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LIKE THE MEDIEVAL "Pearl" and Hamlet, Plato's consistent mistrust of art in his
the aesthetics of Plato provides ample explicit consideration of art must take pre-
ground on which the critic may exercise cedence over his tacit enjoyment and his
any particular hobbyhorse he chooses to use of poetry in the dialogues. In practice,
ride. While poet-baiters have used some Plato not only quotes poetry with obvious
parts of the dialogues to scandalize poetry- approval but he also creates dramatic scenes
lovers, Plato's theories of love and beauty which rival those of even the greatest of
have inspired generations of poets. To poets. Nevertheless, in the Republic X, his
those who would cite him to damn poetry, most thorough discussion of art, Plato
Plato offers such strictures as found in the strongly condemns poetry, both for its con-
Republic II, 377-383, III, 386-404, the fusing of the intellect and for its corrupting
Sophist 234-237, and the Laws II, 658-663, of the emotions. His extreme position in
VII, 800-812, and VIII, 829. To those who the last book of the greatest repository of
would defend poetry, he gives his theory of his thought represents his boldest conclu-
inspiration, his analysis of the ethical uses sions. His insistence throughout the greater
of poetry, and the example of the magnifi- part of the dialogues on the importance of
cent poetry in his dialogues. But the pres- Forms should warn the reader against dis-
ent inquiry has only one purpose: to con- missing the Republic as presenting an im-
sider Plato's most representative thought re- possible ideal. To Plato, the Republic was
garding poetry. His theory of divine inspi- more "real" than any state actually in exist-
ration, his frequent citation of poetry, and ence. In this book Plato states that he has
his use of ethical myths are historically im- banished all imaginative poetry-dramatic,
portant in the study of Plato's attitude to- epic, lyric. He does admit straight-forward
ward poets and poetry. But while this par- didactic poetry later in the discussion, but
tial sanction of imaginative literature has significantly he does not consider at this
some relevance to Plato's aesthetics, a critic point the possibility that this verse could be
must not ignore Plato's continual attacks beautiful in its own right. Judging poetry
on poetry, especially the final and complete solely in terms of its effects, Plato feels that
exclusion of poets in the Republic X. With artful language, the tool of the sophists,
the twentieth century's acceptance of meta- tends to seduce the unwary to embrace the
physical and formalist criticism, Plato's transient beauty of pleasure instead of to
stern moral judgment of poetry has fallen
lift the soul to contemplate the true beauty
into increasing disfavor. Thus, Plato's de-
of virtue. His sincerity and finality cannot
fenders are tempted to make him the friend
of poets, his attacks on Hesiod and Homer be questioned; only the semi-humorous re-
being irrelevant footnotes to his real devo- quest to hear a defense of poetry in the
tion to poetry. Republic X, 607b-8 tempers the passionate
conviction of his reasoning in X, 595-607a.
MORRISSHENRY PARTEE is assistant professor of Eng-
The philosophical authority of his ex-
lish at the University of California, Los Angeles. tended reasoning in the Republic far out-
weighs his offhanded and ironic praise of rhapsodes or the education of the youth.
poetic inspiration in such dialogues as the The scattered sayings about inspiration, the
Ion and the Phaedrus. Plato's unyielding uses of poetry, and the nature of poetry
refusal to accept anything less than absolute itself only grudgingly, if at all, give up the
knowledge precludes any admission that heart of Plato's aesthetics.
beautiful language could lead man to vir- Scholars today usually avoid the issues in
tue. Accordingly, Plato applies the same the Republic X in their attempt to rescue
strictures to poetry that he places on lan- Plato from charges of philistinism. One ap-
guage throughout his dialogues. Rhetoric, proach would directly question the purpose
poetry, reasoned discourse, all must primar- of the Republic, the only dialogue which
ily contain the truth. Plato would and does seems to condemn poetry totally. Another
condemn even his own dialogues should any- line of thought suggests that Plato through-
one regard them as repositories of beauty out the dialogues never seriously attacks po-
and meaning in themselves. The dialogues, etry. A third, more easily supported, posi-
and indeed all acceptable uses of language, tion would admit that Plato has some reser-
must be taken as guides for thought; only vations about art, but would limit Plato's
under this ideal condition will literature attack to the abuse of art and, in particular,
and poetry of any sort be welcome in the realistic art. This third theory will be exam-
well-run state. We must not cut Plato's soar- ined here later; the first two positions must
ing thought down to an ill-considered and be carefully considered. First, the most fac-
inconsistent espousal of poetry. Plato's re- ile and tempting argument holds that the
luctance to sacrifice Homer and Hesiod to Republic is an ideal state, a kind of utopia.
