Greek Philosophers Flashcards

1
Q

About Plato

A

Plato was born in 428 bce in Athens to a family of long aristocratic lineage,
At the age of 20, he became a pupil of Socrates.
found an Academy (together with the mathematician Thaetetus) in Athens.
He died in 348 BC

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2
Q

influences on Plato

A

His thought was influenced by a pre-Socratic thinkers
They rejected the physical world known through our senses as mere “appearance.”
He mostly wrote in a DIALOGUE FORM, where Socrates was the main speaker.
The work of Plato includes thirty-five dialogues and thirteen letters.
The major dialogues of Plato’s middle period – Gorgias, Meno, Apology, Crito, Phaedo, Symposium,

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3
Q

Summary of Forms?

A

Reacting against the poets who had disordered and mythical vision of the world, skeptics like Democritus and Protagoras who rejected the idea of an objective world outside the human mind

PHAEDO and REPUBLIC

According to Plato, the WORLD which is surrounding us and can be felt by our senses is NOT SELF-DEPENDENT OR REAL.

It is dependent on another world where we have pure forms or ideas.

These forms or ideas are the “Real” and the objects that we see in the world are IMPERFECT COPIES of these forms

For Ex- there is an ideal bed, and what the carpenter makes is an imperfect copy of that bed
The ideal form can only be seen though our reason and not senses.

It is a concept and not a physical object
He believed that the world of forms is CHANGELESS and ETERNAL- it is characterized by ESSENCE, UNITY and UNIVERSALITY
On the other hand, the physical world is characterized by change and decay and mere existence.
He gives reality an objective foundation which transcends subjectivity.

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4
Q

Summary of Ion?

A

Socrates argues with a RHAPSODE named Ion, who is a singer and a musician.

Socrates said in Ion that, A rhapsode has two components in his art.

First, LEARNING THE LINES OF THE SONG and second the THOUGHT

Plato discusses the critical function rather than its musical and emotional power.

In the end Plato’s Ion concludes that
1. Poetry is considered to be containing popular wisdom concerning justice

  1. But is only concerned about SELF-INTEREST and desires of the individuals and not of the state
  2. Such wisdom is incoherent and it gives an unjust man prosperity
  3. It only gives an appearance of justice and not the real justice.

what He actually wanted was

Popular wisdom as well as ethics and desires of individuals should be controlled by the state in state’s interest.
Promotion of the idea that justice is more profitable than injustice
And Gods should be shown as just
Therefore, poetry should be subjected to vigilance or it will undermine all the political, economic, or legal structures because it is subversive

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5
Q

Summary of Republic?

A

One of Plato’s most famous works isThe Republic(inGreek,Politeia,or ‘city’). It was finished in390 BC. There were 10 books in The Republic.
In this book he describes Socrates’s vision of an “ideal”state. The method of questioning in this dialogue, called theSocratic method, is as important as the content.The Republiccontains ideas of Socrates: “Socrates said it, Plato wrote it.”
In Republic Plato continues his criticism of Poetry
In book X he says that
Poetry has a vicious constitution- where emotion rules over reason.
That is why he advocates strict censorship over poetry

He criticises Poetry on three accounts.

(1) the FALSITY of its claims and representations regarding both gods and men;
(2) its CORRUPTIVE effect on character; and
(3) its “DISORDERLY” complexity and ENCOURAGEMENT OF INDIVIDUALISM n the sphere of sensibility and feeling.

“the young are not able to distinguish what is and what is not allegory”

Poetry also spread FALSEHOOD about men who are great in nature.

They portray unjust men as happy and just men as sad.
Such portrayals of gods and men will inculcate false and corruptive ideals into the guardians

Plato believes that not just knowledge but language also is controlled in order to get the desired political end.
Therefore, it is a FIGHT between philosophy and poetry to control language

In Book X again he writes that
Poetry appeals to inferior parts of soul and encourages variety and multiplicity.
A city has several types of having SPECIALIZED functions in order to contribute to the welfare of the state as a whole
But poetry is RESISITING this specialization itself.
Poetry has no definable function in a state which is hierarchal in nature. It actually destroys hierarchies

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6
Q

What did Plato say about Imitation?

