in this way at a festival when he is surrounded by his friends and there is
nothing to trouble him. Ion is confident that Socrates would never think
him mad if he could only hear his embellishments of Homer. Socrates asks
whether he can speak well about everything in Homer. 'Yes, indeed he can.'
'What about things of which he has no knowledge?' Ion answers that he can
interpret anything in Homer. But, rejoins Socrates, when Homer speaks of
the arts, as for example, of chariot-driving, or of medicine, or of
prophecy, or of navigation--will he, or will the charioteer or physician or
prophet or pilot be the better judge? Ion is compelled to admit that every
man will judge of his own particular art better than the rhapsode. He
still maintains, however, that he understands the art of the general as
well as any one. 'Then why in this city of Athens, in which men of merit
are always being sought after, is he not at once appointed a general?' Ion
replies that he is a foreigner, and the Athenians and Spartans will not
appoint a foreigner to be their general. 'No, that is not the real reason;
there are many examples to the contrary. But Ion has long been playing
tricks with the argument; like Proteus, he transforms himself into a
variety of shapes, and is at last about to run away in the disguise of a
general. Would he rather be regarded as inspired or dishonest?' Ion, who
has no suspicion of the irony of Socrates, eagerly embraces the alternative
of inspiration.

The Ion, like the other earlier Platonic Dialogues, is a mixture of jest
and earnest, in which no definite result is obtained, but some Socratic or
Platonic truths are allowed dimly to appear.

The elements of a true theory of poetry are contained in the notion that
the poet is inspired. Genius is often said to be unconscious, or
spontaneous, or a gift of nature: that 'genius is akin to madness' is a
popular aphorism of modern times. The greatest strength is observed to