Soc. For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise; just as the Corybantian The Corybantes were priests of Cybele or Rhea, mother of Zeus and other Olympian gods, and she was worshipped with wild music and frenzied dancing which, like the bacchic revels or orgies of women in honor of Dionysus, carried away the participants despite and beyond themselves. Cf. Eurip. Bacchae. worshippers do not dance when in their senses, so the lyric poets do not indite those fine songs in their senses, but when they have started on the melody and rhythm they begin to be frantic, and it is under possession—as the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers—that the soul of the lyric poets does the same thing, by their own report. For the poets tell us, I believe, that the songs they bring us are the sweets they cull from honey-dropping founts in certain gardens and glades of the Muses—like the bees, and winging the air as these do. A beginning of this comparison appears in Aristophanes’ praise of the early tragedian Phrynichus— he sipped the fruits of ambrosial lays, ever bringing away sweet song. Aristoph. Birds 750f. And what they tell is true. For a poet is a light and winged and sacred thing, and is unable ever to indite until he has been inspired and put out of his senses, and his mind is no longer in him: every man, whilst he retains possession of that, is powerless to indite a verse or chant an oracle. Seeing then that it is not by art that they compose and utter so many fine things about the deeds of men— as you do about Homer—but by a divine dispensation, each is able only to compose that to which the Muse has stirred him, this man dithyrambs, another laudatory odes, another dance-songs, another epic or else iambic verse; but each is at fault in any other kind. For not by art do they utter these things, but by divine influence; since, if they had fully learnt by art to speak on one kind of theme, they would know how to speak on all. And for this reason God takes away the mind of these men and uses them as his ministers, just as he does soothsayers and godly seers, in order that we who hear them may know that it is not they who utter these words of great price, when they are out of their wits, but that it is God himself who speaks and addresses us through them. A convincing proof of what I say is the case of Tynnichus, Nothing else is known of this poet. the Chalcidian, who had never composed a single poem in his life that could deserve any mention, and then produced the paean A hymn in honor of a god, usually Apollo. which is in everyone’s mouth, almost the finest song we have, simply—as he says himself— an invention of the Muses. For the god, as it seems to me, intended him to be a sign to us that we should not waver or doubt that these fine poems are not human or the work of men, but divine and the work of gods; and that the poets are merely the interpreters of the gods, according as each is possessed by one of the heavenly powers. To show this forth, the god of set purpose sang the finest of songs through the meanest of poets: or do you not think my statement true, Ion? Ion. Yes, upon my word, I do: for you somehow touch my soul with your words, Socrates, and I believe it is by divine dispensation that good poets interpret to us these utterances of the gods. Soc. And you rhapsodes, for your part, interpret the utterances of the poets? Ion. Again your words are true. Soc. And so you act as interpreters of interpreters? Ion. Precisely. Soc. Stop now and tell me, Ion, without reserve what I may choose to ask you: when you give a good recitation and specially thrill your audience, either with the lay of Odysseus Od. 22.2ff. leaping forth on to the threshold, revealing himself to the suitors and pouring out the arrows before his feet, or of Achilles Il. 22.312ff. dashing at Hector, or some part of the sad story of Andromache Il. 6.370-502; 22.437-515. or of Hecuba, Il. 22.430-36; 24.747-59. or of Priam, Il. 22.408-28; 24.144-717. are you then in your senses, or are you carried out of yourself, and does your soul in an ecstasy suppose herself to be among the scenes you are describing, whether they be in Ithaca , or in Troy , or as the poems may chance to place them? Ion. How vivid to me, Socrates, is this part of your proof! For I will tell you without reserve: when I relate a tale of woe, my eyes are filled with tears; and when it is of fear or awe, my hair stands on end with terror, and my heart leaps.
 Soc. Well now, are we to say, Ion, that such a person is in his senses at that moment,—when in all the adornment of elegant attire and golden crowns he weeps at sacrifice or festival, having been despoiled of none of his finery; or shows fear as he stands before more than twenty thousand friendly people, none of whom is stripping or injuring him? Ion. No, on my word, not at all, Socrates, to tell the strict truth. Soc. And are you aware that you rhapsodes produce these same effects on most of the spectators also?
 Ion. Yes, very fully aware: for I look down upon them from the platform and see them at such moments crying and turning awestruck eyes upon me and yielding to the amazement of my tale. For I have to pay the closest attention to them; since, if I set them crying, I shall laugh myself because of the money I take, but if they laugh, I myself shall cry because of the money I lose. Soc. And are you aware that your spectator is the last of the rings which I spoke of as receiving from each other the power transmitted from the Heraclean lodestone? You, the rhapsode and actor, are the middle ring; the poet himself is the first; but it is the god who through the whole series draws the souls of men whithersoever he pleases, making the power of one depend on the other. And, just as from the magnet, there is a mighty chain of choric performers and masters and under-masters suspended by side-connections from the rings that hang down from the Muse. One poet is suspended from one Muse, another from another: the word we use for it is possessed, but it is much the same thing, for he is held. And from these first rings—the poets—are suspended various others, which are thus inspired, some by Orpheus and others by Musaeus A legendary bard to whom certain oracular verses were ascribed. ; but the majority are possessed and held by Homer. Of whom you, Ion, are one, and are possessed by Homer; and so, when anyone recites the work of another poet, you go to sleep and are at a loss what to say; but when some one utters a strain of your poet, you wake up at once, and your soul dances, and you have plenty to say: for it is not by art or knowledge about Homer that you say what you say, but by divine dispensation and possession; just as the Corybantian worshippers are keenly sensible of that strain alone which belongs to the god whose possession is on them, and have plenty of gestures and phrases for that tune, but do not heed any other. And so you, Ion, when the subject of Homer is mentioned, have plenty to say, but nothing on any of the others. And when you ask me the reason why you can speak at large on Homer but not on the rest, I tell you it is because your skill in praising Homer comes not by art, but by divine dispensation. Ion. Well spoken, I grant you, Socrates; but still I shall be surprised if you can speak well enough to convince me that I am possessed and mad when I praise Homer. Nor can I think you would believe it of me yourself, if you heard me speaking about him. Soc. I declare I am quite willing to hear you, but not until you have first answered me this: on what thing in Homer’s story do you speak well? Not on all of them, I presume. Ion. I assure you, Socrates, on all without a single exception. Soc. Not, of course, including those things of which you have in fact no knowledge, but which Homer tells. Ion. And what sort of things are they, which Homer tells, but of which I have no knowledge?