A

Poetry imitates the appearance and not the reality or what is produced copying the ideal form
So forwarding the example of the bed, he says
If the ideal Bed created by God is the reality,
The bed made by the carpenter is the imitation of the ideal bed and it is once removed from reality.
The work of the painter or the poet is the imitation of the imitation and hence twice removed from reality
“Come then, consider this point. The maker of the image , the imitator, on our view, knows nothing of the reality, but only the appearance.”

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7
Q

What did Plato say about Philosophy?

A

Next he talks about why philosophy is greater than poetry by comparing both
A poet’s work, maintains Plato, narrates “past, present, or future things”
It is concerned with bodily appetites, emotion, particulars, and multiplicities.
In contrast, the philosopher, far from “wandering between the two poles of generation and decay,” is concerned with ETERNAL ESSENCES, with the soul, reason, and with knowledge as a whole (VI, 485a–c).
Philosophy, the medium through which the form of justice “in itself”
Poetry, is an enemy which has to be removed in order to create a just state.
As Socrates said the construction of the state by a “political artist” was done by imitating a “heavenly model.”
So the constitution Socrates has in mind “will be realized when this philosophical Muse wins over the poetic Muse, who should be throne out of the state.

It is because of this that he doesn’t want the poets to be a part of his ideal Republic.

He is in favour of a kind of poetry which is beneficial for the state. He therefore wants poets to have these qualities

Poetry should CONTRIBUTE to the knowledge of virtue
So that it moulds characters in the interest of the state
Pleasure should NOT be the motive of the poets, as it has the least value.
A poet is good artist only if he is a good TEACHER.
Therefore he only allows poets who write HYMNS to the gods and encomia(high praise) to good men.

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8
Q

What did Plato say about Drama?

A

Drama, for Plato appeal to the baser instincts of people because they portray quarrels and lamentations
Drama also has actors portraying evil characters which according to him ends in affecting the nature of the actors in reality
Although, he is in favour of the portrayal of men of virtue, who are courageous and noble and which will affect the actors positively.

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9
Q

About Aristotle?

A

ARISTOTLE (384–322 BC)
The most brilliant student at Plato’s Academy was Aristotle,
Came to Athens in 367 BC from Stageira in Macedonia to study with Plato.
He was Born in 384, and was the son of Nicomachus, court physician to Amyntas II,
In 343 King Philip of Macedon invited Aristotle to become the teacher to his son Alexander at his court. He was there for four years
He was then commissioned by Philip to oversee the restoration of Stageira, and establish a legal code for the city.
Aristotle returned to Athens to open his own school of rhetoric and philosophy.
The school was called the LYCEUM.
Aristotle wrote twenty-seven dialogues
Unfortunately, none of them has survived.
We only know his lecture notes which represent only one-quarter of his actual output. They were composed by himself and his students, These were published by Andronicus of Rhodes in the first century bc.

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10
Q

About Particular and universal?

A

Plato had made a distinction between particular objects, such as a man or a bed, and “universals” or qualities such as goodness or tallness.
And these universals have an independent existence in the world of Forms which somehow transcends the physical world.
Aristotle believes in the connection between Primary substance, which are universal and Secondary substances which are particular.
Without primary substance, says Aristotle, nothing else could even exist

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11
Q

Summary of Poetics?

A

Poetry and rhetoric had the status of “productive” sciences; these disciplines had their place in a hierarchy of knowledge.
Each element in this hierarchy has its proper place, function, and purpose.
They are rational pursuits, as seeking a knowledge of universals
Poetry is classified in this system along with other branches of human knowledge and activity.
The purpose of art, like that of metaphysics, is to ATTAIN TO A KNOWLEDGE OF UNIVERSAL.
The Poetics, then, is a theoretical treatise on the nature and functions of poetry
Aristotle criticized Plato’s ideal republic as being confined within strictly utilitarian ends.
His own state was directed toward “the highest good” as its final purpose, and enabling men to live “the good life.”
In politics he says about poetry has the “the power to induce a certain character of the soul . . . , it must be applied to education, and the young must be educated in it.”
That is why children should not watch Comedies.

