Plato: Poetry

Che gli esseri umani siano i soli animali capaci di ridere e piangere può essere messo in dubbio, ma che siano gli unici a sviluppare degli strumenti a questo scopo, non può esserlo. Tragedia e commedia, i due fronti dell’arte drammatica codificati da Aristotele nella "Poetica", sono proprio questi strumenti. La difficoltà a conferire un significato univoco a questi due magmatici termini, è sintomatica. In questo breve scritto tento di identificare la ragione di questa difficoltà e proporre un’ipotesi di lavoro (...) per risolverla, o per lo meno approcciarla. (shrink)

The paper starts with reflections on Plato’s critique of the poets and the preference many express for Aristotle’s view of poetry. The second part of the paper takes a case study of analytic treatments of ancient philosophy, including the ancient philosopher poets, to examine the poetics of analytic philosophy, diagnosing a preference in Analytic philosophy for a clean non-poetic style of presentation, and then develops this in considering how well historians of philosophy in the Analytic tradition can accommodate the contributions (...) of philosophers who wrote in verse. The final part of the paper reviews the current enthusiasm for decoding Empedocles’ vague and poetic descriptions of the cosmic cycle into a precise scientific periodicity on the basis of the recently discovered Byzantine scholia on Aristotle. I argue that this enthusiasm speaks to a desire for definite and clear numerical values in place of poetic motifs of give and take, and that this mathematical and scientific poetic is comparable to the preferred poetic of analytic philosophy. (shrink)

Plato’s Ion is primarily ethical rather than epistemological, investigating the implications of transgressing one’s own epistemic limits. The figures of Socrates and Ion are juxtaposed in the dialogue, Ion being a laughable, comic, ethically inferior character who cannot recognize his own epistemic limits, Socrates being an elevated, serious, ethically superior character who exhibits disciplined epistemic restraint. The point of the dialogue is to contrast Ion’s laughable state with the serious state of Socrates. In this sense, the dialogue’s central argument is (...) performative rather than demonstrative. (shrink)

In Giorgio Agamben's Homo Sacer project, he gives an archaeology of Western political power from ancient Rome up through Carl Schmitt's model of "exceptional sovereignty," where the sovereign is "he who decides on the exception."1 Agamben takes Schmitt's thesis further, arguing that, in modern biopolitics, the "sovereign is he who decides on the value or the nonvalue of life as such," and therefore, on life and death in the state.2 Although this model also appears in Foucault's work, Penelope Deutscher argues (...) that Agamben's use of it includes "the particularly lethal variant seen in the capacity to cancel the status of what is put to death."3 "Homo sacer" is the name that Agamben gives to the form of political... (shrink)

The subject of my paper is the explanation of Plato’s attitude in Republic on three lines taken from Odyssey (11.489-91). In one case (386c5-7) Plato rejects these lines, because they should not be heard by children or free men, while in another case (516d4-7) he repeats them as a perfect example of illustrating philosopher’s feelings. My purpose is to show that this attitude is not ambiguous; it is compatible with Plato’s doctrines and a good example of the importance that the (...) context plays whenever Plato interprets a poem. (shrink)

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...) removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

Socrates' attitude towards falsehood is quite puzzling in the Republic. Although Socrates is clearly committed to truth, at several points he discusses the benefits of falsehood. This occurs most notably in Book 3 with the "noble lie" (414d-415c) and most disturbingly in Book 5 with the "rigged sexual lottery" (459d-460c). This raises the question: What kinds of falsehoods does Socrates think are beneficial, and what kinds of falsehoods does he think are harmful? And more broadly: What can this tell us (...) about the relationship between ethics and epistemology? The key to answering these questions lies in an obscure and paradoxical passage in Book II; at 382a-d Socrates distinguishes between "true falsehoods" and "impure lies." True falsehoods are always bad, but impure lies are sometimes beneficial. Despite Socrates' insistence that he is not saying anything deep, his distinction is far from straightforward. Nevertheless, in order to determine why some falsehoods are beneficial and why some are always harmful, we must understand what exactly true falsehoods are and how they differ from impure lies. In this paper, I argue that true falsehoods are a restricted class of false beliefs about ethics; they are false beliefs about how one should live and what one should pursue. I refer to these beliefs as "normative commitments." False normative commitments are always pernicious because they create and sustain psychological disharmony. Unlike true falsehoods, impure lies can be about anything. Nevertheless, they are only beneficial when they help produce and sustain true normative commitments. I argue that the upshot of this is that practical concerns have a kind of primacy over theoretical concerns. (shrink)

