Another term of which he makes use, eurythmia , is treated by him as venusta species cf. It would thus seem that all the terms he uses as permitting us to give a judgement of the value of a building are to be considered as forms or criteria of beauty. I cannot enter into an examination of the definitions he gives of these terms, but it is sufficiently clear that there is some adaptation to architecture particularly evident in the introduction of distributio of terms that, as we have seen above, were commonly used to make evident the requirement that any object must satisfy in order to be said to be beautiful.
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This he suggests somewhat confusedly by expressly using the term proportio as an equivalent of the Greek analogia cf. III, ch. There is some confusion, because this term is also the equivalent of the Greek summetria , and Vitruvius is unable to keep them well distinct. It is manifest that he depends on some Greek writer on architecture who maintained that the summetria that is realized by the human body and the summetria that is realized by a building such as a temple show the existence of an analogia between them.
The temple thus tends to be conceived symbolically as an extended reproduction of the human body just as the Christian temple tends to be conceived as an extended reproduction of the cross , but clearly it would be out of place to talk of mimesis in this connection. It does not seem, however, that any distinct account of its beauty is given either by Plato or Aristotle.
Thus in the passage of the Timaeus quoted above ch. In the Republic he admits as was also seen in ch. Since virtue is made to depend on order and harmony in the soul, these two accounts are complementary to one another.
Plato, Greek Art and Censorship Essay
Pleasure in the refined form is reserved to those who appreciate music which conforms to those formal characteristics and have a grasp of the intelligible structure they reveal, while irrational pleasure is reserved to those who appreciate music which involves emotional excesses and are deprived of any such grasp. Plato does not usually talk of beauty in this connection. However in the passage of Phaedrus , c to which reference was made in ch. If tragedy, in spite of this, becomes an object of condemnation, it is one can reasonably presume because these formal qualities cannot compensate the morally negative contents it presents.
While in music there may be a reciprocal integration between the images of virtue it offers and the formal characteristics it presents, this does not happen in the case of tragedy, for the images of virtue it offers are deceptive as we shall see below, esp. A similar contrast between form and contents is also presented by comedy, but what it represents is less harmful than what tragedy represents for reasons to be given there , so that it can be tolerated within certain limits.
This leads him to stress the composition and arrangement of the tragedy as a whole and its parts, by concentrating his attention on the plot or story muthos and on those crucial moments such as recognition and reversal which determine the way in which a plot develops. Though some features thus considered are rather typical of tragedies, this sort of approach does not serve much to clarify what is peculiar to a tragedy.
The category of the tragic is even absent in his Poetics. He has more to say on drama in general, for he shows some recognition of its nature as pointed out above, esp.
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One question which remains open is how a tragedy or a comedy can be beautiful in spite of having some ugly contents. I come back to this issue below, ch. About the parallel that Plato propounds there between painting and poetry it is difficult to escape the conclusion that it is rather unsatisfactory. This problem of recognizing who is truly virtuous by distinguishing him from whom is not so does not arise in the case of painting, for the painter has no difficulty in recognizing the couch he wants to paint. The restriction that is proper to the first position must be that which is applicable to the poet according to the account given in Republic X.
This restriction concerns any other Idea, but concerns in particular the idea of beauty, as the account of the Symposium suggests. Its splendour in this world makes it most loved in addition to being most manifest cf. In the Symposium he notoriously describes the gradual ascent from the many beautiful things, which are first beautiful bodies one body, then more than one, then many bodies , then beautiful souls, then beautiful institutions and laws, etc.
It is in this connection that he makes the distinction between the one who begets true virtue and the one who begets images of virtue.
The Analysis of Plato’s Republic: The Issue of Censorship
And this has been taken as an indication of the fact that Plato has no consciousness of this sort of beauty as distinct from other sorts which are deprived of aesthetic meaning. But, in approaching these texts with the expectation to find a recognition of aesthetic beauty, they adopt a point of departure which is not justified.
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Aesthetic experience may be thought of as leading to eroticism as I suggested above, Part I, ch. Its object, when the ascent towards the Idea of beauty takes place, only apparently is identical with the object of aesthetic experience. It is true that this is always constituted by what is beautiful, but in one case this is the beauty of the Idea which manifests itself as something identical in a variety of different entities that are said to be beautiful. For instance when one has experience of the beauty of beautiful bodies what one has to grasp is that the beauty the kallos which is present in all of them is one and the same hen kai tauton cf.
Symposium b. On the other hand those who, like the lovers of beautiful sights, cultivate an aesthetic experience, do not grasp an identical beauty in many different entities if they grasped it, they would already have some grasp of the idea of beauty, what for them is explicitly excluded , but see those entities as being beautiful on many different grounds because of their colours, which are not identical in all of them, because of their figures, which again are not identical, and so forth, or because of a combination of colour and figure, etc.
