Poetry is not copying but making. But what we can explain are the two reasons Plato gives in the Republic for censoring and banning the poets. This is true also ofhis demolition of the more excessive effusions of his predecessors in the field. God, whether from choice or from necessity, made one bed in nature and one only; two or more such ideal beds neither ever have been nor ever will be made by God.
Even when one is not sure what the truth is, and even when one is thinking through something by oneself—carrying on an inner dialogue, as it were—discourse and persuasion are present.
In the end this is a disappointing book. The tragedies of the Athenian poets are as mirrors in which the spectator beholds himself, under a thin disguise of circumstance, stripped of all but that ideal perfection and energy which everyone feels to be the internal type of all that he loves, admires, and would become.
Courage and moderation are the first two virtues considered here; the psychological and ethical effects of poetry are now scrutinized. I really do not know as yet, but whither the argument may blow, thither we go.
And do not the two styles, or the mixture of the two, comprehend all poetry, and every form of expression in words? At such periods the calculating principle pervades all the forms of dramatic exhibition, and poetry ceases to be expressed upon them.
The entire portrait of Hades must go, since it is neither true nor beneficial for auditors who must become fearless in the face of death. The beauty of the internal nature cannot be so far concealed by its accidental vesture, but that the spirit of its form shall communicate itself to the very disguise, and indicate the shape it hides from the manner in which it is worn.
Marusic "Poets and Mimesis in the Republic" deals with the puzzle that poetic mimesis seems different in the earlier and later parts of the Republic.
Popular rhetoric is not an art, but a knack for persuasion. Ethical science arranges the elements which poetry has created, and propounds schemes and proposes examples of civil and domestic life: Yes, I said, Adeimantus, but the mixed style is also very charming: Thus he spoke, and the other Greeks revered the priest and assented.
As already noted, Socrates classifies poetry dithyrambic and tragic poetry are named as a species of rhetoric. In fact, it is an imitation of imitations. A painter will paint a cobbler, carpenter, or any other artist, though he knows nothing of their arts; and, if he is a good artist, he may deceive children or simple persons, when he shows them his picture of a carpenter from a distance, and they will fancy that they are looking at a real carpenter.
The drama being that form under which a greater number of modes of expression of poetry are susceptible of being combined than any other, the connection of poetry and social good is more observable in the drama than in whatever other form.
True and Sophistic Rhetoric, Amsterdam: Certainly not, he said. And therefore let us put an end to such tales, lest they engender laxity of morals among the young. The reader may get baffled with the concept of to be or not to be.
Cambridge University Press, pp. Plato, a Kind of Poet, Westport: By this assumption of the inferior office of interpreting the effect, in which perhaps after all he might acquit himself but imperfectly, he would resign a glory in a participation in the cause.
And he rightly observes that genuine knowledge and thus truth about human nature has seldom been established beyond strongly held belief. These remarks prompt yet another question.
And thus all the great historians, Herodotus, Plutarch, Livy, were poets; and although the plan of these writers, especially that of Livy, restrained them from developing this faculty in its highest degree, they made copious and ample amends for their subjection, by filling all the interstices of their subjects with living images.
Logically, Mimesis means making not copying. To what do you refer? Well, I will tell you, although I have always from my earliest youth had an awe and love of Homer, which even now makes the words falter on my lips, for he is the great captain and teacher of the whole of that charming tragic company; but a man is not to be reverenced more than the truth, and therefore I will speak out.
The debate about which assumptions are best is an ongoing one, but not germane to the present discussion. This may be a sketch of Socrates himself, whose imitation Plato has produced.
Would not a failure to persuade indicate that the speaker lacks the complete art of rhetoric? The concerns about poetry expressed in books III and X would also extend beyond the immediate project of the dialogue, if they carry any water at all, even though the targets Plato names are of course taken from his own times.
And this springs from the nature itself of language, which is a more direct representation of the actions and passions of our internal being, and is susceptible of more various and delicate combinations, than color, form, or motion, and is more plastic and obedient to the control of that faculty of which it is the creation.from the Republic.
By Plato. Introduction. Plato, an ancient Greek philosopher, was a student of Socrates and teacher of Aristotle. In Book X, Plato concludes that poetry must be banished from the hypothetical, ideal society; however, if poetry makes “a defense for herself in lyrical or some other meter,” she may be allowed to return.
Shelley’s choice to partake in the tradition of writing a defense of poetry, shows his commitment to upholding poetry as a superior discipline to philosophy; however, this conviction did not stop him from steeping himself in philosophical works. In Plato's Defence of Poetry--the first full-scale treatment of the subject since Julius A.
Elias demonstrates that Plato offers a defence of poetry in. Republic is a work written in a Socratic dialogue form around BC in Ancient Greek by Plato, the pupil of Socrates.
It is considered to be one of the Plato’s best known works which is deeply intellectual and historical rooted in philosophy and political theory. This presentation deals with Greek philosopher Plato's objections to poetry and Aristotle's clarification on the confusion created by Plato.
It is said that Plato confused study of morals/ethics with that of aesthetics. ARISTOTLE’S DEFENSE OF POETRY AGAINST PLATO IN THE LIGHT OF LITERARY CRITICISM As literary critics, Plato and Aristotle have different opinions on poetry and also it’s social effects. Plato’s Republic is a work which is not directly about literature; but his comments on poetry determine his position to it.Download