Plato is the most famous objective idealist philosopher in ancient Greece. This book reflects his aesthetic and literary thoughts in a concentrated and systematic way. Plato's aesthetics and literary thought embodies the achievements of ancient people's thinking and exploration of aesthetics and literature. Although it contains idealism, it has a far-reaching influence on later generations and has become one of the important sources of western beauty and literature. Plato's discussion on the essence of beauty has opened up the basic research direction of classical aesthetics from the Middle Ages to Germany, and his exploration of inspiration has had an impact on the Renaissance and even modern romantic literary thoughts. Plato's literary thoughts, including the theory of literary essence based on objective idealism, the theory of literary function characterized by extreme utilitarianism, and the theory of literary creation with religious mysticism, are far more complete and rich than those of previous ancient Greek thinkers, laying a solid foundation for the development of western literary theory. Plato's aesthetic and literary thoughts are based on his philosophy and social and political thoughts. Only by understanding his philosophical and political views can we grasp his aesthetic and literary views.
Plato's political view is the application and extension of his philosophy in the political field, and the establishment of an "ideal country" is the core of his political view. The description and yearning for the "ideal country" reflects the political ideals of slave owners and nobles and advocates governing the country by virtue. Plato's country is different from many utopias in modern times, and he may want to put it into practice. This is not as absurd and impossible as we naturally think. To know Plato's country, we can see his requirements for rulers, helpers and guardians from the national chapters. In order to realize justice, Plato designed a political system with the unity of truth, goodness and beauty, which was composed of rulers, helpers and guards. The concept of beauty in ancient Greece was broader than that in modern times, and was usually limited to aesthetic values. There is almost no difference between beauty and goodness, and moral and cognitive values are also included in the concept of beauty. "The Great Hippias" thinks that beauty is a substance that transcends beauty; Beauty is a more universal attribute than any substance or form; Beauty is something more lasting and stable than material or spiritual satisfaction; Beauty is something related to human desire but beyond it; Beauty is associated with human happiness and transcends it. Will Drink: "Beauty itself" is a transcendental and absolute formula of beauty, which is eternal, without beginning or end, without birth or extinction, without increase or decrease. All good things are based on it, and with it, all good things become beautiful. "That is to say, the highest everything exists in reason. Only the beauty of reason is real, beautiful itself and" pure beauty ",and the beauty of things is only its illusion and shadow. Rationalism is the philosophical basis of Plato's ontology of beauty, and memorization, which is closely related to rationalism, is the philosophical basis of Plato's epistemology of beauty. The essence of art is imitation and inspiration. The core of Plato's art theory is to distinguish inspiration from imitation, inspired poetry from imitation poetry, so that poetry can get rid of the shackles of skills and gain freedom, and the essence of art can return to poetry. Imitation, idealism and "copying" are utilitarian, passive and faithful copying in the world. Plato reformed the imitation of literature and art to nature on the basis of rationalism, in order to demonstrate the relationship between literature and art and reality and reveal the essence of literature and art. Plato believed that literature and art imitated not the idea itself, but the shadow of the idea-the real thing, so literature and art were only replicas, and the shadow of the shadow was separated by three layers. In this way, because Plato denied the authenticity of the realistic perceptual world, he also denied the authenticity of art imitating the perceptual world and denied the lofty position of art, and Plato's literary thought was based on his rationalist philosophy. In his understanding of the essence of art, he thinks that literature and art are imitations of ideas, without reality, and are "shadows of shadows, replicas of replicas". Plato put forward three worlds according to rational theory: idea-reality-literature (art). The world of ideas is primary, the origin of the world and the highest existence that controls everything. It exists independently of any external conditions and is invisible, colorless, immortal and eternal. (that is, some invisible absolute spirit and concept rule the world. ) The real world and the material world are secondary, and they are imitations of the ideal world. Any imitation can only touch the appearance and image of things, but not the entity. It can only imitate a certain part and one aspect of thought, not all and essence. Because imitation is always limited by external conditions such as time and space. Therefore, the material world in the sense is only a pale shadow and an incomplete embodiment of the conceptual world, separated from the truth by a layer. From the idea to the real world, it has lost a lot of authenticity and universality. (Shadow, copy) "Imitation is far from the real entity. On the surface, it seems that it can create everything, because it only accounts for a small part of everything, and that small part is just an image. "
The artistic world is tertiary, imitating the real world. Getting farther and farther away from the truth. "The shadow of the shadow, the copy of the copy." To illustrate this point, Plato cited three kinds of beds as examples: rational bed, material bed and replication bed. The bed of reason is noumenon, which does not depend on the existence of external substances. The reason why a bed is a bed is that it is all a bed. The material bed is concrete and individual, and the carpenter's manufacture is limited by size, time and space, and materials, and the concept bed has not been fully reflected; A rational bed is different from a material bed, but it is only an imitation of its shape. Different views lead to different shapes, which is even more idiosyncratic. In Plato's three worlds, the conceptual world is supreme, the real world depends on the conceptual world, and the artistic world depends on the real world. The latter two worlds are lower, literature and art are lower, and they do not have universal authenticity. Plato belittled the role of literature and art and the status of poets and artists with the height of thought. It is believed that since Homer, all poets and artists are just imitators, only getting images, unable to grasp the truth. Its status is not as good as that of drivers, doctors and other people with special skills. Plato's "theory of idea imitation" is essentially a cognitive route of objective idealism, which leaves a living space for "theism". "Concept of representative theories" denies the objective attribute that art reflects the real world life, denies the authenticity of art, and devalues the significance of literature and art.
