Why Plato, who was himself a poet, and whose dialogues are poems and dramas, should have been hostile to the poets as a class, and especially to the dramatic poets; why he should not have seen that truth may be embodied in verse as well as in prose, and that there are some indefinable lights and shadows of human life which can only be expressed in poetry—some elements of imagination which always entwine with reason; why he should have supposed epic verse to be inseparably associated with the impurities of the old Hellenic mythology; why he should try Homer and Hesiod by the unfair and prosaic test of utility—are questions which have always been debated amongst students of Plato. Though unable to give a complete answer to them, we may show—first, that his views arose naturally out of the circumstances of his age; and secondly, we may elicit the truth as well as the error which is contained in them.
He is the enemy of the poets because poetry was declining in his own lifetime, and a theatrocracy, as he says in the Laws (III 701 A), had taken the place of an intellectual aristocracy. Euripides exhibited the last phase of the tragic drama, and in him Plato saw the friend and apologist of tyrants, and the Sophist of tragedy. The old comedy was almost extinct; the new had not yet arisen. Dramatic and lyric poetry, like every other branch of Greek literature, was falling under the power of rhetoric. There was no “second or third” to æschylus and Sophocles in the generation which followed them. Aristophanes, in one of his later comedies (Frogs, 89 following), speaks of “thousands of tragedy-making prattlers,” whose attempts at poetry he compares to the chirping of swallows; “their garrulity went far beyond Euripides,”—“they appeared once upon the stage, and there was an end of them.” To a man of genius who had a real appreciation of the godlike æschylus and the noble and gentle Sophocles, though disagreeing with some parts of their “theology” (Republic II 380), these “minor poets” must have been contemptible and intolerable. There is no feeling stronger in the dialogues of Plato than a sense of the decline and decay both in literature and in politics which marked his own age. Nor can he have been expected to look with favour on the licence of Aristophanes, now at the end of his career, who had begun by satirizing Socrates in the Clouds, and in a similar spirit forty years afterwards had satirized the founders of ideal commonwealths in his Eccleziazusae, or Female Parliament (compare X 606 C, and Laws II 658 and following; 817).
There were other reasons for the antagonism of Plato to poetry. The profession of an actor was regarded by him as a degradation of human nature, for “one man in his life” cannot “play many parts”; the characters which the actor performs seem to destroy his own character, and to leave nothing which can be truly called himself. Neither can any man live his life and act it. The actor is the slave of his art, not the master of it. Taking this view Plato is more decided in his expulsion of the dramatic than of the epic poets, though he must have known that the Greek tragedians afforded noble lessons and examples of virtue and patriotism, to which nothing in Homer can be compared. But great dramatic or even great rhetorical power is hardly consistent with firmness or strength of mind, and dramatic talent is often incidentally associated with a weak or dissolute character.
In the Tenth Book Plato introduces a new series of objections. First, he says that the poet or painter is an imitator, and in the third degree removed from the truth. His creations are not tested by rule and measure; they are only appearances. In modern times we should say that art is not merely imitation, but rather the expression of the ideal in forms of sense. Even adopting the humble image of Plato, from which his argument derives a colour, we should maintain that the artist may ennoble the bed which he paints by the folds of the drapery, or by the feeling of home which he introduces; and there have been modern painters who have imparted such an ideal interest to a blacksmith’s or a carpenter’s shop. The eye or mind which feels as well as sees can give dignity and pathos to a ruined mill, or a straw-built shed [Rembrandt], to the hull of a vessel “going to its last home” [Turner]. Still more would this apply to the greatest works of art, which seem to be the visible embodiment of the divine. Had Plato been asked whether the Zeus or Athene of Pheidias was the imitation of an imitation only, would he not have been compelled to admit that something more was to be found in them than in the form of any mortal; and that the rule of proportion to which they conformed was “higher far than any geometry or arithmetic could express?” (“Statesman,” 257 A.)
Again, Plato objects to the imitative arts that they express the emotional rather than the rational part of human nature. He does not admit Aristotle’s theory, that tragedy or other serious imitations are a purgation of the passions by pity and fear; to him they appear only to afford the opportunity of indulging them. Yet we must acknowledge that we may sometimes cure disordered emotions by giving expression to them; and that they often gain strength when pent up within our own breast. It is not every indulgence of the feelings which is to be condemned. For there may be a gratification of the higher as well as of the lower—thoughts which are too deep or too
