This precise number of essays specializes in a number of features of Plato's Philosophy of paintings, not just within the Republic , yet within the Phaedrus, Symposium, legislation and similar dialogues. the variety of matters addressed comprises the competition among philosophy and poetry, the ethical prestige of tune, the affection of attractiveness, censorship, inspired feelings.
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Additional resources for Plato on Art and Beauty (Philosophers in Depth)
Consider Strepsiades within the Clouds. )12 reckoning on the plight of these with whom he feels no cohesion – the plight to which their lack of information has introduced them – the fellow of feel will consider pity, definitely, yet he could mood his pity with not less than a wish to giggle, if now not outright laughter (ei gelan ... bouloito ... , VII. 518b). anything like this, I suggest, is what the thinker, fortified by way of his antidote and guarded via his spell, could suppose as he listens to tragic poetry. For no poet writes tragedy whose protagonist is of a kind with which the thinker can determine – even if simply because poets are out to thrill the bottom universal denominator of their viewers (X. 604e) or simply because they themselves are incapable of pondering their means right into a philosopher’s personality (Ti. 19d–e). there'll be not one of the congratulation, the admiration thinker may believe for a kindred spirit stuck up in secular travails and suffering to manage; the thinker feels no kinship with the heroes of the tragic degree or of rhapsodic functionality. (Odysseus, a minimum of as he looks in Homer, is probably an exception, and will be a fascinating one. ) What he sees in them is a really human spectacle of ethical lack of awareness coming domestic to roost. At this spectacle he'll believe pity, yet pity from a lofty peak, pity with a wry grace-note. Sunt lacrimae rerum, he might imagine; yet he's not likely to weep as he thinks it. VII i've got in comparison the poetry-lover’s renunciation of his love with the philosopher–king’s renunciation of a lifestyles lived fullyyt outdoors the Cave. yet are the 2 situations really similar? Philosopher–kings, in any case, are renouncing for the sake of the typical sturdy whatever that they might have stumbled on solid for themselves in my opinion, whereas the sweetheart of poetry is renouncing for his own solid whatever that he has determined is undesirable for him. Is his tale, then, no longer tragic in any respect, yet only a case of ethical development? No: what makes it tragic is the fight required for growth, and the dissociation among good looks and the great that explanations the fight within the first position. it's a fight we must always distinction with the good man’s forceful suppression of his feelings (biai katekhomenon, X. 606a). The thinker who 9780230_314405_06_cha06. indd one hundred fifteen 1/23/2012 10:11:25 AM 116 G. R. F. Ferrari forces himself to carry off from his love of poetry (biai males, X. 607e) isn't really doing so for issues of propriety. he isn't stressed from an individual yet himself. So he isn't trying to find a socially sanctioned and cathartic unencumber from this strain. as a substitute, he's trying to find an issue which could convey he needn't practice this strain within the first position. we're to congratulate, no longer pity, the sweetheart of traditional poetry who succeeds in renouncing his love; yet that doesn't suggest we fail to understand how a lot he's giving up. we will see how wistful he continues to be concerning the risk of nonetheless saving and protecting poetry. The poetry of Homer is gorgeous, and its attractiveness is bewitching. whether it is precise that rational options can't in themselves own such good looks, this fact is gloomy.
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