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initiatory, poetic, erotic, having four gods presiding over them;

the first was the inspiration of Apollo, the second that of

Dionysus, the third that of the Muses, the fourth that of Aphrodite

and Eros. In the description of the last kind of madness, which was

also said to be the best, we spoke of the affection of love in a

figure, into which we introduced a tolerably credible and possibly

true though partly erring myth, which was also a hymn in honour of

Love, who is your lord and also mine, Phaedrus, and the guardian of

fair children, and to him we sung the hymn in measured and solemn


Phaedr. I know that I had great pleasure in listening to you.

Soc. Let us take this instance and note how the transition was

made from blame to praise.

Phaedr. What do you mean?

Soc. I mean to say that the composition was mostly playful. Yet in

these chance fancies of the hour were involved two principles of which

we should be too glad to have a clearer description if art could

give us one.

Phaedr. What are they?

Soc. First, the comprehension of scattered particulars in one

idea; as in our definition of love, which whether true or false

certainly gave clearness and consistency to the discourse, the speaker

should define his several notions and so make his meaning clear.

Phaedr. What is the other principle, Socrates?

Soc. The second principle is that of division into species according

to the natural formation, where the joint is, not breaking any part as

a bad carver might. Just as our two discourses, alike assumed, first

of all, a single form of unreason; and then, as the body which from

being one becomes double and may be divided into a left side and right

side, each having parts right and left of the same name-after this

manner the speaker proceeded to divide the parts of the left side

and did not desist until he found in them an evil or left-handed

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