what is referred to as the shaft of beauty
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First published Fri Jun 27, 2008; substantive revision Wed Jul 13, 2016
If aesthetics is the philosophical inquiry into art and beauty (or a contemporary surrogate for beauty, e.g. aesthetic value), the striking feature of Plato's dialogues is that he devotes as much time as he does to both topics and yet treats them oppositely. Art, mostly as represented by poetry, is closer to a greatest danger than any other phenomenon Plato speaks of, while beauty is close to a greatest good. Can there be such a thing as “Plato's aesthetics” that contains both positions?
To the literal-minded the very phrase “Plato's aesthetics” refers to an impossibility, given that this area of philosophy only came to be identified in the last few centuries. But even those who take aesthetics more broadly and permit the term may find something exploratory in Plato's treatments of art and beauty. He might be best described as seeking to discover the vocabulary and issues of aesthetics. For this reason Plato's readers will not find a single aesthetic theory in the dialogues. For the same reason they are uniquely situated to watch core concepts of aesthetics being defined: beauty, imitation, inspiration.
The subject calls for care. If perennially footnoted by later philosophers Plato has also been perennially thumbnailed. Clichés accompany his name. It is worth going slowly through the main topics of Plato's aesthetics—not in the search for some surprising theory unlike anything that has been said, but so that background shading and details may emerge, for a result that perhaps resembles the customary synopses of his thought as a human face resembles the cartoon reduction of it.
In what follows, citations to passages in Plato use “Stephanus pages.” These are based on a sixteenth-century edition of Plato’s works. The page numbers in that edition, together with the letters a–e, have become standard. Almost every translation of Plato includes the Stephanus page numbers and letters in the margins, or at the top of the page. Thus, “Symposium 204b” refers to the same brief passage in every edition and every translation of Plato.
1. Beauty
1.1 Hippias Major
1.2 Beauty and art
1.3 The Form of beauty
2. Imitation
2.1 Mimêsis in Aristophanes
2.2 Republic 3: impersonation
2.3 Republic 10: copy-making
2.4 Sophist and other passages
2.5 Closing assessment
3. Divine Inspiration
3.1 Ion
3.2 Phaedrus
4. Imitation, Inspiration, Beauty
Bibliography
Academic Tools
Other Internet Resources
Related En
If aesthetics is the philosophical inquiry into art and beauty (or a contemporary surrogate for beauty, e.g. aesthetic value), the striking feature of Plato's dialogues is that he devotes as much time as he does to both topics and yet treats them oppositely. Art, mostly as represented by poetry, is closer to a greatest danger than any other phenomenon Plato speaks of, while beauty is close to a greatest good. Can there be such a thing as “Plato's aesthetics” that contains both positions?
To the literal-minded the very phrase “Plato's aesthetics” refers to an impossibility, given that this area of philosophy only came to be identified in the last few centuries. But even those who take aesthetics more broadly and permit the term may find something exploratory in Plato's treatments of art and beauty. He might be best described as seeking to discover the vocabulary and issues of aesthetics. For this reason Plato's readers will not find a single aesthetic theory in the dialogues. For the same reason they are uniquely situated to watch core concepts of aesthetics being defined: beauty, imitation, inspiration.
The subject calls for care. If perennially footnoted by later philosophers Plato has also been perennially thumbnailed. Clichés accompany his name. It is worth going slowly through the main topics of Plato's aesthetics—not in the search for some surprising theory unlike anything that has been said, but so that background shading and details may emerge, for a result that perhaps resembles the customary synopses of his thought as a human face resembles the cartoon reduction of it.
In what follows, citations to passages in Plato use “Stephanus pages.” These are based on a sixteenth-century edition of Plato’s works. The page numbers in that edition, together with the letters a–e, have become standard. Almost every translation of Plato includes the Stephanus page numbers and letters in the margins, or at the top of the page. Thus, “Symposium 204b” refers to the same brief passage in every edition and every translation of Plato.
1. Beauty
1.1 Hippias Major
1.2 Beauty and art
1.3 The Form of beauty
2. Imitation
2.1 Mimêsis in Aristophanes
2.2 Republic 3: impersonation
2.3 Republic 10: copy-making
2.4 Sophist and other passages
2.5 Closing assessment
3. Divine Inspiration
3.1 Ion
3.2 Phaedrus
4. Imitation, Inspiration, Beauty
Bibliography
Academic Tools
Other Internet Resources
Related En
abhirana123:
mohit and me answer will be same
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A shaft of beauty means a passage or a beam of beauty..a place that takes you into a beautiful world such that you are pleased by it's sheer beauty .It could either be natural beauty or a beauty which is god-gifted. The shaft is compared to the very essence of the word beauty that implies beauty of any form:it could be the mountains, the valleys, handicrafts and the very smile which you possess...........
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