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12
Q

About Imitation?

A

For Plato, imitation is removed from truth, since it produced an imperfect copy of the Form and the world is removed from reality.

Aristotle sees it as a BASIC HUMAN INSTINCT and allows it as an avenue toward truth and knowledge.

In Poetics he states that from childhood human beings have an “instinct” for imitation and that what differentiates human beings from other animals is that they indulge in imitation more.

Everyone finds pleasure in learning. They depend on imitation to learn; hence it is both a mode of learning and is associated with pleasure.
He holds that pleasure doesn’t lie in the thing which is imitated but in the PROCESS of imitation itself.
There are three types of imitation in Poetry: in the means used, in the kinds of objects represented, or in the manner of presentation.
The means/ Medium can include colour, shape, sound, rhythm, speech, and harmony.
Object: They imitate men involved in the action
By action he means those which have a significant moral valency.
The actions imitated must either be noble or base since human character conforms to these distinctions.
What lies at the basis of both human action and character is morality: it is this moral which the artist must imitate.
Manner: Manner of imitation:…the poet may imitate by narration- in which case he can either take another personality as Homer does or speak in his own person, unchanged- or he may present all his characters as living and moving before us.
He is talking about the Narrative Voice of the play and our point of view,

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13
Q

About Poet vs Historian?

A

The poet’s vision has a unity which the historian’s work lacks.
A poet must imitate things that were, things that are now or things that people say and think to be, or things which ought to be.
In his Rhetoric, Aristotle states that “truth is not beyond human nature and men do, for the most part, achieve it”

It is not the function of the poet to narrate events that have actually happened, but rather “events such as might occur . . . in accordance with the laws of probability or necessity”
Poetry yields general truths while history gives us particular facts

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14
Q

About tragedy?

A

Tragedy is an imitation of an action that is complete, and whole, and of a certain magnitude; for there may be a whole that is wanting in magnitude. A whole is that which has a beginning, a middle, and an end.

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15
Q

Six elements of drama?

A

plot, character, diction, thought, spectacle, and song

Two of the parts constitute the medium of imitation, one the manner, and three the objects of imitation

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16
Q

About Plot?

A

Plot has to be structured properly with artistically constructed incidents and just a sequences and speech arranged haphazardly.
Besides which, the most powerful elements of emotional interest in Tragedy
Peripeteia/Reversal of the Situation is a change by which the action changes towards the opposite to the probability or necessity.
Thus in the Oedipus, the messenger comes to cheer Oedipus and free him from his alarms about his mother, but by revealing who he is, he produces the opposite effect.
Recognition or Anagnorisis is a change from ignorance to knowledge, which impacts the relationship between the characters. The best form of recognition is coincident with a Reversal of the Situation, as in the Oedipus.
This recognition, combined, with Reversal, will produce either pity or fear; and actions producing these effects are those which, by our definition,
The Scene of Suffering is a destructive or painful action, such as injury or death.

17
Q

What are three unities?

A

Unity of Action: The plot, being an imitation of an action, must imitate ONE action and that a whole, the structural union of the parts being such that, if any one of them is displaced or removed, the whole will be disjointed and disturbed.
It should have for its subject a single action, whole and complete, with a beginning, a middle, and an end.
Unity of time: a single time period, ideally between the sunrise and the sunset.
Unity of Place: Action should happen in a single place. It should not attempt to compress geography, nor should the stage represent more than one place.

A plot should be of a certain length, which can be easily embraced by the memory.

18
Q

What is character?

A

The protagonist: a man who is not eminently good and just,-yet whose misfortune will arouse pity and fear in the audience.
Hamartia: The change of fortune should be not from bad to good, but, reversely, from good to bad. It should come about as the result not of vice, but of some great error or frailty, in a character either such as we have described, or better rather than worse.

19
Q

What is thought?

A

In the case of oratory(speech)
It is related to politics and rhetoric:
The older poets make their characters speak the language of civic life; the poets of our time, the language of the rhetoricians.
Through speech, thought reveals the moral purpose of the Character showing the audience what kind of things the character chooses or avoids.
The speech of a character should create the excitation of the feelings, such as pity, fear or anger.
However, in a good tragedy, these emotions are evoked by USING ACTION.

