law is rejected and he is done out of his speech-making, and not thought good enough to write, then he and his party are in mourning. Phaedr. Very true. Soc. So far are they from despising, or rather so highly do they value the practice of writing. Phaedr. No doubt. Soc. And when the king or orator has the power, as Lycurgus or Solon or Darius had, of attaining an immortality or authorship in a state, is he not thought by posterity, when they see his compositions, and does he not think himself, while he is yet alive, to be a god? Phaedr. Very true. Soc. Then do you think that any one of this class, however ill-disposed, would reproach Lysias with being an author? Phaedr. Not upon your view; for according to you he would be casting a slur upon his own favourite pursuit. Soc. Any one may see that there is no disgrace in the mere fact of writing. Phaedr. Certainly not. Soc. The disgrace begins when a man writes not well, but badly. Phaedr. Clearly. Soc. And what is well and what is badly-need we ask Lysias, or any other poet or orator, who ever wrote or will write either a political or any other work, in metre or out of metre, poet or prose writer, to teach us this? Phaedr. Need we? For what should a man live if not for the pleasures of discourse? Surely not for the sake of bodily pleasures, which almost always have previous pain as a condition of them, and therefore are rightly called slavish. Soc. There is time enough. And I believe that the grasshoppers chirruping after their manner in the heat of the sun over our heads are talking to one another and looking down at us. What would they say if they saw that we, like the many, are not conversing, but slumbering at mid-day, lulled by their voices, too indolent to think? Would they not have a right to laugh at us? They might imagine that we were slaves, who, coming to rest at a place of resort of theirs, like sheep lie asleep at noon around the well. But if they see us discoursing, and like Odysseus sailing past them, deaf to their siren voices, they may perhaps, out of respect, give us of the gifts which they receive from the gods that they may impart them to men. Phaedr. What gifts do you mean? I never heard of any. Soc. A lover of music like yourself ought surely to have heard the story of the grasshoppers, who are said to have been human beings in an age before the Muses. And when the Muses came and song appeared they were ravished with delight; and singing always, never thought of eating and drinking, until at last in their forgetfulness they died.
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Themes
Body As Obstacleanthropology

The material body viewed as a prison, tomb, or source of error that hinders spiritual knowledge and return.

The passage contrasts bodily pleasures (which require pain) with intellectual discourse as the true source of human life.

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Evil As Privationtheology

Augustinian and Plotinian doctrine that evil has no positive being of its own but is a lack, distortion, or absence of the good — denying ontological dualism while preserving moral seriousness.

The text defines disgrace not in writing itself but in writing poorly, aligning with the view that evil is a lack of good.

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Good Thought Word Deedethics

The Zoroastrian triad of right thought, right speech, and right action as the foundation of ethical life; truth-in-living.

The passage emphasizes the value of discourse and well-written works as the foundation of human life and immortality.

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Paradox As Teachingethics

Using apparent contradiction, reversal, or riddle to destabilise ordinary understanding and induce insight.

The text uses the paradoxical image of grasshoppers singing to illustrate the value of intellectual discourse over bodily pleasures.

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Renunciation Of Wealthethics

The spiritual danger of attachment to material possessions; wealth as a spiritual obstacle.

Bodily pleasures are described as slavish and requiring pain, contrasting them with the noble pursuit of discourse.

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Self Knowledgesoteriology

The recognition of one's own true divine nature as the primary path to liberation; 'know thyself' as soteriology.

The passage argues that writing allows one to think oneself a god while alive, implying self-recognition as a form of liberation.

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