What they see are different things which are beautiful in quite different ways, without any identical beauty being detected in them. This is for them a completely satisfying experience, which, precisely for this reason, does not lead them in any way to accomplish an ascent towards the Idea of beauty. Aesthetic experience, far from opening the road to the contemplation of the ideas, is an obstacle to it, since it encourages those who cultivate it to find their happy realization in the world of the many beautiful tones and beautiful colours and shapes, thus in the empirical world around us.
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Cultivating aesthetic experience and cultivating philosophy are alternatives, and this is one reason why there is a quarrel between poetry and philosophy on this quarrel see below, ch. But it is sufficiently clear, from what he says of the lovers of beautiful sights towards the end of book V of the Republic , that their experience is limited to the sphere of the many beautiful things and excludes any contemplation of the Idea of beauty cf. But this is to admit that their position is in some manner an alternative to that of the philosopher and to let it be understood that it offers satisfactions of its own.
That this contemplation exists and offers satisfactions of its own cannot be denied. In book X this alternative is even more in the background, but if Plato did not have it in mind there would have been little point on his part in referring to the ideas it would have been sufficient to suggest that the imitator produces imitations of such things as the products of the artisans and to lay stress on the existence of a quarrel between poetry and philosophy. And the three levels distinguished in the case of painting find no correspondence in the allegory of the cave.
The poet, together with the sophist and the rhetorician, contributes to the creation of that deception by which men are induced to regard the reality which falls under our senses as the only reality. The operations he accomplishes are restricted to the sphere of the perceptible, and he encourages men to find themselves at home in this sphere, by getting pleasure from his beautiful imitations. These imitations do not offer signs which can lead out of the cave. Only philosophical knowledge can teach us to see these signs and make use of them to obtain the condition of genuine freedom.
It is also for this reason, and not only because of their competition for education in the cities, that there is a quarrel between poetry and philosophy. More positively, it can be admitted that the attribution of an idealistic aesthetics to Plato is not arbitrary. In my exposition I offer a rapid synthesis, without keeping distinct the contributions of ancient authors, especially Proclus, and those of modern authors, especially Tate and Verdenius.
On the other hand, it has to be remarked at once that these three are not problematic points that are all centred on one issue, so that the interpreter can establish a convergence on the basis of one theory such as that of idealistic aesthetics. It is supposed that, at least in particularly favourable cases, poets and other artists can also make recourse to this second sort of imitation, of which Plato does talk in some contexts for instance Tate adduces passages such as Republic V, d, on which see above, ch.
Thus Proclus admitted that this happens in the case of those poets whose inspiration is truly divine, making appeal to the doctrine of the Phaedrus see above, Part II, ch. He is followed on this point by Verdenius Verdenius, op. Now there is a problem discussed above, ch. Proclus and Verdenius with him solves the problem by going against the evidence. It is true that Plato attaches much value to the likeness of a work of art, but this idea should not be interpreted in modern terms.
In true art likeness does not refer to commonplace reality, but the ideal Beauty. I take the passage of the Laws to concern the imitation of someone beautiful in the sense now specified, there being no reference at all to ideas in the context. What remains true, first of all, is that Plato as was suggested above, ch.
Republic IV, c, also b , but these are images that are different from the images of virtue eidola aretes of which there is talk in Republic X in connection with painting and with poetry cf. Secondly, music can be the source of a pleasure that can be evaluated in a positive way, as recognized in Timaeus , 80b also discussed above, in ch. Thirdly, it is a source of this sort of pleasure when the harmonies it realizes are an imitation of the harmonies that are realized at a cosmic level, and especially in the movements of the celestial bodies. These harmonies are clearly an instantiation of certain formal characters that in various dialogues are recognized as constituting the criteria of beauty, such as order, measure and proportion see above, ch.
In the fourth place, the requirement of satisfying these criteria of beauty can be extended even to the products of certain imitative arts like painting, when they are considered independently of what they reproduce, and to other objects that are not produced by the human hand, including the world as a whole.
Thus there is a field in which beauty is instantiated without having to fall under the condemnation that is applied to the products of the imitative arts. Enneads V 9, And there is some justification in giving a positive reply to this question, for the order which is realized by perceptible reality, as described in a work like the Timaeus , clearly depends on an intelligible order. The first is that Plato does not think there is a single idea, like the idea of beauty, which by itself constitutes the intelligible basis for that order, for this could only justify the presence of an identical beauty or whatever in all perceptible things.