He must follow the law of order and restraint, and study and exercise and learning are essential. Even supposing that talk of inspiration denies individual control and credit to the poet, the priestess shows that credit and control are not all that matters. Then almost immediately Socrates speaks of cultivating a fondness for beauty among the young guardians. Thus even Ben Jonson is also not quite fair. Incidentally this argument turns on an assumption that Plato asserts without discussion, that mimêsis is the presentation or representation of characters e. This discussion is focused on what is the piety or the holiness asked by Socrates to Euthyphro. How much it resembles the original? Lear 2011 is a recent argument in favor of the two passages' agreement with one another.
It is neither a text about the poetics of Plato nor specifically about his use of poetic quotation or allusion. But he does not care to consider it from its own unique standpoint. The idiosyncrasy in Ion's attachment to Homer shows that Homer, and Ion because of him, function thanks to a divine visitation. Ion claims that he is a first rate explicator of Homer; that he is a first rate explicator only of Homer, and loses interest as well as competence if another poet such as Hesiod is brought up 531a3—4, 532b8—c2; 533c4—8 ; and that Homer discusses his subjects much better than do any other poets 531d4—11, 532a4—8. In this case, by contrast with that of imitation, Plato finds a new use for an idea that has a cultural and religious meaning before him Ledbetter 2003, Murray 1981, Tigerstedt 1970. The poetry at the time of Plato was tragic, in which the weeping and wailing were indulged to move the hearts of the spectators.
Every episode, every character and a dialogue in the play must carry step by step the action that is set into motion to its logical dénouement. What do illusions have to do with irrationality of motive? In the passages from the Apology, Laws, and Meno, which are his minor or tangential comments about inspiration, Plato seems to be affirming 1 that inspiration is really divine in origin, and 2 that this divine action that gives rise to poetry guarantees value in the result. Inspired poetry has its merits but Plato rarely credits it with promoting philosophical knowledge. And if these hold, what use is there in rhetoric? If he fails in doing so, he is a bad artist. They were respected by the Greeks like the Bible, and the influence of the poets was too deep on society.
What does he mean by hamartia? Plato is not content with putting the 'imitator', of something below its maker; he also puts the maker below the user. And he has long been recognized as a writer of remarkable poems, plays and prose. But if this is the case, Ion himself will not know it. Readers of the dialogue will differ as to whether or not the arguments there offered decide the matter. In their turn the events from the middle lead to the end.
He compares a work of art to a living organism, having a body, as well as a head and feet, a middle and extremities, in perfect keeping with one another and the whole. Nor do they suffer from spiritual conflict 391c. He is the first to use the term Katharsis in connection with tragedy, and this part of the Poetics is highly original and moving. Of course, all this raises the question as to the status of Plato's dialogues, since they are themselves writings; we will return to it briefly below. And since Homer shaped the popular culture of the times, Plato is setting himself against popular culture as he knew it. That is because Goethe rarely spent a day without heeding a simple lesson: remember to live! The Cambridge Companion to Plato, Cambridge: Cambridge University Press. Glazov-Corrigan, Plato's Dialectic at Play: Argument, Structure, and Myth in the Symposium, University Park: Pennsylvania State University Press, 2004; D.
She can charm and coax and wheedle and enthrall, but these are precisely the powers that are so fatal. It possesses the reality that Forms have and is discovered through the same dialectic that brings other Forms to light. The Origins of Aesthetic Thought in Ancient Greece: Matter, Sensation, and Experience, Cambridge: Cambridge University Press. The Ion says far from enough to settle the question. The bottom line is that there is no escaping from persuasion, and so none from rhetoric—including of course from the very problem of distinguishing between warranted and unwarranted persuasion. Artistic creation cannot be fairly criticized on the ground that it is not the creation in concrete terms of things and beings.
In a similar spirit the Philebus's examples of pure sensory beauty exclude pictures 51b—d. Things of beauty do so excellently well. Third, he lists the advantages that tragedy has over epic poetry, which can be boiled down to two main points: 1 tragedy has all the elements of epic poetry and some more manages to present its story in a much shorter span of time , and 2 tragedy is more condensed and so has a more concentrated effect with a greater degree of unity. And these last examples presuppose what the argument means to show. Despite these large clusters of shared interest, there is no cross-referencing among the papers. The agents medium of the action can be understood in terms of d character and e thought.
Soft or large items inspire questions in minds of an abstract bent. First, it has all the elements of an epic poem and has also music and spectacle, which the epic lacks. Callicles advances a substantive position grounded in a version of the distinction between nature and convention and defends it. It aims to provide the reader with a commentary which takes account of modern scholarship on the subject, and which explores the ambivalence of Plato's pronouncements on poetry through an analysis of his own skill as a writer. Which of the following lines of the definition of tragedy deals with the function of tragedy? The Ideas too are said to be made, even though that is entirely inconsistent with the doctrine of Ideas as eternal expressed earlier in the Republic itself and in all the other Platonic dialogues. Eckermann was 31 when he met the 73- year old sage of Weimar, and wrote about the mu sings that Goethe shared with him during the last nine years of his life. Poetry is inspiration but it is also an art.
This justice goes beyond power and or money. Thus one who imitates a female part tends to grow effeminate. He gives us his intuition of certain distinctive and essential qualities. Thus poetry is an imitation. Agathon suppresses his sources' claims that erôs can be bad and contradicts himself about erôs's nature. The purgation of such emotions and feelings make them relieved and they emerge better human beings than they were. The Phaedrus quietly sustains the critique of poetry, as well as much less quietly of rhetoric.