the demands of the intellect makes further This interpretation stresses that poetry
tribute to poetry in his name unnecessary. deals with the emotions of real and fallible
Plato's theory of poetry is far more ab- men. Thus, Plato dismisses art lest the por-
stract and less applicable to the analysis of trayal of reality shatter the ideal like a
poetry than that of Aristotle. Plato's over- grubby finger destroys a soap bubble. In a
whelming bias towards ethics has tempted perfect state no imperfection can exist. Dar-
scholars to stress his linking of ethics with nell Rucker, a recent advocate of this posi-
poetry rather than to consider what he says tion, persuasively reasons that "Neither the
about poetry itself. But the issues Plato legislator nor the philosopher nor the poet
raises are important for aesthetics as well as has the same role in the Republic as he has
for ethics or literary criticism. Because of in an actual state; and these differences in
the unstated basis of his aesthetics, few crit- role are consequent upon the difference be-
ics have pursued the course of his reason- tween an ideal and an actuality." 3 G. M. A.
ing. The most vociferous attacker of poetry Grube likewise agrees that Plato is legislat-
in the Elizabethan Age, Stephen Gosson,' ing for an ideal republic, a pattern laid up
cites Plato's aesthetics as superficially as the in heaven. "In such a state no one has ever
great bishop of Hippo, St. Augustine, does.2 claimed a place for Pericles, Themistocles,
Plato's manner of presentation allows a or Solon, or indeed for any statesman that
wide latitude for the interpretation of his has ever lived. Why should an exception be
aesthetics. Since Plato was not a system- made for the poets?" 4 But one might argue
builder, a critic takes a firm stand at his that Plato does provide for enlightened rul-
own peril. In addition, the mask of the dia- ers-the philosopher-kings; he specifically
logue form increases the ambiguity intro- excludes all poets. And Plato would vio-
duced by the changing thought of Plato's lently object to his Republic's being consid-
long and productive life. His thought may ered less real than the decaying political
indeed represent a unity as Paul Shorey has organization of Athens in its decline. Great
so eloquently argued, but this unity is a though Athenian statesmen had been,
many-faceted jewel. To compound the Plato, like Machiavelli, saw the degenera-
problem, Plato never considers poetry by tion of past grandeur all around him.
itself. He is always pressing toward some Clearly, radical proposals were needed.
other conclusion, usually the ignorance of The argument stressing the Republic as
visionary, but impractical, likewise reasons state or man; for if men, who are in fact
that, like the state, the ruler of the Repub- always imperfect, could reach perfection,
lic needs protection from the real world of they would only be realizing all that their
heat and dust. The philosopher-king must nature aims at being and might conceivably
be isolated by almost physical barriers, as in be." 10 Plato intends the Republic to de-
More's Utopia, to guard him from the rig- scribe a system better than that of any ac-
ors of a real state. Rucker states, "The phi- tual or foreseeable state. But his attack on
losopher in our world, as Plato says in the poetry is from the standpoint not of politics
Apology and Socrates exemplifies, must but rather of ethics. The dialogue deals as
exist in a private station. Short of the insti- much with education as with the state.
tutionalization of the education process of "Were it not for the title, it might be read
the Republic, the philosopher-king could for what it is, rather than as an essay in
not hope for the necessary support from the utopian political theory. It is a fact that
institutions and the citizens of his city." 5 only about a third of the work concerns
Indeed Plato is always mindful that philos- itself with statecraft as such." 11 If Plato
ophers were often ill-treated in the city says emphatically that poetry should be
state,6 and often alludes to their other- banished from the ideal state, then his criti-
worldliness.7 But the philosopher's present cism applies even more strongly to any less-
ills and seeming dreaminess are only the than-perfect state. If poetry is a necessary
appearances that the ignorant can see. evil in a real state, poetry must be excluded
The argument that the Republic is an from a more perfect commonwealth. A nec-
ideal state has by no means found universal essary evil is still an evil.
