Ion E-Book

Plato

• Herausgeber: DigiCat
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2022

Beschreibung

In "Ion," Plato explores the nature of poetic inspiration through a dialogue between Socrates and the rhapsode Ion. The text masterfully dissects the relationship between the poet, the audience, and the divine, positioning poetry as a medium that evokes emotion rather than communicates knowledge. The literary style is characterized by Socratic dialogue, employing probing questions that reveal deeper philosophical insights on art and its role in society. This work is situated in the context of Classical Athens, where the interplay between thought and creativity was undergoing significant examination, reflecting the intellectual currents of Plato's time. Plato, a pivotal figure in Western philosophy, often grappled with the implications of art and beauty in his works. His experiences in a society rich in cultural expression, combined with his educational background as a student of Socrates, deeply informed his analysis in "Ion." The text serves as a critical reflection of his concerns regarding the influence of poetic art on moral and intellectual development, providing insight into his broader philosophical inquiries. "Ion" is a must-read for anyone interested in the philosophy of art and the dynamics of artistic expression. By engaging with Plato's thoughts, readers will gain a profound appreciation for the complexities of creativity and inspiration, enriching their understanding of both poetry and philosophy.

Leseprobe

Plato

Ion

 

EAN 8596547251910

DigiCat, 2022 Contact: [email protected]

Table of Contents

Cover

Titlepage

Text

INTRODUCTION.

Table of Contents

The Ion is the shortest, or nearly the shortest, of all the writings which bear the name of Plato, and is not authenticated by any early external testimony. The grace and beauty of this little work supply the only, and perhaps a sufficient, proof of its genuineness. The plan is simple; the dramatic interest consists entirely in the contrast between the irony of Socrates and the transparent vanity and childlike enthusiasm of the rhapsode Ion. The theme of the Dialogue may possibly have been suggested by the passage of Xenophon's Memorabilia in which the rhapsodists are described by Euthydemus as 'very precise about the exact words of Homer, but very idiotic themselves.' (Compare Aristotle, Met.)

Ion the rhapsode has just come to Athens; he has been exhibiting in Epidaurus at the festival of Asclepius, and is intending to exhibit at the festival of the Panathenaea. Socrates admires and envies the rhapsode's art; for he is always well dressed and in good company—in the company of good poets and of Homer, who is the prince of them. In the course of conversation the admission is elicited from Ion that his skill is restricted to Homer, and that he knows nothing of inferior poets, such as Hesiod and Archilochus;—he brightens up and is wide awake when Homer is being recited, but is apt to go to sleep at the recitations of any other poet. 'And yet, surely, he who knows the superior ought to know the inferior also;—he who can judge of the good speaker is able to judge of the bad. And poetry is a whole; and he who judges of poetry by rules of art ought to be able to judge of all poetry.' This is confirmed by the analogy of sculpture, painting, flute-playing, and the other arts. The argument is at last brought home to the mind of Ion, who asks how this contradiction is to be solved. The solution given by Socrates is as follows:—

The rhapsode is not guided by rules of art, but is an inspired person who derives a mysterious power from the poet; and the poet, in like manner, is inspired by the God. The poets and their interpreters may be compared to a chain of magnetic rings suspended from one another, and from a magnet. The magnet is the Muse, and the ring which immediately follows is the poet himself; from him are suspended other poets; there is also a chain of rhapsodes and actors, who also hang from the Muses, but are let down at the side; and the last ring of all is the spectator. The poet is the inspired interpreter of the God, and this is the reason why some poets, like Homer, are restricted to a single theme, or, like Tynnichus, are famous for a single poem; and the rhapsode is the inspired interpreter of the poet, and for a similar reason some rhapsodes, like Ion, are the interpreters of single poets.

Ion is delighted at the notion of being inspired, and acknowledges that he is beside himself when he is performing;—his eyes rain tears and his hair stands on end. Socrates is of opinion that a man must be mad who behaves in this way at a festival when he is surrounded by his friends and there is nothing to trouble him. Ion is confident that Socrates would never think him mad if he could only hear his embellishments of Homer. Socrates asks whether he can speak well about everything in Homer. 'Yes, indeed he can.' 'What about things of which he has no knowledge?' Ion answers that he can interpret anything in Homer. But, rejoins Socrates, when Homer speaks of the arts, as for example, of chariot-driving, or of medicine, or of prophecy, or of navigation—will he, or will the charioteer or physician or prophet or pilot be the better judge? Ion is compelled to admit that every man will judge of his own particular art better than the rhapsode. He still maintains, however, that he understands the art of the general as well as any one. 'Then why in this city of Athens, in which men of merit are always being sought after, is he not at once appointed a general?' Ion replies that he is a foreigner, and the Athenians and Spartans will not appoint a foreigner to be their general. 'No, that is not the real reason; there are many examples to the contrary. But Ion has long been playing tricks with the argument; like Proteus, he transforms himself into a variety of shapes, and is at last about to run away in the disguise of a general. Would he rather be regarded as inspired or dishonest?' Ion, who has no suspicion of the irony of Socrates, eagerly embraces the alternative of inspiration.

The Ion, like the other earlier Platonic Dialogues, is a mixture of jest and earnest, in which no definite result is obtained, but some Socratic or Platonic truths are allowed dimly to appear.