20
Q

What is Diction?

A

Fourth element is Diction, which he says is the expression of the meaning in words; and its essence is the same both in verse and prose.
That extreme in diction is avoided.
He calls for a mixture of poetic speech (use of metaphors, etc.) and a common speech.
Poetic speech adds interest and common speech provides clarity.
The fifth one is Song which holds the chief place among the embellishments.
The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry.

21
Q

What is epic poetry?

A

While themimesisof tragedy is in actions told in a dramatic form, themimesisof epic poetry is in verse told in a narrative form. Aristotle notes that there are a number of similarities between tragedy and epic poetry.
First, epic poetry must maintain the unity of plot. In this it is allied with tragedy against history. Epic poetry should focus on one particular story that remains an organic whole.
Homer is an excellent example of such an epic poet.
Second, it should be either simple or complex, and it should deal primarily either with a character or with suffering.
Aside from spectacle and melody, the six parts of tragedy are all present in epic poetry, and epic poetry can also featureperipeteiaandanagnorisis.

There are also two differences between epic poetry and tragedy.
The first is the length: an epic poem can include many tales of tragedies in one, provided it can be presented in one hearing.
The plot of an epic poem can be far more expansive because it is not limited by the stage.
Epic poetry can use flash forward or go backwards between events happening at the same time in different places which is impossible to do on stage.
Second, Epic poetry is narrated in heroic meter, while tragedy is normally spoken in iambic meter.

22
Q

About Horace?

A

(Quintus Horatius Flaccus) is known primarily as a poet, a composer of odes, satires, and epistles.
He was Born the son of a freed slave, and got educated at Rome and then in Athens
Horace supported republicans Brutus and Cassius who had assassinated Julius Caesar.
He fought with Brutus and Cassius against Caesar’s nephew Octavian and Mark Antony at the battle of Philippi in 42 bc.
The Republicans were defeated and another civil war broke out, Octavian became the King.

His works include two books of Satires, four books of Does, and three books of Epistles, the last of which Epistle to the PISOS is generally known as Ars Poetica.
Horace’s text was initially known as “Epistle to the Pisones” and the title Ars Poetica is first found in Quintilian.
He has written it like an informal letter from an established POET giving advice to the WOULD-BE poets of the wealthy Piso family in Rome.
Ars Poetica is written as a poem in 19 BCE
He believed that “a poem is like a painting,” that poetry should “teach and delight,” as well as the idea that poetry is a craft that requires labour.

23
Q

Summary of Ars Poetica?

A

First important aspect of Ars Poetica is the relation of a writer’s relation to his work.

The poets should learn the art and not blindly believe in inspiration, which he links with madness.
Writer should select his material according to his capacity: “When you are writing, choose a subject that MATCHES YOUR POWERS, and test again and again what weight your shoulders will take and what they won’t take”

He should be REALISTIC in his poetry and “examine the model of human life and manners as an informed copyist and to elicit from it a speech that lives”
His “common resource” should be “what is known” so that others can relate

Whatever you invent for pleasure, let it be near to truth.

Ut pictura poesisis aLatinphrase literally meaning “as ispaintingso ispoetry”.
He means that Poetry resembles painting.
Both of them can be looked closely or from far, in light or darkness, some you remember for long days, but some you forget quickly.
What he meant was that poetry needs the same careful interpretation that is reserved for painting.

24
Q

What is decorum?

A

Second important factor is Decorum
Which means a “proper” relationship between form and content, expression and thought, style and subject matter, diction and character.
“form” means the language itself, and there is an intrinsic connection between form and content, the content cannot be more important than form or language.
It takes a lot of labour to compose good poetry. It needs a lot of training
He answers the question, “Do good poems come by nature or by Art?”
I don’t see what study can do without a rich vein of talent, nore what good can come of untrained genius.
It also required the poet to find valid criticism of his work from people who are qualified people.

Once a poem is published, the words become public property and part of the langauage:
“it will be permissible to destroy what you have not published: the voice once sent forth cannot return”

25
Q

What is Poetic Unity?

