Capra, Andrea. 2015. Plato's Four Muses: The Phaedrus and the Poetics of Philosophy. Hellenic Studies Series 67. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_CapraA.Platos_Four_Muses.2014.
Repeated no less than three times at the very beginning of Socrates’ plea, the phrase “clever speaker” (δεινὸς λέγειν) sounds very much like a catchword employed deliberately to rebut the accusation voiced by Aristophanes. One may recall how the Apology singles out Aristophanes as being somehow responsible for Socrates’ distorted image,  which seems to have continued to haunt both Plato and Xenophon. 
Socrates again hints at the possibility of turning the meaning of “clever” to his advantage. Gorgias, who is compared to the Homeric Gorgo, is of course “terrible” (δεινός), whereas Socrates describes himself as “terrific” in things erotic, that is, where praising Eros means telling the truth.
- Aristophanes accuses Socrates of rejecting “music” and teaching his acolytes how to become “clever speaker(s).”
- Socrates denies he is a “clever speaker,” unless this means telling the truth.
- In Socrates’ view, the sophists, and especially Gorgias, are “clever speakers.”
- A pupil of Prodicus, Socrates often hints at the possibility of a different notion of cleverness.
What we find in the Phaedrus is precisely such a one-sided notion of cleverness, with Socrates erasing all the positive connotations of the word in order to distance “musical” philosophy from “clever” rhetoric. 
Here, the contrast is so radical that Socrates ends up pitting wisdom (philosophy) against cleverness (rhetoric). As we saw in Chapter 3, Socrates ends his speech by asking the god to “terminate” Lysias, an implicit reference to the poetic “termination” of Thamyris, the archenemy of the Muses. To sum up, Socrates’ use of δεινός in the Phaedrus is unusually and consistently pejorative, and it highlights the dichotomy between the “musical” discourse of philosophy and that of “clever” rhetoric seen as a manipulative form of rationalism.
The Death of Socrates and the Birth of Philosophical Writing
It is clear that the passage, by warning Socrates against the excesses of rationalism,  introduces the theme of mousikê in a way that closely parallels the Phaedrus.
As in the Phaedrus, a sensible man is not likely to believe Socrates’ “charming” myth, but the truly wise will. 
Socrates’ answer is carefully crafted along the lines of a rhetorical Priamel, which, decoded, reads something like: You can search Greece, you can search far-away countries, you can spend a lot of money on your quest. Nevertheless, the best thing you can do is to look for the good charmer among yourselves, for only there are you likely to find somebody “to do it,” that is, to do the charming; “among yourselves,” says Socrates, pointing to his acolytes. Socrates’ main interlocutors in the Phaedo, starting with Phaedo himself and the “Theban couple” Simmias and Cebes, were writers in the genre of Sokratikoi logoi.  In Platonic terms, composing a dialogue might well be described as “to do the charming” (poiein epôidas), a phrase that combines Plato’s poetological epôidê with the verb poiein (“to do,” but also “to compose” or “be a poet”). However, Cebes and Simmias feel lost and have no clue as to where they might find the good charmer: Where is he? And, we might add, who is he?
The Status of Plato’s Dialogues