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\ \ \ = \ \ \ \ D Plato "Against Imitation" [from his Republic Book X] [statements in brackets are my comments]
our State [the Republic: the ideal government ]
Consider our rule about poetry: rejection of imitative poetry from the ideal state. [Imitative poetry includes for example when an actor imitates a general on stage, or today, in a movie.]
We distinguish the parts of the soul [appetitive, passionate, rational] [and the three parts of the state: craftsmen, military/police, and the rulersthe philosopher kings in Platos ideal state.]
All poetical imitations [by tragedians and other members of the imitative tribe, including for example epic poets like Homer and lyric poets like Archilochus] are ruinous to the understanding: knowledge of the true nature of poetry is the only antidote.
Socrates: I love Homer, but I love truth more.
What is imitation?
Let us follow the usual manner of inquiry [i.e. looking for a definition, as we looked for a definition of beauty in class].
When a number of individuals have a common name they have a corresponding idea or form.
Consider beds and tables: there are only two ideas or forms of them, one of each.
A maker of beds makes them in accord with the idea [the ideal, the essence] of a bed.
No artificer makes the ideas.
There is another artist: a maker of all the works of all other workmen, indeed of all things. [We are meant to wonder who this is.]
He makes the gods also. [So is it God? No.]
In one sense, he is yourself, i.e. when you have a mirror.
But in making things with a mirror, you produce appearances only.
The painter too is like this: he is a creator of appearances. [Is this true?] He creates a bed, but not a real one.
The maker of the bed does not make the idea or essence of the bed, but a particular bed.
He does not make true existence but semblance of existence.
Glaucon: philosophers would say this. [Glaucon seems a bit skeptical.]
Socrates: there are three beds: by God, by carpenter, by painter.
God, from choice or necessity, made only one bed.
If he made two, a third would appear behind as their idea.
He desired to be the real maker of the real bed.
He is the natural author by natural process of creation of all things.
The carpenter is also a maker of a bed.
The painter is neither maker nor creator, but the imitator.
So, he who is third [second?] in the descent from nature is the imitator. [This should be distinguished from our use of the word imitator to refer to a painter who imitates the style of another painter. Such a painter would be four removes from reality on Platos account.] [Imitator is defined by distinguishing it from two things that might be confused with it. Also we know what an imitator is because we understand its place in the overall scheme of things, i.e. in metaphysics.]
The tragic poet [for example Aeschylus, Sophocles, or Euripides] is an imitator: also thrice removed from truth. [The whole point about painting was intended to lead up to this point, by analogy.]
The painter only imitates the creations of artists as they appear.
He [or she] may look at a bed from different points of view.
His product, then, is a long way off from the truth.
He can do all things because he only lightly touches on a small part of them [i.e. only reproduces one perspective of the appearance of a thing].
A painter can paint a cobbler [so as to deceive a child, for example] even though he knows nothing [about the cobblers art and hence will not show the cobbler accurately, i.e. in the way he is working with shoes.]
If he is a good artist he may deceive children or simple persons from a distance. [Plato is not being serious here about the artist being good. Later he tells us what he really thinks a good artist is.]
A person who thinks he knows a man who knows all the arts, and everything anyone knows, and with more accuracy than anyone, is a simple [i.e., a stupid] person. Such a person may have been deceived because he was unable to analyze the nature of knowledge, ignorance, and imitation. [Plato is implying that if you can analyze these things then you will not be deceived.]
Similarly, someone who says that the tragedians and Homer know all the arts [that is, know all things] and virtue and vice [that is, know all about what makes things right and wrong morally speaking], and divine things [that is, religious truth], because a good poet must know his subject well, suffers from an illusion. [Ion in the dialogue Ion would be an example of such an individual.]
Do poets really know the things they seem to speak so well about? No. [See the Ion for explication of this.]
The real artist would be interested in realities, not in imitations.
He would wish to be the theme of encomiums [praise] not the mere maker of hymns of praise
Has Homer cured anyone? No
Nor has he contributed to military tactics, politics, or education.
To Homer: If you are able to figure out what makes men better or worse in private or public life, what State was ever governed better by your help as was helped by Lycurgus [the first law-maker of Sparta] and Solon [the first law-maker of Athens]? Lycurgus and Solon [i.e. those who create constitutions: the American founding founders would be our example] are the true artists, not Homer and the tragedians.
How valuable is imitative art on Platos view? On yours?
What, to Plato, is the test of a good or real artist?
Does art improve society? What is Platos view? What is yours?
Plato Allegory of the Cave [from his Republic]
I will show in a figure how our nature is enlightened or not. [scene described..I dont need to summarize this hereit is pretty straightforward]
These are like ourselves: they see only their shadows.
To them, the truth would be nothing but the shadows of images.
When the prisoner is released and compelled to stand he will suffer pains and will not at first be able to see the realities. What he saw before was an illusion. As he gets closer to being [reality] he has clearer vision. The shadows will seem truer.
In seeing the sun itself, his eyes will be dazzled. In the upper world he will see shadows best at first, then reflections, then the objects themselves, then the light of the moon, stars and heaven, and finally the sun, which he will contemplate as it is.
He will reason that the sun gives the seasons and years. It guards, and in a sense causes the visible world. And he will pity the men in the den.
He would not care for the honors given for discerning the passing shadows and making predictions about them. He would suffer anything rather than live in this way.
If he was suddenly placed in his old situation [back in the cave] his eyes would be full of darkness and he would fail any contest in measuring the shadows until his eyes became steady (which might take a long time). Other men would see him as ridiculous, think it not a good idea to ascend, and would put to death anyone who tried to lead someone to the light.
Meaning of the allegory. The prison house is the world we see, the light of the fire is the sun, the journey is the ascent of the soul to the intellectual world [the world that can only be known by intellect].
In the world of knowledge [the intellectual world] the idea of good appears last of all, and is only seen with an effort. [The idea of good is the highest of the Forms and is the ultimate principle in Platos system, even higher than God.]
The good is then inferred to be the author of all things that are beautiful and right. [Notice that the Good is not the creator of all things, only of the best things.] It is the parent of light. [Light here represents knowledge and truth.] It is also the parent of the sun, which is the lord of light in the visible world.
It is the source of reason and truth in the intellectual world.
Anyone who wishes to act rationally in public or in private life should fix his [mental] eye on this power.
Who are the marionette players in the allegory?
How is this allegory like the story of the three beds?
What role would the artist or the arts play in this story?
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