acceptance. Eric A. Havelock explicitly at- The philosopher to Plato is a realist in
tacks this view as a present-day fallacy: "On the widest sense of the word. As opposed to
the over-all issue, Plato is accommodated to the benighted politicians who must compro-
modern taste by arguing that the pro- mise their convictions, a true philosopher
gramme of the Republic is utopian and works both in the world of appearances and
that the exclusion of poetry applies only to in the world of higher realities. Plato him-
an ideal condition not realisable in the rec- self went to Syracuse in order to advise
ognizable future or in earthly societies. One Dionysius. And one must agree with Plato
might reply that even in that case why that Socrates lived and died more trium-
should the Muse of all people be selected phantly than did the tyrants who were su-
for exclusion from Utopia?" 8 Plato's seri- perficially successful in this world of shad-
ousness can be seen in his consistent de- ows. Otherwise, Plato would insist that the
mand that poetry and all discourse be sub- Phaedo be rejected from a proper state
ordinate to reason and thought in the because of its description of an unjust pun-
proper education of youth. From the Ion to ishment.
the Laws, Plato insists that poetry be
Moreover, in Plato's thought itself, the
judged in terms of its knowledge and its
usefulness. The great political figures in philosopher is constantly engaged with the
Athens' past offer the same danger to the world. The vision of absolute virtue and
Republic that poetry does: the weight of beauty makes the philosopher effective:
"Remember how in that communion only,
authority may detract from the force of ac-
tive reasoning. Besides, most good states- beholding beauty with the eye of the mind,
men act only through "right opinion." 9 he will be enabled to bring forth, not im-
The greatest danger in making the Re- ages of beauty, but realities (for he has hold
public an ideal is that the interpretation not of an image but of a reality), and bring-
denies Plato's carefully considered analysis ing forth and nourishing true virtue to be-
of knowledge. Our distinction between come the friend of God and be immortal, if
ideal and real is not Plato's. "The assertion mortal man may" (Symposium 212).12 Even
that theory comes closer than practice to at the moment of greatest remove from the
truth or reality is characteristically Pla- physical world, Plato makes the philoso-
tonic. The ideal state or man is the true pher bring forth the realities of true virtue.
men, when he sits down on the tripod of the Since the form of the dialogue is still employed
muse, is not in his right mind; like a fountain, he and no speaker can be identified with the author,
allows to flow out freely whatever comes in, and it is impossible to say that Plato's opinions are
his art being imitative, he is often compelled to absolutely laid down. I find it impossible to think
represent men of opposite dispositions, and thus that the Athenian who takes the chief part, for
to contradict himself; neither can he tell whether Socrates no longer appears, is Plato himself, or at
there is more truth in one thing that he has said least represents more than aspects of Plato's mind.
than in another. (Laws IV, 719) The comic picture of eminent generals and states-
men solemnly reciting bad verses is hardly to be
The poet cannot, therefore, be a legislator, explained as the serious opinion of a man who
for a legislator must not give two rules knew and loved Homer as Plato did.18
about the same thing. These passages about Yet Plato has already admitted in the Re-
inspiration say little about what poetry is. public X that Homer is "the first and great-
Plato stresses the poet's ignorance even est of the tragic poets." But truth must not
while accepting his divine calling. be sacrificed for personal satisfaction: "if
Plato admits that beauty in all its forms the dramatic poetry whose end is to give
has a profound effect on the soul. He
pleasure can show good reason why it
stresses, however, that only the beauty of should exist in a well-governed society, we
virtue and of knowledge does not lead to for our part should welcome it back, being
the impure enjoyment of pleasure. Except ourselves conscious of its charm; only it
for the early training and discipline of the
would be a sin to betray what we believe to
soul through harmony, poetry does not lead be the truth. You too, my friend, must have
directly to an understanding of proper con- felt this charm, above all when poetry
duct. The poet cannot possess knowledge of
what he does unless he becomes a philoso- speaks through Homer's lips" (X, 606). Of
course Plato is charmed. But he does not on
pher too. The poet himself is usually the this account accept disruptive poetry into a
passive agent of the Muse; the inexplicable well-run state.
