The introduction to Classical Literary Criticism by Penelope Murray published by Penguin gives a relevant explanation of the nature and continued importance of Plato's arguments. She situates his philosophies both in terms of how Greek attitudes help to shape his ideas and how his theses are carried forth or argued against in subsequent arguments. She uses Homer as a unifying theme to illustrate "the affective power of poetry" (xv). She also makes it clear that rather than the ideology expressed in the Republic being a contradiction or refutation of Ion, it is an extension or natural progression of the central argument. However, what does seem contradictory, or at least ironic, is the reference to Ion as a "real Proteus," thus indicating that he changes shape. In the Republic 2, Plato then raises the idea that gods would never change shape, and that the youth should be protected from such an idea. He follows it up with the admonition that "Nor must anyone tell false tales against Proteus."
Although the idea of divine inspiration seems to be a flattering proposal, Plato was concerned with reason as the controlling force of mankind as well as what is best for society as a whole. As he applies his trickle down theory of the rings to the audience, he realizes that there is a submission to emotions rather than reason; Plato evaluates this as "psychologically damaging." Thus, the reader is prepared to look at the continuity in the arguments of Plato and to understand the viewpoint expressed by Aristotle as well. Aristotle offers a different analysis of this same kind of audience response, but he comes to the conclusion that this catharsis is a positive release of emotions. Longinus also contradicts Plato's theory of the shadow cast on the mimetic process. Longinus states that mimesis can be a positive process , since the sublime can be attained by the imitation of those who have already accomplished success. Aristotle also took exception to Plato's condemnation of the mimesis in poetry. Aristotle uses tragedy as a model that art does not necessarily recreate or offer to perfectly replicate what has happened, but rather poses the possibility of what may have been the situation.
The impact that Plato has had on the world of criticism, however, does not end in historical analysis. Murray extrapolates the influence to the modern day, with a comparison of those who want to censor the contemporary media. She cites the fact that video games are part of the new poetry/prose genre that comes under scrutiny as fodder to contaminate the youth of today. In their quest to protect young minds from influences that could potentially subvert the good of society, there are some who would like "protection" offered by the government.
Although the idea of divine inspiration seems to be a flattering proposal, Plato was concerned with reason as the controlling force of mankind as well as what is best for society as a whole. As he applies his trickle down theory of the rings to the audience, he realizes that there is a submission to emotions rather than reason; Plato evaluates this as "psychologically damaging." Thus, the reader is prepared to look at the continuity in the arguments of Plato and to understand the viewpoint expressed by Aristotle as well. Aristotle offers a different analysis of this same kind of audience response, but he comes to the conclusion that this catharsis is a positive release of emotions. Longinus also contradicts Plato's theory of the shadow cast on the mimetic process. Longinus states that mimesis can be a positive process , since the sublime can be attained by the imitation of those who have already accomplished success. Aristotle also took exception to Plato's condemnation of the mimesis in poetry. Aristotle uses tragedy as a model that art does not necessarily recreate or offer to perfectly replicate what has happened, but rather poses the possibility of what may have been the situation.
The impact that Plato has had on the world of criticism, however, does not end in historical analysis. Murray extrapolates the influence to the modern day, with a comparison of those who want to censor the contemporary media. She cites the fact that video games are part of the new poetry/prose genre that comes under scrutiny as fodder to contaminate the youth of today. In their quest to protect young minds from influences that could potentially subvert the good of society, there are some who would like "protection" offered by the government.