A

Poetic unity, means that the various parts of a poem should be arranged in the proper manner.
He opened Ars poetica with a grotesque image of what the artist should avoid: a human head attached to a horse’s neck, covered with “a variety of feathers on limbs assembled from any and everywhere”
He also says that you must mark the manners of each time of life, and assign the appropriate part to changing natures and ages.
The language used by the child and a man should be different
He asks the poet to be brief. He says,
Whatever advice you give, be brief, so that the teachable mind can take in your words quickly and retain with them faithfully.

26
Q

What is the moral and social function of Poetry?

A

The third important point is the moral and social functions of poetry,
Poetry should strengthen the conventional wisdom, it should provide moral examples by using characterization, and promote virtue and sensibility, as well as give pleasure;
Wisdom is the starting-point and source of correct writing.
A man who combines pleasure and usefulness wins every suffrage, delighting the reader and also giving them advice.
He rejects “art for art’s sake,” giving more importance to the moral function of literature.

27
Q

What does Horace say about Chorus?

A

Talking about Chorus in an epic or a play He says: the chorus should always be morally upright and should take the side of the people who are good, and also to pray the God so that people who are not happy should have a good fortune.

28
Q

Contribution of Audience in poetry according to Horace?

A

The fourth important factor that he talks about is the contribution of an audience to the composition of poetry.
He views the reader’s response as something which is important for the life of the poetry
“As you find the human face breaks into a smile when others smile, so it weeps when others weep: if you wish me to weep, you must first express suffering yourself”
So the actor needs to show his/her suffering in order to impact the audience.
Not only, then, is the audience the ultimate criterion of genuine artistry, but also literature is intrinsically dialogic: the presumed response of a particular audience guides its “creation.”
He also talks about the degradation that the audience has gone through in the country.
The audience for a play was “a public . . . easily counted, not too large, sparing in their ways, pure in their habits, modest in their attitude.”
But as Rome began to expand her territories and cities encompassed a greater variety of populace, “more and more freedoms were granted in meter and music”
This enlargement and “corruption” of the audience dictate directly what is permissible and desirable on stage.

29
Q

About On the Sublime?

A

written in Greek, published in the first to third century CE.
“the essentials of a noble and impressive style.” For this reason, G. M. A. Grube translates the title as On Great Writing.

30
Q

Basic ideas in On the Sublime?

A

Idea of greatness in Prose and poetry
Greatness - sublime
moves the reader or takes the reader out of himself.

five sources that can lead to sublime
great thoughts, strong emotions, noble diction, effective word arrangement and figure of speech.
Greatness is a mix of innate genius and learned skills. Moral excellence is required.
It is written as a letter to Postumius Terentianus.
Longinus frames his letter as a response to a treatise by Caecilius of Calacte, a first-century Sicilian rhetorician

31
Q

About Sublime

A

(1)Grandeur of thoughts;

Of the five sources, grandeur of thoughts is the most important of all. A loft cast of mind is a “natural faculty rather than acquired” (On the Sublime, chapter 9). Sublimity is “the image of the greatest soul” (On the Sublime, chapter 9).

(2)A vigorous and spirited treatment of the passions;

These two conditions of sublimity depend mainly on natural endowments. Whereas those which follow derive assistance from art. One cause of sublimity is the choice of the most striking circumstances involved in whatever we are describing, the other is the power of afterwards combining them into one animate whole.

(3) A certain artifice in the employment of figures, which are of two kinds, figures of thought and figures of speech;
(1) (4). Dignified expression, which is sub-divided into two aspects;
(2) (a)The proper choose of words;
(3) (b)The use of metaphors and other ornaments of diction;

On this respect, the author mentioned that juxtaposition of different case, the enumeration of particulars, and the use of contrast and climax, add much vigor, give beauty and great elevation to a style. The diction also gains greatly in diversity and movement by change of case, time, person, number and gender.

(5) Majesty and elevation of structure;

If we separate the elements of a fine passage, their qualities are simultaneously dissipated and evaporated, but when we join them together as an organic whole, and still further company them by the bond of harmony, we can gain the power of tone.