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Plato: Symposium · 6 of 36 · tr. Benjamin Jowett

Section 1f

For what lover would not choose rather to be seen by all mankind than by his beloved, either when abandoning his post or throwing away his arms? He would be ready to die a thousand deaths rather than endure this. Or who would desert his beloved or fail him in the hour of danger? The veriest coward would become an inspired hero, equal to the bravest, at such a time; Love would inspire him. That courage which, as Homer says, the god breathes into the souls of some heroes, Love of his own nature infuses into the lover. Love will make men dare to die for their beloved-love alone; and women as well as men. Of this, Alcestis, the daughter of Pelias, is a monument to all Hellas; for she was willing to lay down her life on behalf of her husband, when no one else would, although he had a father and mother; but the tenderness of her love so far exceeded theirs, that she made them seem to be strangers in blood to their own son, and in name only related to him; and so noble did this action of hers appear to the gods, as well as to men, that among the many who have done virtuously she is one of the very few to whom, in admiration of her noble action, they have granted the privilege of returning alive to earth; such exceeding honour is paid by the gods to the devotion and virtue of love. But Orpheus, the son of Oeagrus, the harper, they sent empty away, and presented to him an apparition only of her whom he sought, but herself they would not give up, because he showed no spirit; he was only a harp-player, and did not-dare like Alcestis to die for love, but was contriving how he might enter hades alive; moreover, they afterwards caused him to suffer death at the hands of women, as the punishment of his cowardliness. Very different was the reward of the true love of Achilles towards his lover Patroclus-his lover and not his love (the notion that Patroclus was the beloved one is a foolish error into which Aeschylus has fallen, for Achilles was surely the fairer of the two, fairer also than all the other heroes; and, as Homer informs us, he was still beardless, and younger far). And greatly as the gods honour the virtue of love, still the return of love on the part of the beloved to the lover is more admired and valued and rewarded by them, for the lover is more divine; because he is inspired by God. Now Achilles was quite aware, for he had been told by his mother, that he might avoid death and return home, and live to a good old age, if he abstained from slaying Hector. Nevertheless he gave his life to revenge his friend, and dared to die, not only in his defence, but after he was dead Wherefore the gods honoured him even above Alcestis, and sent him to the Islands of the Blest. These are my reasons for affirming that Love is the eldest and noblest and mightiest of the gods; and the chiefest author and giver of virtue in life, and of happiness after death. This, or something like this, was the speech of Phaedrus; and some other speeches followed which Aristodemus did not remember; the next which he repeated was that of Pausanias. Phaedrus, he said, the argument has not been set before us, I think, quite in the right form;-we should not be called upon to praise Love in such an indiscriminate manner. If there were only one Love, then what you said would be well enough; but since there are more Loves than one,-should have begun by determining which of them was to be the theme of our praises.
Themes
Divine Madnesssoteriology

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.

The text uses language of divine inspiration and infusion ('inspired hero', 'infuses') which resonates with the Platonic concept of mania, though not explicitly named here.

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Divine Providencetheology

Pronoia — the doctrine that the divine actively orders the unfolding of the cosmos and human affairs toward intelligible ends, against pure chance or blind necessity.

The text asserts that the gods actively order human affairs by honoring virtue and punishing vice through specific rewards and punishments.

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Eschatological Judgmentsoteriology

Final, collective cosmic judgment as an event in which the wicked are sentenced and the cosmos restored; distinct from psychopomp_journey (individual passage at death) and emphasising verdict where Zoroastrian frashokereti emphasises restoration.

The passage details divine verdicts on specific individuals (Alcestis, Orpheus, Achilles) regarding their afterlife status based on their actions.

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Heroic Furorpraxis

Bruno's eroici furori — a passionate, ennobling spiritual ardor that drives the soul toward divine wisdom; distinguished from base or animal passions by its orientation to infinite truth.

The passage describes Love inspiring cowards to become heroes and infusing courage, aligning with the concept of ennobling spiritual ardor driven by a higher force.

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Living Godtheology

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

Love is personified as an active deity who rewards virtue, punishes cowardice, and infuses courage into souls.

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Theosis Deificationsoteriology

The doctrine — central to Eastern Orthodox and Maximian theology — that the human person is progressively transformed into a partaker of the divine nature by grace, not merely justified or united in passing ecstasy.

Phaedrus explicitly states that the lover is 'more divine' because he is inspired by God, indicating a transformation into a partaker of the divine nature.

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Related passages · 4 parallels
finnic|The Kalevala|Rune XXVIe
Spake the hero, Lemminkainen: "There is none in Pohya's hamlets, In the courts of Sariola, That with me can measure broadswords, That can meet this blade ancestral." From the nail he took a cross-bow, Took the strongest from the rafters, Sp…”
Both passages explore the theme of heroic love and courage. In Passage A, Plato discusses how love inspires heroes to act bravely and even die for their beloved, while in Passage B, Lemminkainen demonstrates his courage and heroic nature driven by his own prowess and the counsel of his mother.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|Second Dialoguee
Herein he proves that his love is truly heroic; because he proposes to himself as the chief aim, not corporeal beauty, but rather the grace of the spirit, and the inclination of the affections in which, rather than in the beauty of the body…”
Both passages explore the theme of love as a divine and heroic force that elevates individuals to acts of virtue and nobility. They discuss different forms of love and its impact on the soul, emphasizing the spiritual and divine aspects over mere physical attraction.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|Fifth Dialogued
Be it far from me to make complaint of love, Love, without whom I will not happy be, And though through him these weary toils I bear. Yet what is given my will shall not reject. Be clear the sky or dark, burning or cold, To that one ph[oe…”
Both passages explore the theme of love as a powerful, transformative force that inspires individuals to acts of great courage and devotion, even to the point of death. They highlight the divine nature of love and its role in elevating human virtue and happiness.
western_esoteric|Transcendental Magic I: The Doctrine (Éliphas Lévi)|1. The Candidated
One who neglects his moral dignity in order to obey blindly the instincts of Nature. As a fact, in the presence of danger it is natural to be afraid and seek flight: why, then, is it shameful? Because honour has erected it into a law that…”
Both passages explore the theme of self-sacrifice and the pursuit of higher ideals, emphasizing the nobility of choosing duty and love over self-preservation. They share a conceptual parallel in valuing actions that transcend mortal fears for the sake of honor, virtue, and a connection to the divine or immortal.