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Plato: Symposium · 30 of 36 · tr. Benjamin Jowett

Section 1ad

Well, said Eryximachus, before you appeared we had passed a resolution that each one of us in turn should make a speech in praise of love, and as good a one as he could: the turn was passed round from left to right; and as all of us have spoken, and you have not spoken but have well drunken, you ought to speak, and then impose upon Socrates any task which you please, and he on his right hand neighbour, and so on. That is good, Eryximachus, said Alcibiades; and yet the comparison, of a drunken man's speech with those of sober men is hardly fair; and I should like to know, sweet friend, whether you really believe-what Socrates was just now saying; for I can assure you that the very reverse is the fact, and that if I praise any one but himself in his presence, whether God or man, he will hardly keep his hands off me. For shame, said Socrates. Hold your tongue, said Alcibiades, for by Poseidon, there is no one else whom I will praise when you are-of the company. Well then, said Eryximachus, if you like praise Socrates. What do you think, Eryximachus-? said Alcibiades: shall I attack him: and inflict the punishment before you all? What are you about? said Socrates; are you going to raise a laugh at my expense? Is that the meaning of your praise? I am going to speak the truth, if you will permit me. I not only permit, but exhort you to speak the truth. Then I will begin at once, said Alcibiades, and if I say anything which is not true, you may interrupt me if you will, and say "that is a lie," though my intention is to speak the truth. But you must not wonder if I speak any how as things come into my mind; for the fluent and orderly enumeration of all your singularities is not a task which is easy to a man in my condition. And now, my boys, I shall praise Socrates in a figure which will appear to him to be a caricature, and yet I speak, not to make fun of him, but only for the truth's sake. I say, that he is exactly like the busts of Silenus, which are set up in the statuaries, shops, holding pipes and flutes in their mouths; and they are made to open in the middle, and have images of gods inside them. I say also that hit is like Marsyas the satyr. You yourself will not deny, Socrates, that your face is like that of a satyr. Aye, and there is a resemblance in other points too. For example, you are a bully, as I can prove by witnesses, if you will not confess. And are you not a flute-player? That you are, and a performer far more wonderful than Marsyas. He indeed with instruments used to charm the souls of men by the powers of his breath, and the players of his music do so still: for the melodies of Olympus are derived from Marsyas who taught them, and these, whether they are played by a great master or by a miserable flute-girl, have a power which no others have; they alone possess the soul and reveal the wants of those who have need of gods and mysteries, because they are divine. But you produce the same effect with your words only, and do not require the flute; that is the difference between you and him.
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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 comparison of Socrates' face to a satyr suggests his physical appearance masks his true spiritual nature.

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Divine Hiddennesstheology

The supreme God's radical concealment beyond ordinary knowledge or perception; the Hidden Father.

The metaphor of the Silenus bust emphasizes that the divine nature is concealed within an unattractive exterior, requiring opening to be seen.

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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.

Alcibiades explicitly links his truthful speech to his drunken state, aligning with the definition's reference to Plato's Symposium wine as a metaphor for divine encounter.

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Inner Lightanthropology

The divine spark or luminous quality residing within the human person, potentially recognisable through introspection.

[auto] The passage centrally compares Socrates to Silenus busts that contain images of gods inside, directly illustrating a divine quality residing within the human form.

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Kingdom Withinanthropology

The claim that the divine realm is present inside the individual, accessible without external mediation.

The image of gods inside the Silenus bust implies that the divine realm is accessible within the individual person.

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Paradox As Teachingethics

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

Socrates is described as having the appearance of a satyr yet possessing divine power through words alone, presenting a contradiction between form and essence.

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Rejection Of Hypocrisyethics

Critique of outward religious observance that lacks inner transformation; form without substance.

Alcibiades insists on speaking the truth rather than offering conventional flattery or praise, prioritizing honesty over social convention.

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