beauty of poetry comes from its divine ori- Rather than question the Laws, however,
gin. But when Plato looks at the poet's own most critics agree that here Plato offers a
contribution to the process, he finds the
serious theory of art. Warry states that "in
poet only an unlearned imitator. Plato's the Laws, which, though it lacks the literary
doctrine of divine inspiration applies more
power of the Republic, offers us a far saner
to his theory of love than to his concept of and more practical version of an ideal
poetry. The Phaedrus and the Symposium State, no automatic criterion of poetry and
suggest an affinity between the soul and art is offered. Instead, tragedy and comedy
beauty with which the doctrine of the are cautiously admitted, subject to
Forms does not completely agree. Refer- reservation." 19 Grube agrees that "by far
ences to poetic inspiration, however, are al- the most mature, as well as the most com-
most a dead end; Plato does not attempt to
plete, discussion of art, is to be found in the
integrate this inspiration with his main Laws, where it should be noted we are no
thought on poetry and language. In no longer dealing with the ideal state." 20 Just
place in the dialogues does Plato consider as a man at the north pole can move only
what poetry is together with its source in
south, any variation in the perfect Republic
the Muse. Thus Plato's occasional refer- must be for the worse. The less visionary
ences to poetic inspiration do not constitute
Laws, however, seems to allow as much po-
a significant approval of poetry itself.
Besides considering the theory of poetic etry as needed to regulate the souls of im-
perfect men.
inspiration, critics may emphasize the dia- But Plato's treatment in the Laws is at
logues which admit some ethical uses of po- heart almost exactly the same as in the Re-
etry. Indeed, only the Republic X seems to public. Both admit only praises of noble
deny even the possibility of good poetry. men and of gods; neither dialogue allows
Plato's strictures in the few places where he evil in poetry. Both the Republic (III, 400)
directly considers poetry seem overweighed and the Laws (VII, 810) allow poetry to
by his overall attitude toward the art of the stimulate harmony in the young. And even
ancients. Gilbert comments on the Laws: the Republic X, 606 states that "we can
would willingly go: "In X. there is an un- about is not the kind of thing we identify
mistakable trace of sophistry, a use of argu- today as poetry. Or more properly that his
ments which cannot have appealed to the poetry and our poetry may have a great
better judgment of the writer; the reason- deal in common, but that what must have
ing in II. and III. is direct, serious, and changed is the environment in which po-
convincing.... In the latter book he seems etry is practised. Somehow, Plato is talking
to be seeking strictly philosophical consider- about an over-all cultural condition which
ations to support the verdict of the earlier no longer exists." 26 A. E. Taylor, however,
passage, to be trying to show that this al- would extend Plato's attack to poetry for
most a priori conclusion is in harmony with all times. "It is not the floridity of Timoth-
the great principles upon which the Repub- eus or Agathon which is the object of at-
lic rests." 23 Superficially, Plato does seem to tack, but the art of the Periclean age. We
change his position.24 In Book II he attacks are only throwing dust in our own eyes if
the content of contemporary poetry, in we suppose that Socrates wants merely to
Book III the form. Some more useful and repress the cheap music-hall and the garish
purified poetry would then be a possibility. melodrama, or the equivalents of freak
But Plato progressively develops the de- movements like Dada. He is seriously pro-
scription of the best state and of the ruler posing to censure just what we consider the
of that state. In the fourth book he dis- imperishable contributions of Athens to the
cusses the nature of the soul. In the tenth art and literature of the world, because he
book he shows the effects of the lesser holds that they have tendencies which are
beauty of poetry on the soul. The enlight- unfavourable to the highest development of
ened soul should contemplate the beauty of moral personality." 27 Plato saw too clearly
virtue directly. Knowledge, not the impure to confuse the degenerate art of his own
mixture of emotion and thought found in time with all possible art. If Plato's aesthet-
poetry, should guide man. Since the last ics comments only on a vanished social
part of the Republic was probably written situation, his thought has value only for the
much later than the earlier parts, we may antiquarian.
