Tragedy in Plato’s “The Republic”
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Sa’id Shapouri * , Ismaeil Baniardalan , Hasan Bolkhari Qohi |
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Abstract: (9856 Views) |
The ancient Greeks were trained based on
poems of Homer or tragedy writers, and
Plato, almost in all his works, especially in
“The Republic”, which is the most complete
and best-known one, is the enemy of
poetry and tragedy and the training methods
based upon them. In three books of it,
i.e. second, third, and tenth, more than any
of his other writings, he suppresses poetry
and tragedy, and with reasons, puts the poets
and writers of tragedy outside his ideal
city-state.
Plato argues that the primary reason for
this is the falseness of stories, or saying not
the whole truth. He then deals with the imitation
and by introducing the Universal
Forms (Ideas) and the allegory of the cave,
describes the imitators as those imitating
the picture, which itself is an imitation of
the truth. They, then, are three phases far
from the truth. At this area of the visual
arts, there are imitators, both painters and poets, who are the tragic writers. Plato, dividing
the human soul into the noble part
and the ignoble one, accuses poets because
they excite the latter part of the human
soul.
Plato, who is looking for a new training
method based on the philosophy for his
utopia, does not mention it in The Republic,
but at The Laws, which is the work of
his old ages and his maturity, describes
clearly his writings as a good example of
philosophical training for the ideal city. |
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Keywords: Plato, tragedy, colloquium Republic, poetry, training, imitation the Laws |
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Full-Text [PDF 346 kb]
(2874 Downloads)
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Type of Study: Research |
Subject:
Special Received: 2014/11/8 | Accepted: 2014/11/8
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