This paper takes Plato's metaphor of poetic transmission as magnetic charge in the Ion as a central trope for thinking through the various relationships between philosophy and literature; between poetry, interpretation, and truth; and between erotic affects and the material, corporeal, queer dimensions of reception. The affective dimensions of the Platonic text in the Ion, Republic, Symposium, and Phaedrus are examined at length, and the explicit accounts of ascent to philosophical truth are shown to be complicated by the persistence of (...) tropes of corporeal and affective downgoing, with particular attention afforded to the figures of Eros, Hermes, and shame. The paper argues for an unbroken connection between these scenes of classical philosophy and the emergence of homosexuality in relation to the study of the classics in Victorian England. (shrink)

Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both questions are more plausible than (...) it might seem at first. (shrink)

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the ‘paradox (...) of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure. (shrink)

Plato’s treatment of poetry is usually discussed without reference to other contemporary reception of Greek poetry, leading to divergent political or aesthetic accounts of its meaning. Yet the culture of the Greek polis, in particular Athens, is the defining context for understanding his aims. Four distinct points are made here, and cumulatively an interpretation of Plato’s opposition to poetry: on the basis of other evidence, including Aristophanes’ Frogs, that Plato would quite reasonably understand poetry to claim the craft of looking (...) after a city ; that Socrates makes a rival claim that philosophy is the pursuit of this skill; that Plato considers the poets, owing to this rivalry, to aim to exclude philosophy from Athens; and finally, that Plato’s exclusion of poetry from the theoretical just city of the Republic is part of his defence of the possibility of philosophy in Athens. (shrink)

Machine generated contents note: 1. Poetry: the roots of a problem; 2. A radical solution: Plato's Republic; 3. The natural history of poetry: Aristotle; 4. Ways to find truth in falsehood; 5. The marriage of Homer and Plato.

The article addresses the issue of rating Platonic poetic creation. It focuses on two aspects of this issue, namely the question transformed the concept of truth and character agonální Platonic criticism. In the first respect, the paper focuses on the relationship between truth and lies and the Platonic concept of "similar lies the truth." In the latter respect, trying to uncover the motivation and the wide range of Plato's rivalry with the older poetic tradition in the context of a widely (...) sophisticated concept of Platonic mimesis. Here, analyzing in particular its ontological-epistemological and ethical-psychological context. (shrink)

A passage in Plato’s Laws offers a fresh look at Plato’s theory of poetry and art. Only here does Plato call poetry both mimêsis “imitation, representation,” and the product of enthousiasmos “inspiration, possession.” The Republic and Sophist examine poetic imitation; the Ion and Phaedrus develop a theory of artistic inspiration; but Plato does not confront the two descriptions together outside this paragraph. After all, mimêsis fuels an attack on poetry, while enthousiasmos is sometimes used to attack it, sometimes to praise (...) it. The explanation evidently lies in Plato’s understanding of drama, which in the Laws has grown more precise, from simply the presentation of characters to the presentation of multiple characters engaged in dramatic conflict. (shrink)

Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of tragedy (...) in the Poetics. (shrink)

There are two main discussions of poetry in Plato's Republic: the first one is in Books II and III, the other in Book X. Their conclusions are not entirely coherent. In Books II and III, only some poetry is considered imitative, and certain forms of it are allowed in the ideal city. In Book X all poetry is considered imitative, and all of it is banned from the city. Jeff Mitscherling's book deals with Plato's criticism of poetry and art. It (...) (i) reviews and discusses the main interpretations of the topic, paying special attention to those of Havelock (who argues that under attack is the Athenian educational system) and Gadamer (who argues the real target are the Sophists and their influence); (ii) discusses .. (shrink)

