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Plato: Symposium · 18 of 36 · tr. Benjamin Jowett

Section 1r

In the first place he is a poet (and here, like Eryximachus, I magnify my art), and he is also the source of poesy in others, which he could not be if he were not himself a poet. And at the touch of him every one becomes a poet, even though he had no music in him before; this also is a proof that Love is a good poet and accomplished in all the fine arts; for no one can give to another that which he has not himself, or teach that of which he has no knowledge. Who will deny that the creation of the animals is his doing? Are they not all the works his wisdom, born and begotten of him? And as to the artists, do we not know that he only of them whom love inspires has the light of fame?-he whom Love touches riot walks in darkness. The arts of medicine and archery and divination were discovered by Apollo, under the guidance of love and desire; so that he too is a disciple of Love. Also the melody of the Muses, the metallurgy of Hephaestus, the weaving of Athene, the empire of Zeus over gods and men, are all due to Love, who was the inventor of them. And so Love set in order the empire of the gods-the love of beauty, as is evident, for with deformity Love has no concern. In the days of old, as I began by saying, dreadful deeds were done among the gods, for they were ruled by Necessity; but now since the birth of Love, and from the Love of the beautiful, has sprung every good in heaven and earth. Therefore, Phaedrus, I say of Love that he is the fairest and best in himself, and the cause of what is fairest and best in all other things. And there comes into my mind a line of poetry in which he is said to be the god who Gives peace on earth and calms the stormy deep, Who stills the winds and bids the sufferer sleep. This is he who empties men of disaffection and fills them with affection, who makes them to meet together at banquets such as these: in sacrifices, feasts, dances, he is our lord-who sends courtesy and sends away discourtesy, who gives kindness ever and never gives unkindness; the friend of the good, the wonder of the wise, the amazement of the gods; desired by those who have no part in him, and precious to those who have the better part in him; parent of delicacy, luxury, desire, fondness, softness, grace; regardful of the good, regardless of the evil: in every word, work, wish, fear-saviour, pilot, comrade, helper; glory of gods and men, leader best and brightest: in whose footsteps let every man follow, sweetly singing in his honour and joining in that sweet strain with which love charms the souls of gods and men. Such is the speech, Phaedrus, half-playful, yet having a certain measure of seriousness, which, according to my ability, I dedicate to the god. When Agathon had done speaking, Aristodemus said that there was a general cheer; the young man was thought to have spoken in a manner worthy of himself, and of the god. And Socrates, looking at Eryximachus, said: Tell me, son of Acumenus, was there not reason in my fears? and was I not a true prophet when I said that Agathon would make a wonderful oration, and that I should be in a strait? The part of the prophecy which concerns Agathon, replied Eryximachus, appears to me to be true; but, not the other part-that you will be in a strait.
Themes
Anthropomorphismtheology

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

Love is attributed human characteristics and roles such as poet, inventor, friend, pilot, and helper.

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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.

Agathon claims that artists and poets are inspired by Love, resonating with the Platonic concept of divine mania or inspiration.

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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.

Love is described as the force that set in order the empire of the gods and is the cause of all good in heaven and earth.

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Love Of Neighbourethics

Active compassionate care for others as a central spiritual obligation or expression of divine love.

The text states Love fills men with affection, kindness, and courtesy, fostering social harmony at banquets and sacrifices.

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Living Godtheology

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

[auto] The passage centrally portrays Love as an active, dynamic deity who invents arts, orders the cosmos, and saves humanity.

