"And you mean by the happy, those who are the possessors of things good or fair?" "Yes." "And you admitted that Love, because he was in want, desires those good and fair things of which he is in want?" "Yes, I did." "But how can he be a god who has no portion in what is either good or fair?" "Impossible." "Then you see that you also deny the divinity of Love." "What then is Love?" I asked; "Is he mortal?" "No." "What then?" "As in the former instance, he is neither mortal nor immortal, but in a mean between the two." "What is he, Diotima?" "He is a great spirit (daimon), and like all spirits he is intermediate between the divine and the mortal." "And what," I said, "is his power?" "He interprets," she replied, "between gods and men, conveying and taking across to the gods the prayers and sacrifices of men, and to men the commands and replies of the gods; he is the mediator who spans the chasm which divides them, and therefore in him all is bound together, and through him the arts of the prophet and the priest, their sacrifices and mysteries and charms, and all, prophecy and incantation, find their way.
For God mingles not with man; but through Love.
all the intercourse, and converse of god with man, whether awake or asleep, is carried on.
The wisdom which understands this is spiritual; all other wisdom, such as that of arts and handicrafts, is mean and vulgar.
Now these spirits or intermediate powers are many and diverse, and one of them is Love.
"And who," I said, "was his father, and who his mother?" "The tale," she said, "will take time; nevertheless I will tell you.
On the birthday of Aphrodite there was a feast of the gods, at which the god Poros or Plenty, who is the son of Metis or Discretion, was one of the guests.
When the feast was over, Penia or Poverty, as the manner is on such occasions, came about the doors to beg.
Now Plenty who was the worse for nectar (there was no wine in those days), went into the garden of Zeus and fell into a heavy sleep, and Poverty considering her own straitened circumstances, plotted to have a child by him, and accordingly she lay down at his side and conceived love, who partly because he is naturally a lover of the beautiful, and because Aphrodite is herself beautiful, and also because he was born on her birthday, is her follower and attendant.
And as his parentage is, so also are his fortunes.
In the first place he is always poor, and anything but tender and fair, as the many imagine him; and he is rough and squalid, and has no shoes, nor a house to dwell in; on the bare earth exposed he lies under the open heaven, in-the streets, or at the doors of houses, taking his rest; and like his mother he is always in distress.
Like his father too, whom he also partly resembles, he is always plotting against the fair and good; he is bold, enterprising, strong, a mighty hunter, always weaving some intrigue or other, keen in the pursuit of wisdom, fertile in resources; a philosopher at all times, terrible as an enchanter, sorcerer, sophist.
He is by nature neither mortal nor immortal, but alive and flourishing at one moment when he is in plenty, and dead at another moment, and again alive by reason of his father's nature.
But that which is always flowing in is always flowing out, and so he is never in want and never in wealth; and, further, he is in a mean between ignorance and knowledge.
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 mythic genealogy includes Poros being drunk on nectar, linking divine conception to a state of intoxication.
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.
This passage is part of Diotima's speech which establishes the philosophical nature of Love as the agent for the subsequent ascent to Beauty.
The felt condition of exile from one's divine origin — Rumi's reed flute torn from its bed, Plotinus's 'we have forgotten,' the Gnostic forgetfulness; the affective wound that complements return_to_source and gives the return its motive.
Love is defined fundamentally by his want and lack of the good and fair things he desires, establishing a state of ontological deficiency.
Iamblichean ritual practice that engages the gods directly through consecrated material symbols and actions, on the premise that divine power descends into properly prepared matter — distinct from philosophical contemplation alone.
The passage validates the efficacy of rituals like sacrifices, mysteries, and charms as finding their way through the daimonic mediator.