Introduction
In this piece I discuss Plato’s description of Socrates’ philosophical inspiration as “drunkenness” and/or Dionysian mania; Plato’s metaphor draws on earlier Greek poetry, including Euripides and his popular play The Bacchants, where Dionysus is praised as the inventor of “liquid drink of the grape” (line 279).
Importantly, Plato also draws on Solon, the famous lawgiver and poet of archaic Athens, who discussed extensively the drinking etiquette of ancient communities as a reflection of their civic character. Yet, the application of this metaphor on Socrates and his philosophical genius was fraught with difficulties since Socrates, known for conversing with the so-called daimonion, the inner voice or sign that guided him, and frequently undergoing trances in public, could be easily misunderstood as a common drunkard or even a madman — especially since wine abuse was also believed to cause madness.
To avoid the risk of contributing to the misperceptions of the Athenians about Socrates, Plato insisted that Socratic ecstasy is utterly sober (even though it can involve wine-drinking and may occur in a sympotic context). Drunkenness is a culturally embedded comparison that allowed Plato to articulate the mind-altering abilities of philosophy while offering a concrete example of how to prepare ourselves for that kind of philosophical revelation. Furthermore, Plato defends the valuable contribution of “drunken” or inspired philosophers and their insights to the city.
Socrates in the Entourage of Dionysus
In the Symposium, a dialogue mostly known for Socrates’ famous exchange with Diotima, a priestess from Mantineia, who instructs him in the doctrine of Eros, Plato also offers a very provocative representation of Socrates’ philosophical reverie which is often overlooked as merely amusing.
Socrates, we are told, looks like the Satyrs (215b1 and 221d6-e1), the ever-drunk, lusty followers of Dionysus, typically portrayed in ancient art as bald, with a snub nose, thick lips and big, bulging eyes. This resemblance, also confirmed by Xenophon (in his own Symposium), is unanimously projected on ancient representations of Socrates. Plato also speaks of Socrates’ similarity to Marsyas (215b5-6), the legendary satyr from Phrygia who invented the flute and served in the entourage of Dionysus as well. Like Marsyas enthused his audiences with his otherworldly music, leading them to ecstasy, so Socrates makes those who listen to his speeches shudder and weep and become frantic (215e1-2 and 218b).
Plato emphatically states that Socrates’ audiences experience trances just like those who dance in the Corybantic rites. Socrates’ ability as a drinker is also emphasized in two other places in the dialogue: when at the start of the gathering, Pausanias the sophist seeks everyone’s consent to adopt a moderate way of drinking …
Read the full article which is published on Daily Philosophy (external link)