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Related passages · 13 parallels
egyptian|The Egyptian Book of the Dead (Papyrus of Ani)|Chapter 8 (part 8)
His name is gracious, and the love of him is sweet; and at the dawn all people make supplication unto him through his mighty power and terrible strength, and every god lieth in fear of him. He is the young bull that destroyeth the wicked,…”
Both passages describe a divine being as the source of creation, order, and inspiration. They emphasize the divine's role in governance, art, and the natural world, highlighting the profound and often hidden nature of the divine.
greek_mystery|Orphic Hymns|Hymn LXXV. THE MUSES (part 2)
207 fury arises from truth, and the amatorial from beauty; so the poetic proceeds from divine symmetry, by means of which it most intimately unites the poets with the Gods. Plato, in the Phædrus, speaking of this Fury, says that it is an o…”
Both passages discuss the divine inspiration of poetry and the role of the Muses or Love in inspiring poets. They share the concept of divine influence elevating human creativity and artistry.
greek_mystery|Orphic Hymns|Hymn LXXV. THE MUSES (part 3)
So in the poetic chain, it is requisite there should be something divine, which, through proper mediums, may connect the last to the first monad. This Fury Homer, as well as Plato, calls at one time in the plural number Muses, and at anoth…”
Both passages discuss the divine inspiration of poetry and the role of the Muses and other deities in the creative process. They emphasize the divine origin of poetic and artistic endeavors, highlighting the connection between the divine and human creativity.
neoplatonism|Iamblichus: On the Mysteries|Chapter VIIIq
On the contrary, divinely-inspired poets, as Hermeas well observes, knock, as it were, at the gates of the Muses, and thus being filled from thence exclaim, Εσπετε νυν μοι Μουσαι And, Μηνιν αειδε θεα— And, Ανδρα μοι εννεπε Μουσα . For bein…”
Both passages discuss the divine inspiration of poets and the role of divine entities in creative processes. They share a theme of the divine influence on human creativity and the elevation of the human soul through this connection.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|INTRODUCTIONd
The one surprised the world with the melody of his songs; being, as Dante says, the "dolce sirena che i marinari in mezzo al mare smaga," he lulled the anguish that lacerated Italy, and gilded the chains which bound her; the other tried to…”
Both passages explore the relationship between divine inspiration and human creativity, highlighting the role of divine influence in artistic and philosophical endeavors. They both emphasize the transformative power of divine love or inspiration, though in different cultural and religious contexts.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|First Dialogueb
They do not consider that those rules serve principally as a frame for the Homeric poetry, and for other similar to it, and they set up one as a great poet, high as Homer, and disallow those of other vein, and art, and enthusiasm, who in th…”
Both passages discuss the nature and origin of poetry and artistic inspiration, emphasizing the role of divine or innate creativity over rigid rules. They highlight the transformative power of poetic and artistic expression, though in different cultural and philosophical contexts.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|First Dialoguec
Hence he cries: "O mountain of Parnassus, where I abide! Muses, with whom I converse! Fountain of Helicon, where I am nourished. Mountain, that affordest me a quiet dwelling-place! Muses, that inspire me with pro found doctrines. Fount…”
Both passages explore the transformative power of love and poetic inspiration, drawing parallels between divine and human experiences. They both use metaphorical language to describe the elevation of the soul and the role of love in achieving higher states of being.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|First Dialoguef
One thing is certain, that he who loves wisely in youth will in age not go astray. But derision is for those of mature age, into whose hands Love puts the alphabet. Cic. Tell me now why Fate is called blind and bad. Tans. Again, blind…”
Both passages explore the nature of love and its transformative power, emphasizing its role in revealing truth and beauty. They also discuss the attributes of love, such as its ability to inspire and elevate individuals, though they come from different mystical traditions.
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 transformative and all-encompassing power of love, portraying it as a divine force that inspires, unites, and elevates individuals. They share a mystical and poetic perspective on love's ability to bring about profound change and connection.
renaissance_hermeticism|The Heroic Enthusiasts, Part II (Gli Eroici Furori)|First Dialoguef
But Providence wills that these, instead of rising to the sky, should go together to the shades of Orcus, so that naught is the glory of him who extols and of him who is extolled; for the one has woven a statue of straw, or carved the trunk…”
Both passages discuss the nature of glory and the role of divine inspiration in human achievements. They emphasize the transient nature of earthly praise and the enduring power of divine or poetic inspiration.
3 more
renaissance_hermeticism|The Heroic Enthusiasts, Part II (Gli Eroici Furori)|First Dialoguei
"It is not," says he, "gold and silver that makes one like God, because these are not treasure to Him; nor vestments, for God is naked; nor ostentation and fame, for He shows Himself to few, and perhaps not one knows Him, and certainly many…”
Both passages explore the theme of divine love and its transformative power on the individual. They emphasize the elevation of the soul through love, the transcendence of earthly concerns, and the union with the divine, albeit within different cultural and religious contexts.
renaissance_hermeticism|The Heroic Enthusiasts, Part II (Gli Eroici Furori)|First Dialoguel
Besides which, because he does not believe that all which is not, could not be, he prays the divine light, that by its beauty, which ought not to be entirely concealed, at least according to the capacity of whoever beholds it, and by his lo…”
Both passages explore the transformative power of divine love and its role in elevating the soul or individual towards higher truths and beauty. They share a mystical emphasis on the union with the divine and the struggle between earthly desires and spiritual aspirations.
renaissance_hermeticism|The Heroic Enthusiasts, Part II (Gli Eroici Furori)|Second Dialoguea
Maricondo. Here you see a flaming yoke enveloped in knots round which is written: Levius aura; which means that Divine love does not weigh down, nor carry his servant captive and enslaved to the lowest depths, but raises him, supports him…”
Both passages explore the transformative power of divine love, portraying it as a force that elevates the individual and brings about a state of contentment and fulfillment. They both use poetic language and metaphors to describe the profound impact of love on the human soul.