IGNOU MEG-05 Notes: Plato’s Views on Art (Theory of Mimesis Explained)

 Plato's Views on Art

The influence of Plato on art and its criticism sinks back to one of the earliest points in the history of literary criticism. In the context of ancient Greek philosophy, Plato sought to examine art not simply as a source of pleasure, but as a means to influence the shaping of human reason, feeling, and the moral fiber of an individual. In the ancient Greek texts, The Republic and Ion, Plato expresses a certain uneasiness about the existence of poetry and other forms of art primarily because he seems to classify almost all forms of art as being 'imitative'. Art, to Plato, is an imitation of the material world, and like the material world, the art is a shadow of the supreme reality, the world of Ideas, or the world of Forms. The Theory of Mimesis, as this idea is known, becomes the cornerstone of all literary criticism that he had directed towards poets and other forms of art. For the students of IGNOU MEG-05, this theory becomes significant as it provides the first point of reference to Western literary criticism and builds the framework to which succeeding literary critics like Aristotle responded to.

1. Plato's Skepticism Towards Art:

·        Plato perceived art, including poetry, theatre, and painting, as inferior copies of ultimate reality.

·        His primary concern was not aesthetic evaluation but philosophical, questioning the representation of truth through art.

2. Plato's Ideal State and Education:

·        In "The Republic," Plato outlined the concept of a perfectly governed state, governed by philosopher-rulers educated in his ideals.

·        Plato argued against the inclusion of poetry and drama in education, deeming them detrimental to moral character and lacking in worldly knowledge.

3. Critique of Contemporary Greek Poetry:

·        Plato criticized Greek poetry, particularly works like Homer's, for portraying gods and heroes with moral flaws and savagery.

·        Emphasized that such representations were unsuitable for molding a strong moral character.

4. Negative Impact of Art on Character:

·        Plato believed that enacting plays and participating in art disrupted an individual's genuine demeanour by adopting often undesirable character traits.

·        The very purpose of art, according to Plato, was disruptive to the concentration of a guardian or citizen in his ideal state.

5. Plato's Perspective on Imitation and Art:

·        Plato considered art as an untruthful representation of reality and criticized artists for pretending to understand things beyond their comprehension.

·        Artists were seen as mis representers of truth, and their work was perceived as morally degrading.

6. Platonic View of Mimesis:

·        "Mimesis" in Greek thought meant various forms of "making."

·        Plato expanded the meaning of mimesis from human-made objects to creation by universal force.

7. Theory of Forms:

·        Plato's theory of Forms posited that the highest art was not music or poetry but statecraft.

·        The Forms were immutable, complete, and the true reality, while worldly objects and artistic representations were mere imitations.

8. Lower Status of Art:

·        Plato classified mimesis into accurate reproduction (eikon) and false semblance (phantasma).

·        Poets and painters were placed in the lower status due to their adeptness at creating false representations.

9. Plato's Definition of Truth:

·        Plato rejected the idea of "artistic truth" as distinct from Truth; there could only be one reality accessible to philosophers seeing beyond illusions.

·        Poetry, lacking inspiration and considered deceptive, was viewed as a manipulative make-belief to be avoided.

10. Path to Knowledge in Plato's Philosophy:

·        Plato's route to knowledge was investigative, involving rejecting falsehoods to arrive at the essence of an object.

·        The essence reflected the Form, which alone was considered real and unchanging, leading to true knowledge.

11. Art and Ignorance in Platonic Thought:

·        Plato saw art as a deceptive or emotionally manipulative make-belief, leading to ignorance.

·        Artistic creation and enjoyment, not working through controlling appetites, were believed to cause ignorance according to Plato's philosophy.

Platonic Idea of Social Well-Being

1.     Artist's Role in Utopian State:

·        Plato, envisioning the Utopian state in "The Republic" and later in "Laws," considered the artist as a promulgator of ignorance.

·        Artists had no place in Plato's ideal state, where guardians, with superior training and selective breeding, controlled the general population for productivity and law-abiding behavior.

2.     Restriction on Poetry in Education:

·        Plato criticized epic poetry, especially works of Homer and Hesiod, for being weak in morals and portraying gods and heroes negatively.

·        Acting a role was considered disastrous for a future guardian as it hindered the development of a flawless "ethos."

3.     Plato's Concerns about Art:

·        Plato, in "The Republic," argued that prolonged indulgence in literature, including poetry, left a mark on moral nature, affecting both the mind and physical poise.

·        He likened art, especially emotional indulgence in it, to a reflex that influences the character of the audience.

4.     Impact of Art on Emotions:

·        Plato contended that art, particularly poetry, gratifies natural instincts, allows venting of sorrows, and indulges desires, leading to a habit of excessive emotional reactions.

·        Poetry's effect on sex, anger, pleasure, and pain was seen as detrimental, feeding and controlling emotions instead of restraining them.

5.     Forbidding Elements in Music:

·        Plato forbade the use of certain musical scales and modes in songs, such as Mixo Lydian and Hyper Lydian, associated with pathos, as they could make guardians soft-hearted and lethargic.

·        Only heroic scales and uncomplicated musical instruments were considered desirable.

6.     Poet's Status in the Republic:

·        Plato considered poets alongside painters, both appealing to a low element in the mind with works of low truth.

·        The poet's role was seen as subversive to the state's interest, strengthening the lower element at the expense of reason.

7.     Plato's Denigration of Art:

·        Plato's denigration of art, particularly in the Republic, has become proverbial, inspiring subsequent purists, moralists, and dictators threatened by the power of art.

·        His condemnation stemmed from metaphysical and utopian premises, with concerns about military weaknesses and a perceived decline in the quality of theatrical productions.

