 Readers of the Phaedrus have often wondered how the dialogue hangs together. The first “half” seems to be about love, and the second about rhetoric. A slightly closer look reveals that any such simple characterization is misleading, because the first half is also about rhetoric, in several different ways. To begin with, the first half of the dialogue contains explicit reflections on rhetoric; for example, Socrates draws the distinction between what we would call the “form” and the “content” of a discourse (235a). Still further, it consists in part in three speeches, at least the first of which (“Lysias’ speech”) is a rhetorical set-piece. The other two are rhetorical as well, and presented as efforts to persuade a young beloved. All three are justly viewed as rhetorical masterstrokes by Plato, but for different reasons. The first is a brilliantly executed parody of the style of Lysias (an orator and speech writer of significant repute). The second speech simultaneously preserves aspects of its fictional frame (the first was a paradoxical sounding address by a “non-lover” to a “beloved”), develops that frame (the non-lover is transformed into a concealed lover), and deepens the themes in an impressive and philosophically enlightening way. The third (referred to as the “palinode” or recantation speech) contains some of the most beautiful and powerful images in all of Greek literature. It is mostly an allegory cast in the form of a myth, and tells the story of true love and of the soul’s journeys in the cosmos human and divine. That is, the rhetoric of the great palinode is markedly “poetic.” Especially noteworthy for present purposes is the fact that the theme of inspiration is repeatedly invoked in the first half of the dialogue; poetic inspiration is explicitly  discussed.[27]