These selections provide a look at the side of Plato’s thought that is closest to that of Plotinus and other “neoplatonists,” who we will turn to for the next several classes.
• From the Ion (HK 53-57). This provides a link between the criticisms of art that you’ve seen already and the more positive point of view suggested by the next two selections. The image of the magnetic rings is one to bear in mind in many later readings with no direct connection to Plato or neoplatonism.
• From the Phaedrus (HK 57-1st ¶ of 63). The selection in HK is the bulk of what Socrates presents in this dialogue as an example of a formal speech (the second one he offers). The image of the soul sketched at the beginning is famous, but at least as important for our purposes is the idea of a love of beauty as madness or inspiration (see HK 60-61). (The mention of four forms of madness (HK 60) is a reference to a passage at the beginning of the speech before the selection in HK begins; it is reproduced below.) In general, you should look for the ties sketched between a vision of truth and the forms in the divine realm on the one hand and a love of earthly beauty on the other; in this regard note the reference to “recollection,” (HK 60). Plato doesn’t spell out the principle behind the hierarchy of lives he lists at the bottom of HK 59 so you will need to speculate about what it might be.
• From the Symposium (HK 73-77). You can think of this selection as falling into two parts. The first (HK 73-75) is a discussion of art and immortality. When reading it, it is worth recalling the more mundane comparison between artistic creation and reproduction you have seen in Aristotle (HK 91). Notice also the appearance again of the term “recollection.” The second part of the selection (HK 75-77) will be our focus in class. It orders kinds of love of beauty in a way you should compare to the ordering of levels of reality you have seen in the selection from Republic, bk. X.
I’ll suggest two general sorts of questions for discussion in connection with these selections:
• What is the relation between artistic inspiration and an appreciation of beauty? Of course, both can be connected to (some) art, but are they fundamenatlly similar—or even the same—or are there important differences between them?
• Does either (or both) involve a connection to some higher realm — in particular, a realm of greater truth or reality? If so, what is this connection like? Which, if any, of the models of some such connection—viz., magnetic attraction, madness, recollection, and love—seem appropriate and in what ways?
Plato, Phaedrus 244a-245c (Jowett, tr.)
Socrates.... “I told a lie when I said” that the beloved ought to accept the non-lover when he might have the lover, because the one is sane, and the other mad. It might be so if madness were simply an evil; but there is also a madness which is a divine gift, and the source of the chiefest blessings granted to men. For prophecy is a madness, and the prophetess at Delphi and the priestesses at Dodona when out of their senses have conferred great benefits on Hellas, both in public and private life, but when in their senses few or none. And I might also tell you how the Sibyl and other inspired persons have given to many an one many an intimation of the future which has saved them from falling. But it would be tedious to speak of what every one knows.
There will be more reason in appealing to the ancient inventors of names (compare Cratylus), who would never have connected prophecy (mantike) which foretells the future and is the noblest of arts, with madness (manike), or called them both by the same name, if they had deemed madness to be a disgrace or dishonour;—they must have thought that there was an inspired madness which was a noble thing; for the two words, mantike and manike, are really the same, and the letter tau is only a modern and tasteless insertion. And this is confirmed by the name which was given by them to the rational investigation of futurity, whether made by the help of birds or of other signs—this, for as much as it is an art which supplies from the reasoning faculty mind (nous) and information (istoria) to human thought (oiesis) they originally termed oionoistike, but the word has been lately altered and made sonorous by the modern introduction of the letter Omega (oionoistike and oionistike), and in proportion as prophecy (mantike) is more perfect and august than augury, both in name and fact, in the same proportion, as the ancients testify, is madness superior to a sane mind (sophrosune) for the one is only of human, but the other of divine origin. Again, where plagues and mightiest woes have bred in certain families, owing to some ancient blood-guiltiness, there madness has entered with holy prayers and rites, and by inspired utterances found a way of deliverance for those who are in need; and he who has part in this gift, and is truly possessed and duly out of his mind, is by the use of purifications and mysteries made whole and exempt from evil, future as well as present, and has a release from the calamity which was afflicting him. The third kind is the madness of those who are possessed by the Muses; which taking hold of a delicate and virgin soul, and there inspiring frenzy, awakens lyrical and all other numbers; with these adorning the myriad actions of ancient heroes for the instruction of posterity. But he who, having no touch of the Muses’ madness in his soul, comes to the door and thinks that he will get into the temple by the help of art—he, I say, and his poetry are not admitted; the sane man disappears and is nowhere when he enters into rivalry with the madman.
I might tell of many other noble deeds which have sprung from inspired madness. And therefore, let no one frighten or flutter us by saying that the temperate friend is to be chosen rather than the inspired, but let him further show that love is not sent by the gods for any good to lover or beloved; if he can do so we will allow him to carry off the palm. And we, on our part, will prove in answer to him that the madness of love is the greatest of heaven’s blessings, and the proof shall be one which the wise will receive, and the witling disbelieve.