8.     Aristotle's Counterargument:

·        While Plato dealt a severe blow to art, Aristotle later countered this bias, establishing the value and dignity of poetry and tragedy, becoming the foundation of literary criticism in the classical age.

 

Classical Criticism

1. Ancient vs. Modern Art Appreciation:

·        Modern culture appreciates literature and performing arts through stored documentation, allowing delayed responses.

·        Ancients had to perform and respond simultaneously, leading to a special aesthetics emphasizing immediacy and emotional responses.

2. Ancient Literary Concepts:

·        Ancient literary concepts, including mimesis, inspiration, ethics, and pleasure, centred around strong emotional responses due to the immediacy of communication.

3. Greek Artistic Concepts:

·        Greeks valued new things, but within the framework of tradition and established norms.

·        Individual artists were not encouraged to depart significantly from tradition.

·        Artists credited the Muses for inspiration, considering themselves imitators of a world created by a superior force.

4. Ethical Concerns of Greeks:

·        Greeks emphasized the ethical value of art, requiring artists to acknowledge their lower place and ensure the goodness and usefulness of their creations.

·        Innovation was allowed, but not experimentation of doubtful worth.

·   5. Emotional Pleasure in Art:

·        Ancient art focused on providing emotional pleasure and serving as an emotional outlet.

·        Aristotle's concept of catharsis highlighted the therapeutic effect of art on the audience.

6. Classical Criticism Defined:

·        "Classical" refers to adherence to ancient Greek or Roman models in literature or art, emphasizing balance, regularity, and simplicity.

·        The classical age, from the 8th to the 4th centuries B.C., is marked by brilliance in literature, philosophy, and visual arts.

7. Plato's Views on 'Mimesis':

·        Plato considered 'poiesis' or literature as 'mimesis,' an imitation of an imitation, thrice removed from true reality.

·        Plato objected to dramatized dialogue, fearing it encouraged people to live lives other than their own.

8. Aristotle's View on 'Mimesis':

Aristotle, Plato's pupil, considered 'mimesis' a natural and healthy impulse, not mere copying.

Aristotle believed in the inherent potential of each genre, avoiding a uniform judgment of all works.

9. Aristotle's Notions in 'Poetics':

·        Aristotle classified poetry, distinguishing tragedy and epic, and emphasized unity of action, place, and time.

·        He introduced the concept of 'catharsis,' suggesting the therapeutic value of evoking pity and fear in the audience.

10. Tragic Hero according to Aristotle:

·        Aristotle described the tragic hero as a person neither virtuous nor vicious, whose fall results from an error or weakness (hamartia).

·        Aristotle's discourse focused on achieving set goals in poetry, maintaining the proper status of characters.

11. Classical vs. Romanticism:

·        Classical Criticism seeks to express infinite ideas and feelings in finite form.

·        Romanticism responds to classicism, emphasizing the individual or subject.

12. Master-Pupil Differences (Plato vs. Aristotle):

·        Plato viewed 'poiesis' as an imitation thrice removed from true reality, while Aristotle saw it as a natural impulse and a form of understanding generalities.

·        Their differing views on 'mimesis' and artistic goals reflect the transition from classical to romantic thought.

Literary Criticism and Theory

1. Introduction to Dialogue and Dialectics:

·        Literary Criticism and Theory presented as a dialogue.

·        Origin of the term "dialectics" in the 14th century.

·        Dialectics' role in German idealist philosophy, with Kant, Hegel, and Fichte.

·        "Thesis, antithesis, and synthesis" as Fichte's contribution to the dialectical process.

·        Mikhail Bakhtin's concept of dialogism and the 'polyphony' of voices in novels.

2. Oratory and Rhetoric:

·        Oratory in Homer's Iliad; speeches of Nestor, Menelaus, and Odysseus.

·        Rise of democratic states in the 5th century B.C. and the need for public speaking.

·        Manuals by Corax, Tisias, and Gorgias; Isocrates' contribution to rhetoric.

·        Aristotle's comprehensive treatise on rhetoric, emphasizing emotional appeal.

·        Structure of Greek orations: introduction, narrative, statement, proofs, and epilogue.

3. Poetry as Inspiration:

·        Ancient Greek view of poetry as a divine gift; poets chosen by the gods.

·        Poetic "knowledge" seen as a divine endowment rather than a result of technique.

·        Debate on the rationality of myths; Plato's criticism and Aristotle's recognition of their educational and aesthetic worth.

4. Three Styles of Poetry:

·        Differentiation of styles by Theophrastus: austere, elegant, and majestic.

·        Aristotle's emphasis on audience receptivity and emotional manipulation.

·        Relationship between style and targeted audience.

5. Music as Integral to Literary Composition:

·        Integration of music and spoken word in ancient Greek performances.

·        Monophonic nature of Greek music before the polyphonic harmony of the Renaissance.

·        Greek musical scales, tetrachords, and variation of pitch in ancient Greek music.

·        Emotional impact of musical modes (harmoniai) and their association with specific feelings.

6. The Concept of Mimesis:

·        Evolution of the concept of 'mimesis' or imitation from the Homeric period.

·        Plato's suspicion of artistic inspiration; Aristotle's belief in 'mimesis' as a natural way of learning and creating a better world.

·        Ongoing debate throughout history on the purpose of art, representation, and its relationship to the real world.

7. Summary:

·        The ancient world's reliance on spoken word and performances.

·        Literature as dialogue and the nearness of sender to receiver in ancient aesthetics.

·        Familiarity with artistic conventions, codes, and known modes for a stronger emotional response.

This summary covers key concepts, historical figures, and debates in literary criticism and theory during classical times. Further exploration of Plato and Aristotle's views on 'mimesis' and detailed accounts of emotions in music are recommended for a comprehensive understanding.