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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Ion + +Author: Plato + +Translator: Benjamin Jowett + +Release Date: October 10, 2008 [EBook #1635] +Last Updated: January 15, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ION *** + + + + +Produced by Sue Asscher, and David Widger + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + ION + </h1> + <p> + <br /> + </p> + <h2> + By Plato + </h2> + <p> + <br /> + </p> + <h3> + Translated by Benjamin Jowett + </h3> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h3> + Contents + </h3> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_INTR"> INTRODUCTION. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> ION </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_INTR" id="link2H_INTR"> + <!-- H2 anchor --> </a> + </p> + <h2> + INTRODUCTION. + </h2> + <p> + The Ion is the shortest, or nearly the shortest, of all the writings which + bear the name of Plato, and is not authenticated by any early external + testimony. The grace and beauty of this little work supply the only, and + perhaps a sufficient, proof of its genuineness. The plan is simple; the + dramatic interest consists entirely in the contrast between the irony of + Socrates and the transparent vanity and childlike enthusiasm of the + rhapsode Ion. The theme of the Dialogue may possibly have been suggested + by the passage of Xenophon's Memorabilia in which the rhapsodists are + described by Euthydemus as 'very precise about the exact words of Homer, + but very idiotic themselves.' (Compare Aristotle, Met.) + </p> + <p> + Ion the rhapsode has just come to Athens; he has been exhibiting in + Epidaurus at the festival of Asclepius, and is intending to exhibit at the + festival of the Panathenaea. Socrates admires and envies the rhapsode's + art; for he is always well dressed and in good company—in the + company of good poets and of Homer, who is the prince of them. In the + course of conversation the admission is elicited from Ion that his skill + is restricted to Homer, and that he knows nothing of inferior poets, such + as Hesiod and Archilochus;—he brightens up and is wide awake when + Homer is being recited, but is apt to go to sleep at the recitations of + any other poet. 'And yet, surely, he who knows the superior ought to know + the inferior also;—he who can judge of the good speaker is able to + judge of the bad. And poetry is a whole; and he who judges of poetry by + rules of art ought to be able to judge of all poetry.' This is confirmed + by the analogy of sculpture, painting, flute-playing, and the other arts. + The argument is at last brought home to the mind of Ion, who asks how this + contradiction is to be solved. The solution given by Socrates is as + follows:— + </p> + <p> + The rhapsode is not guided by rules of art, but is an inspired person who + derives a mysterious power from the poet; and the poet, in like manner, is + inspired by the God. The poets and their interpreters may be compared to a + chain of magnetic rings suspended from one another, and from a magnet. The + magnet is the Muse, and the ring which immediately follows is the poet + himself; from him are suspended other poets; there is also a chain of + rhapsodes and actors, who also hang from the Muses, but are let down at + the side; and the last ring of all is the spectator. The poet is the + inspired interpreter of the God, and this is the reason why some poets, + like Homer, are restricted to a single theme, or, like Tynnichus, are + famous for a single poem; and the rhapsode is the inspired interpreter of + the poet, and for a similar reason some rhapsodes, like Ion, are the + interpreters of single poets. + </p> + <p> + Ion is delighted at the notion of being inspired, and acknowledges that he + is beside himself when he is performing;—his eyes rain tears and his + hair stands on end. Socrates is of opinion that a man must be mad who + behaves in this way at a festival when he is surrounded by his friends and + there is nothing to trouble him. Ion is confident that Socrates would + never think him mad if he could only hear his embellishments of Homer. + Socrates asks whether he can speak well about everything in Homer. 'Yes, + indeed he can.' 'What about things of which he has no knowledge?' Ion + answers that he can interpret anything in Homer. But, rejoins Socrates, + when Homer speaks of the arts, as for example, of chariot-driving, or of + medicine, or of prophecy, or of navigation—will he, or will the + charioteer or physician or prophet or pilot be the better judge? Ion is + compelled to admit that every man will judge of his own particular art + better than the rhapsode. He still maintains, however, that he understands + the art of the general as well as any one. 'Then why in this city of + Athens, in which men of merit are always being sought after, is he not at + once appointed a general?' Ion replies that he is a foreigner, and the + Athenians and Spartans will not appoint a foreigner to be their general. + 'No, that is not the real reason; there are many examples to the contrary. + But Ion has long been playing tricks with the argument; like Proteus, he + transforms himself into a variety of shapes, and is at last about to run + away in the disguise of a general. Would he rather be regarded as inspired + or dishonest?' Ion, who has no suspicion of the irony of Socrates, eagerly + embraces the alternative of inspiration. + </p> + <p> + The Ion, like the other earlier Platonic Dialogues, is a mixture of jest + and earnest, in which no definite result is obtained, but some Socratic or + Platonic truths are allowed dimly to appear. + </p> + <p> + The elements of a true theory of poetry are contained in the notion that + the poet is inspired. Genius is often said to be unconscious, or + spontaneous, or a gift of nature: that 'genius is akin to madness' is a + popular aphorism of modern times. The greatest strength is observed to + have an element of limitation. Sense or passion are too much