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Moreover, epic might have had only literary exponents, but as Plato's Ion and Aristotle's Ch. 26 of the Poetics help prove, for Plato and Aristotle at least some epic rhapsodes used all three means of mimesis: language, dance (as pantomimic gesture), and music (if only by chanting the words). [14] Subjects (Also "agents" in some translations.)
An elder Plato walks alongside a younger Aristotle. In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time) bound copies of their books in their left hands, while gesturing with their ...
The debate over the extent to which Plato's portrayal of Socrates represents the actual Socrates's ideas is known as the Socratic problem. [62] [63] The Death of Socrates, by Jacques-Louis David (1787) Plato expressed his ideas through dialogues, that is, written works purporting to describe conversations between different individuals.
Although Plato had been Aristotle's teacher, most of Plato's writings were not translated into Latin until over 200 years after Aristotle. [7] In the Middle Ages, the only book of Plato in general circulation was the first part of the dialogue Timaeus (to 53c), as a translation, with commentary, by Calcidius (or Chalcidius). [7]
[Plato, Ion, 533e–534a] Aristotle differed with his teacher, Plato, about the worth of poetry. Both saw art as an act of mimesis, but where Plato at times saw a pale, essentially false imitation of reality, Aristotle saw the possibility of truth in imitation. As critic David Richter points out, "For Aristotle, artists must disregard ...
In Plato's Ion (/ ˈ aɪ ɒ n /; Ancient Greek: Ἴων) Socrates discusses with the titular character, a professional rhapsode who also lectures on Homer, the question of whether the rhapsode, a performer of poetry, gives his performance on account of his skill and knowledge or by virtue of divine possession. It is one of the shortest of Plato ...
Plato's most self-critical dialogue is the Parmenides, which features Parmenides and his student Zeno, which criticizes Plato's own metaphysical theories. Plato's Sophist dialogue includes an Eleatic stranger. These ideas about change and permanence, or becoming and Being, influenced Plato in formulating his theory of Forms. [54]
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