Plato's understanding of the function of art is based on his "ideal country" thought, which emphasizes that literature and art must be useful to mankind, beneficial to the polis and conform to the norms formulated by the polis.
The main idea of The Republic is:
Plato lived in an era when the slave-owner democracy in Athens was extremely prosperous and declining. Facing the decline of the democracy of the slave owners in Athens, he longed to build a utopian ideal society, a harmonious and orderly whole. Citizens are divided into three grades: rulers-warriors-farmers and craftsmen (slaves are inferior), and rulers should be wise philosophers (people who can see the truth). The latter two levels are subject to the first level. Every class has its own position, the rule of the rule, and the obedience of obedience. Only the country has "justice". Human soul and personality are also divided into three levels: reason-will-lust. Be wise in reason, brave in will, and temperate in lust. The combination of these three virtues is justice and ideal personality. Education should cultivate such ideal personality for the defenders of utopia and polis. Including literature and art, should also cultivate this kind of justice. Poetry belittles heroes and blasphemes gods. Homer's epic and tragic poets, like ordinary people, write about gods and heroes, which can't make young people learn sincerity, courage, calmness and temperance, and is not conducive to cultivating the protector of the polis. Literature caters to the evil part of human nature and destroys personality justice. Poets who "destroy the polis in their minds" often imitate people's emotional passions, nourish and indulge their passions and cater to the irrational part of human nature. In addition, sexual desire, resentment and other desires should be controlled, but poetry and drama nourish them and "destroy the polis in the heart." Based on the above reasons, Plato proposed to expel the poet from Utopia.
Regarding the social function of literature and art, Plato's attitude is clear: literature and art must be useful to society and serve the city-state politics. Useful is good, otherwise it is bad. The essence of this utilitarianism is the utilitarian principle of slave owners and nobles, which turns literature and art into political vassals and tools of aristocratic rule. Denying the independence of art, literary and artistic creation comes from the inspiration of poets and a crazy impulse of divine power. (See Ian and Fidel)
Regarding the source and motive force of literary and artistic creation, Plato proposed that creation comes from inspiration and inspiration comes from divine power. "Inspiration" originally means "aura given by God" in Greek. In the original meaning of literary and artistic creation, it refers to the divine impulse and possessed state when creating. "All talented poets, whether in epics or lyric poems, do not make their beautiful poems by memory, but because they are inspired and have divine power to attach themselves. ..... is to know a winged god of light. If you don't get inspiration, lose your usual reason and fall into ecstasy, you won't be able to write, you won't be able to write poetry or speak for God. ..... The poet said so many beautiful words about the subject matter they wrote, not by virtue of the rules of skill, but at the urging of the poetic god. " "Poets don't say those precious words unconsciously by their own strength, but by God's persistence in speaking to people." ..... The process of creation is the process of God's manipulation. Divine power is attached to the poet, which conveys enlightenment and inspiration to the poet and makes him fall into the realm of ecstasy. Plato gave another explanation to inspiration in Federico's chapter: inspiration is the memory of the soul. After death, the soul leaves the body and ascends to the sacred realm. Only those who practice deeply can reach the highest level and see the real world of ontology, God and ideas. Reincarnated, reincarnated again, worldly things reminded him of the scene of the divine world, and when he saw the real beauty, it caused ecstasy and joy.
Plato's "theory of inspiration" is mysterious with idealism. He attributed the writer's creative activities to the domination of divine power, only speaking for the gods, leading his creative activities to mysticism, denying the rational factors in the creative process and the connection between literature and art and social life. Inspiration is not a gift from God, but a sudden advanced psychological state in the poet's spiritual labor. It is the accidental product of long-term accumulation and the crystallization of life and artistic practice. Divine power was used by the dependency theory and inspiration theory in later Christian theology and literature and art, and also influenced the birth of irrational literary theories in later generations, such as Croce's intuitionism and Freud's theory of sublimation of original desire. ) Plato's inspiration theory also has reasonable factors. Stripping off God's cloak, he noticed the particularity of literature as an emotional art, the psychological function of the creative subject, and the emotional mechanism of literature and art, especially the psychological motivation found in the occurrence of literature and art. Inspiration theory revealed the influence of the writer's mentality in the creative process, indicating that literary and artistic creation has the characteristics of emotional activities. Literature does not rely on purely rational logical thinking, but is highly stimulated by emotions. This kind of emotional activity has great unconsciousness. Without creative impulse and great enthusiasm, there would be no dazzling and thrilling artistic image and strength. Inspiration opens the writer's creative imagination and wisdom.
The theory of inspiration mania first involves the psychological mechanism and emotional mechanism of literature and art, which influenced the literary critics who later paid attention to spiritual expression and opened the source of "expressionism"
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