conjecture that the tenth book answers The Republic does not attack simply a
some contemporary objections to his pre- way of interpreting poetry. The position ex-
vious discussion of poetry.25 Plato states pressed in this dialogue goes beyond the
that "our commonwealth has many features reasoning in the Ion. Plato argues as if
which make me think it was based on very Homer himself were claiming authority,
sound principles, especially our rule not on not just the ignorant rhapsode. Yet, Corn-
any account to admit the poetry of dra- ford denies that Plato is interested in aes-
matic representation. Now that we have dis- thetics for its own sake in this book: "The
tinguished the several parts of the soul, it main object of attack, however, is the claim,
seems to me clearer than ever that such po- currently made by sophists and professional
etry must be firmly excluded" (X, 595). The reciters of the Homeric poems, that Homer
reason for the exclusion is that poetry may in particular, and in a less degree the trage-
injure minds which do not understand its dians, were masters of all technical knowl-
true nature. edge, from wagon-building or chariot-driv-
Critics not only disagree on the relation- ing to strategy, and also moral and religious
ship of the tenth book to the rest of the guides to the conduct of life." 28 In the Ion,
dialogue but they question the relevance of Plato has suggested that everyone, not just
his comments to any useful study of poetry. the professionals, interpreted poetry incor-
Havelock argues that the Republic does not rectly. So Plato attacks false literary criti-
launch a philosophical attack on the poets, cism in the Ion, but he extends his reason-
but rather proposes a social criticism. He ing in the Republic. Plato does not directly
states that the political framework of the mention in the Republic that the sophists
dialogue may be utopian, but Plato is seri- used poetry to bolster their effectiveness. In
ous about the role of poetry in education. fact, he even cites the sophists as his allies
"It is obvious that the poetry he is talking against the poets; Homer's authority chal-
Plato's fundamental objection to art is that rects man to his own inadequacy. Plato's
poetry in Athens represented a social con- focus on the transcendent suggests that lan-
sciousness rather than the individual guage can be the vehicle for man to escape
thought that Plato demanded. Rather than his earthbound existence. A modern man
questioning the meaning behind poetry, the usually lacks this mingled respect and frus-
Greeks were overwhelmed by its beauty. tration with language. A literary critic or a
Just as Socrates continually probed beyond linguist will focus on minute nuances of
the physical world, Plato would insist that style or syntax rather than on the meaning
the dialogues be points of departure for lying beyond the words. The poetry of
thought, not works of art in themselves. Greece, on the other hand, was essentially
To Plato, language is a living body of oral and for the most part intended for a
thought, philosophy being possible only in wide audience. The Republic itself was
the dialectic. Poetry errs in seeming to fix probably composed as "a matter of oral
knowledge in order to pass it down from teaching in the school."36 The written
age to age. Drama and epic, as written and word to Plato, therefore, follows from the
established by the beloved ancients, inter- heat of discourse. To use a phrase of Toyn-
fere with the process of reasoning, for the bee, the dialogues of Plato resemble a type-
beauty of language tends to obscure the script, the basis for "winged words."
beauty of thought. Precisely because of the Both the written word and the language
dual role of language as the vehicle of of poetry have the property of fixing the
thought and as the source of mere pleasure, logos, of establishing an idea rather than
the poet in Plato struggles constantly letting thought range freely. In illiterate so-
against the philosopher. "Again and again cieties, memory takes the place of writing,
Plato's written work is mimesis; but it and words such as those of Homer can be
struggles against being nothing but mime- transmitted with great accuracy for genera-
sis. And where it seems to represent most tions. Thus Plato questions the worth of
strongly a pure work of art, it must not any language, written or orally recited, not
ultimately be read as such, but as an 'exis- immediately involved with philosophical
tential' document, that is, with the constant reasoning. This probing extends to his own
reminder tua res agitur." 34The gifted liter- dialogues. "There is no doubt that Plato, in
ary style of the dialogues shows that Plato, Ihis early and even in his later years, was
like the sophists, was aware that philosophy conscious of the problematic nature of all
must be effective. But Plato will not com- writing and that he did not believe he had
promise the truth in any way for the sake of said the most serious things in his written
mere effectiveness. Didactic verse is permit- work, that is, in what has come down to us
ted in the Republic because such language and what we are often inclined to regard as
is not poetry at all. Like the bad verse he his greatest creation, and perhaps the great-
seems to sanction in the Laws, literature in est achievement of Greek genius." 37 Plato,
the Republic must never sacrifice truth on of course, took his dialogues seriously. But
the altar of pleasure and emotional appeal. precisely because of his seriousness, he feels
As Havelock suggests, poetry and lan- that language is a poor vehicle to describe
guage had a different role in Athenian so- his vision of the Good. This gulf between
ciety from that which art has in our own. language and thought explains part of Pla-
Rhetoricians such as Isocrates and Alkida- to's great effectiveness: his use of myths to
mas debated the proper uses of the written suggest meaning that words cannot reveal.
language. In Greece the written word did Plato's attack on poetry comments elo-
not have the authority which such estab- quently on the way he intends his dialogues
lished language now possesses.35 Our atten- to be interpreted. Superficially, the Repub-
tion to static language derives in part from lic seems to have all of the qualities which
the Hebraic tradition of veneration of sa- Plato condemns in poetry. Not only does
cred writings. The Judeo-Christian empha- the dialogue have allegories, myths, dra-
sis on the fixed language of revelation redi- matic situations, and the presentation of
the direction of the well-disciplined spirited 8 Eric A. Havelock, Preface to Plato (Cambridge,