In the prosecution of this design, when I next went to him, I sent away the attendant who usually accompanied me (I will confess the whole truth, and beg you to listen; and if I speak falsely, do you, Socrates, expose the falsehood).
Well, he and I were alone together, and I thought that when there was nobody with us, I should hear him speak the language which lovers use to their loves when they are by themselves, and I was delighted.
Nothing of the sort; he conversed as usual, and spent the day with me and then went away.
Afterwards I challenged him to the palaestra; and he wrestled and closed with me, several times when there was no one present; I fancied that I might succeed in this manner.
Not a bit; I made no way with him.
Lastly, as I had failed hitherto, I thought that I must take stronger measures and attack him boldly, and, as I had begun, not give him up, but see how matters stood between him and me.
So I invited him to sup with me, just as if he were a fair youth, and I a designing lover.
He was not easily persuaded to come; he did, however, after a while accept the invitation, and when he came the first time, he wanted to go away at once as soon as supper was over, and I had not the face to detain him.
The second time, still in pursuance of my design, after we had supped, I went on conversing far into the night, and when he wanted to go away, I pretended that the hour was late and that he had much better remain.
So he lay down on the couch next to me, the same on which he had supped, and there was no one but ourselves sleeping in the apartment.
All this may be told without shame to any one.
But what follows I could hardly tell you if I were sober.
Yet as the proverb says, "In vino veritas," whether with boys, or without them; and therefore I must speak.
Nor, again, should I be justified in concealing the lofty actions of Socrates when I come to praise him.
Moreover I have felt the serpent's sting; and he who has suffered, as they say, is willing to tell his fellow-sufferers only, as they alone will be likely to understand him, and will not be extreme in judging of the sayings or doings which have been wrung from his agony.
For I have been bitten by a more than viper's tooth; I have known in my soul, or in my heart, or in some other part, that worst of pangs, more violent in ingenuous youth than any serpent's tooth, the pang of philosophy, which will make a man say or do anything.
And you whom I see around me, Phaedrus and Agathon and Eryximachus and Pausanias and Aristodemus and Aristophanes, all of you, and I need not say Socrates himself, have had experience of the same madness and passion in your longing after wisdom.
Therefore listen and excuse my doings then and my sayings now.
But let the attendants and other profane and unmannered persons close up the doors of their ears.
When the lamp was put out and the servants had gone away, I thought that I must be plain with him and have no more ambiguity.
So I gave him a shake, and I said: "Socrates, are you asleep?" "No," he said.
"Do you know what I am meditating?
"What are you meditating?" he said.
"I think," I replied, "that of all the lovers whom I have ever had you are the only one who is worthy of me, and you appear to be too modest to speak.
Themes
◆Body As Obstacleanthropology
The material body viewed as a prison, tomb, or source of error that hinders spiritual knowledge and return.
Alcibiades' physical attempts to connect with Socrates fail, highlighting the superiority of spiritual connection over bodily union.
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 speaker invokes 'In vino veritas' to justify revealing shameful truths about his spiritual struggle, linking wine to the revelation of inner reality.
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 the 'pang of philosophy' as a driving force that compels action and speech, reflecting the Platonic root of heroic spiritual passion.
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.
The text contrasts physical erotic attempts with the higher passion for wisdom, reflecting the Symposium's central theme of ascending love.
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.
[auto] Alcibiades explicitly identifies the longing for wisdom as a form of madness and passion shared by all present, aligning with Plato's concept of mania.