Plato famously banishes the poets from his ideal city in book X of his Republic. Yet in this banishment Plato establishes the boundaries of reason, art and poetry — boundaries that have haunted western thinkers since antiquity. In this article I will explore those Platonic boundaries, specifically the intellectual limits of poetic writing as reflected upon by self-identified Platonist Alain Badiou. That being said, I am not attempting, strictly speaking, to look at Badiou’s interpretation of Plato’s banishment of poetry. Instead, (...) I am using the banishment as a springboard for discussion of Badiou’s notion of poetry as the ‘birth of truth’ in his Handbook of Inaesthetics. I will examine the way this text interacts with Plato’s conceptual banishment. I assert that this interaction should illuminate the status of writing — especially artistic writing — in the state. (shrink)

A collection of essays exploring the relationship between Plato and the poet Hesiod. The volume covers a wide variety of thematic angles, brings new and sometimes surprising light to a large range of Platonic dialogues, and represents a major contribution to the study of the reception of archaic poetry in Athens.

Avi Kujman claims against the attempt of philosophy to do away with poetry. In his opinion, this neglect involves the giving-up on the spirit or the ideal of wisdom for the political, all-too-political sphere of recognition. Poetry is of great avail for philosophy in the way up and in the way down, in the way to wisdom and in the way of instilling it to others. Mr. kujman, thus, fights against the tradition in order to achieve its implicit desire in (...) the all-encompassing meaning. He is doing so by refuting what the tradition implies about this fight vis-à-vis Plato as its originator. Again, this fight is not made against history, but within history and for history. Thus, though it seems besides the essential point and a cause for inconvenience for the author, he, nonetheless, tries his hand in confuting post-modernism as an option against the tradition, by the by, refuting the naiveté of Roland Barthes by what appears here as its reductio-ad-absurdum, i.e., Michel Foucault. (shrink)

The relations of philosophy and poetry include but are not exhausted by Plato’s hostility to mimetic poetry in the Republic and Aristotle’s defence of it in the Poetics. For poetry has often carried a philosophical message itself, from the work of Chaucer and Milton to that of T.S. Eliot. In yet earlier generations, poetry was chosen as the medium for conveying a philosophical message by (among Greek philosophers) Xenophanes, Parmenides and Empedocles, and (at Rome) by Lucretius, who struggled both with (...) the Latin language and with the standard metre of didactic poetry, hexameters, to spread what he considered enlightenment and to reach for his Epicureanism an audience that might otherwise have remained unreached. To the extent that poets such as Lucretius succeeded, the philosophical critics of poetry in the tradition of Plato would have to recognise merit in some mimetic poetry. (Thus Lucretius compares clouds of atoms to flocks of sheep, which he graphically depicts.) Yet a defence of poetry other than Aristotelian katharsis would be needed for works such as those of Empedocles and Lucretius. Perhaps Enlightenment can be conveyed equally well in verse as in prose, mimetic components notwithstanding; for some purposes perhaps itcan be conveyed uniquely well. De nihilo nil fit, to quote Lucretius, comprises an example. (shrink)

In this essay I take up Plato’s critique of poetry, which has little to do with epistemology and representational imitation, but rather the powerful effects that poeticperformances can have on audiences, enthralling them with vivid image-worlds and blocking the powers of critical reflection. By focusing on the perceived psychological dangers of poetry in performance and reception, I want to suggest that Plato’s critique was caught up in the larger story of momentous shifts in the Greek world, turning on the rise (...) of literacy and its far-reaching effects in modifying the original and persisting oral character of Greek culture. The story of Plato’s Republic in certain ways suggests something essential for comprehending the development of philosophy in Greece (and in any culture, I would add): that philosophy, as we understand it, would not have been possible apart from the skills and mental transformations stemming from education in reading and writing; and that primary features of oral language and practice were a significant barrier to the development of philosophical rationality (and also a worthy competitor for cultural status and authority). Accordingly, I go on to argue that the critique of writing in the Phaedrus is neither a defense or orality per se, nor a dismissal of writing, but rather a defense of a literate soul over against orality and the indiscriminate exposure of written texts to unworthy readers. (shrink)

In this essay I take up Plato’s critique of poetry, which has little to do with epistemology and representational imitation, but rather the powerful effects that poeticperformances can have on audiences, enthralling them with vivid image-worlds and blocking the powers of critical reflection. By focusing on the perceived psychological dangers of poetry in performance and reception, I want to suggest that Plato’s critique was caught up in the larger story of momentous shifts in the Greek world, turning on the rise (...) of literacy and its far-reaching effects in modifying the original and persisting oral character of Greek culture. The story of Plato’s Republic in certain ways suggests something essential for comprehending the development of philosophy in Greece (and in any culture, I would add): that philosophy, as we understand it, would not have been possible apart from the skills and mental transformations stemming from education in reading and writing; and that primary features of oral language and practice were a significant barrier to the development of philosophical rationality (and also a worthy competitor for cultural status and authority). Accordingly, I go on to argue that the critique of writing in the Phaedrus is neither a defense or orality per se, nor a dismissal of writing, but rather a defense of a literate soul over against orality and the indiscriminate exposure of written texts to unworthy readers. (shrink)

Interpretations of Plato’s consideration of poetry often see his position either as a rejection or an admittance of only a certain kind. This article offers a more complex analysis: questions concerning the nature of justice and poetry should be taken as mutually illuminating inquiries. This constitutes Plato’s hermeneutics which shows how understanding poetry ideally effects a metanoia (new understanding) that requires the harmony between ethical deliberation and narrative self-understanding. The dialogue is a mimesis of this process, and the conclusion in (...) Book X does not represent Plato’s final position but the trajectory of the dialogue when such a metanoia is incomplete. (shrink)

This absorbing study of Plato's criticism of poetry offers a new interpretation based upon central features of both the pre-Platonic conception of poetry and previously neglected features of Plato's various discussions of poetry and the poets. Professor Mitscherling's analysis is unique in that he concentrates on the philosophical significance of Plato's distinction between dramatic and nondramatic sorts of poetry. Mitscherling shows that this distinction proves in fact to be central to the conception of poetry that Plato consistently elaborates throughout his (...) dialogues. Mitscherling also makes a unique contribution by outlining a possible Platonic aesthetics, which draws on current work in phenomenology and hermeneutics in such a way as to promise an entirely new direction for current work in continental aesthetics. The author employs Gadamer's analyses of the ontology of the work of art, in conjunction with a phenomenological analysis of the aesthetic experience, in the construction of a foundation for aesthetics that is consistently Platonic. Mitscherling concludes with the hypothesis that Plato's criticism of poetry did not apply to poetry itself, nor was it directed to art in general or the educational system, or the Sophists. Rather, Plato was specifically against the techn? of mim'sis, that is, the technique of persuading by appearing to be what one is not, or by merely appearing to speak the truth. (shrink)

Nach Platon „vermittelt“ die Philosophie als Kunst der Dialektik durch Dialog zwischen Begriffen und Disziplinen. Um dies zu zeigen, wird hier eine Lektüre von Platons Symposion vorgestellt, in der das Verhältnis der Disziplinen mit Wissens- und Erziehungsanspruch in Platons Zeit beleuchtet wird. Jede Rede des Symposions ist wie eine Stellungnahme in einem Dialog zu verstehen, so dass das Gesamtwerk als sieben Reden zu lesen sind, die dialogisch aufeinander verweisen. Die Grundannahme dieser Lektüre besagt, dass den einzelnen Reden verschiedene Wissenschaften oder (...) Künste zuzuordnen sind, die einen Wissens- und Erziehungsanspruch vertreten, und dass der in der Rede vorgestellte und verteidigte Liebesbegriff jeweils der dieser Disziplin entsprechende ist. Die unterschiedliche Begriffsbestimmung in den einzelnen Wissenschaften und Künsten nehmen indirekt aufeinander Bezug, widersprechen sich und ergänzen sich. Die Fragen, welche Platon im Symposion diskutiert, betreffen nicht nur die Erkenntnistheorie, Ideenlehre, Rolle des Dialogs für die Philosophie, Fragen der Erziehung und der Kreativität, sondern auch ein Problem, das sich durch die bereits in Platons Zeiten aufkommende Ausdifferenzierung der Disziplinen und Wissenschaften ergibt. Welcher der Disziplinen mit Wissens- und Erziehungsanspruch kommt der Führungsanspruch in Bezug auf die Jugend und damit die Gesellschaft sowie das Wissen zu? Das Angebot Platons um diese Frage zu beantworten und die unterschiedlichen Begriffsbestimmungen und Begriffsangebote zu vereinen, besteht in einer komplizierten Konstruktion. Ein Teil der Antwort bezieht die Philosophie (Eros, Sokrates) und den philosophischen Dialog, für den der Eros unabdingbar ist, direkt mit ein. Im philosophischen Dialog sollten die Begriffsmerkmale ausfindig gemacht werden, die für einen Begriff und seine Bedeutung unabdingbar ist. Dieser Dialog wird aber nicht ausschließlich zwischen Diotima und Sokrates geführt. Er hat ebenso wie die dialogisch aufeinander bezogenen Reden der gesamten Schrift eine Vorbildfunktion. Dieser indirekte Dialog, der durch Abstimmung der Reden zueinander „geführt“ wird, enthält einen weiteren Tel der Antwort. Der eigentliche „Dialog“ muss aber schließlich zwischen der Leserin und dem „Symposion“ stattfinden. (shrink)

The Symposium is one of Plato’s most literary and poetic dialogues. How might one reconcile this evidence of Plato’s predilection for poetry in light of his severe critique of poetry in the Republic? Though his critique is modified and refined in other dialogues, the power of his critique is nowhere significantly undermined. I argue in this paper that Plato’s poetic writing is not inconsistent with his critique, and that in fact there is an affinity between his practice of poetry and (...) his critique. Plato’s critique of poetry is not aimed against poetry itself, but just against its problematic claims and false promises. In turn, Plato’s use of the poetic image, especially in relationship to eros, delimits philosophy, and places it in relation to that which is not attainable for it. The battle between poetry and philosophy is seen to involve a reciprocal benefit for both, and a hidden affinity. In this sense, the poetic image has its philosophical sense precisely because it falls outside of the philosophical perspective. (shrink)

In Plato's Philebus the last section of the discussion on the falseness of pleasure is dedicated to those pleasures intrinsically mixed with pain. This paper focuses specifically on bodily mixed pleasures, an analysis that extends from 44d to 47c, while its focal point is 46-47c. By adopting the anti-hedonists' methodology, Socrates cunningly transforms his entire analysis of bodily mixed pleasures into a discourse on human disease, in which medical terminology prevails. Two major points are made in the reading suggested here. (...) Despite Socrates' quasi-medical language, a substratum of poetic discourse is underlying his analysis. Thus, a network of poetic associations—probably promptly recalled by Plato's audience—not only reveals the intertextual encounter between medical, philosophic and poetic discourses but also contributes to the interpretation of Socrates' analysis. Hence, the pathology of love as expressed through poetry illuminates the meaning, questionable in straightforward medical terms, of passage 46c6-d2, while it also reveals the unfolding unity underlying Socrates' analysis, otherwise thought to comprise three distinct medical cases. Ancient medical lore is important for the understanding of passage 46d7-47a1 on the affliction of knêsis and psôra, not only because it confirms the analogy between the physiology of knêsis and that of sexual arousal and climax, but also because it illuminates the specific medical treatment Socrates is describing. Thus, in the crucial debate about whether Plato uses the term aporiais or pyriais in 46e2, medical evidence seems to support the latter. The reading pyriais makes this complicated paragraph more comprehensible in terms of meaning and syntax, while stressing the importance of heat in the processes of both the curing of knêsis and of human orgasm. Besides, it further confirms the intertextual encounter between the Phaedrus and the Philebus. (shrink)

In this study, Levin explores Plato's engagement with the Greek literary tradition in his treatment of key linguistic issues. This investigation, conjoined with a new interpretation of the Republic's familiar critique of poets, supports the view that Plato's work represents a valuable precedent for contemporary reflections on ways in which philosophy might benefit from appeals to literature.