for the 'dry + light' of intelligence which mingles with them and becomes discoloured by + them. Imagination is often at war with reason and fact. The concentration + of the mind on a single object, or on a single aspect of human nature, + overpowers the orderly perception of the whole. Yet the feelings too bring + truths home to the minds of many who in the way of reason would be + incapable of understanding them. Reflections of this kind may have been + passing before Plato's mind when he describes the poet as inspired, or + when, as in the Apology, he speaks of poets as the worst critics of their + own writings—anybody taken at random from the crowd is a better + interpreter of them than they are of themselves. They are sacred persons, + 'winged and holy things' who have a touch of madness in their composition + (Phaedr.), and should be treated with every sort of respect (Republic), + but not allowed to live in a well-ordered state. Like the Statesmen in the + Meno, they have a divine instinct, but they are narrow and confused; they + do not attain to the clearness of ideas, or to the knowledge of poetry or + of any other art as a whole. + </p> + <p> + In the Protagoras the ancient poets are recognized by Protagoras himself + as the original sophists; and this family resemblance may be traced in the + Ion. The rhapsode belongs to the realm of imitation and of opinion: he + professes to have all knowledge, which is derived by him from Homer, just + as the sophist professes to have all wisdom, which is contained in his art + of rhetoric. Even more than the sophist he is incapable of appreciating + the commonest logical distinctions; he cannot explain the nature of his + own art; his great memory contrasts with his inability to follow the steps + of the argument. And in his highest moments of inspiration he has an eye + to his own gains. + </p> + <p> + The old quarrel between philosophy and poetry, which in the Republic leads + to their final separation, is already working in the mind of Plato, and is + embodied by him in the contrast between Socrates and Ion. Yet here, as in + the Republic, Socrates shows a sympathy with the poetic nature. Also, the + manner in which Ion is affected by his own recitations affords a lively + illustration of the power which, in the Republic, Socrates attributes to + dramatic performances over the mind of the performer. His allusion to his + embellishments of Homer, in which he declares himself to have surpassed + Metrodorus of Lampsacus and Stesimbrotus of Thasos, seems to show that, + like them, he belonged to the allegorical school of interpreters. The + circumstance that nothing more is known of him may be adduced in + confirmation of the argument that this truly Platonic little work is not a + forgery of later times. + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ION + </h2> + <p> + PERSONS OF THE DIALOGUE: Socrates, Ion. + </p> + <p> + SOCRATES: Welcome, Ion. Are you from your native city of Ephesus? + </p> + <p> + ION: No, Socrates; but from Epidaurus, where I attended the festival of + Asclepius. + </p> + <p> + SOCRATES: And do the Epidaurians have contests of rhapsodes at the + festival? + </p> + <p> + ION: O yes; and of all sorts of musical performers. + </p> + <p> + SOCRATES: And were you one of the competitors—and did you succeed? + </p> + <p> + ION: I obtained the first prize of all, Socrates. + </p> + <p> + SOCRATES: Well done; and I hope that you will do the same for us at the + Panathenaea. + </p> + <p> + ION: And I will, please heaven. + </p> + <p> + SOCRATES: I often envy the profession of a rhapsode, Ion; for you have + always to wear fine clothes, and to look as beautiful as you can is a part + of your art. Then, again, you are obliged to be continually in the company + of many good poets; and especially of Homer, who is the best and most + divine of them; and to understand him, and not merely learn his words by + rote, is a thing greatly to be envied. And no man can be a rhapsode who + does not understand the meaning of the poet. For the rhapsode ought to + interpret the mind of the poet to his hearers, but how can he interpret + him well unless he knows what he means? All this is greatly to be envied. + </p> + <p> + ION: Very true, Socrates; interpretation has certainly been the most + laborious part of my art; and I believe myself able to speak about Homer + better than any man; and that neither Metrodorus of Lampsacus, nor + Stesimbrotus of Thasos, nor Glaucon, nor any one else who ever was, had as + good ideas about Homer as I have, or as many. + </p> + <p> + SOCRATES: I am glad to hear you say so, Ion; I see that you will not + refuse to acquaint me with them. + </p> + <p> + ION: Certainly, Socrates; and you really ought to hear how exquisitely I + render Homer. I think that the Homeridae should give me a golden crown. + </p> + <p> + SOCRATES: I shall take an opportunity of hearing your embellishments of + him at some other time. But just now I should like to ask you a question: + Does your art extend to Hesiod and Archilochus, or to Homer only? + </p> + <p> + ION: To Homer only; he is in himself quite enough. + </p> + <p> + SOCRATES: Are there any things about which Homer and Hesiod agree? + </p> + <p> + ION: Yes; in my opinion there are a good many. + </p> + <p> + SOCRATES: And can you interpret better what Homer says, or what Hesiod + says, about these matters in which they agree? + </p> + <p> + ION: I can interpret them equally well, Socrates, where they agree. + </p> + <p> + SOCRATES: But what about matters in which they do not agree?—for + example, about divination, of which both Homer and Hesiod have something + to say,— + </p> + <p> + ION: Very true: + </p> + <p> + SOCRATES: Would you or a good prophet be a better interpreter of what + these two poets say about divination, not only when they agree, but when + they disagree? + </p> + <p> + ION: A prophet. + </p> + <p> + SOCRATES: And if you were a prophet, would you not be able to interpret + them when they disagree as well as when they agree? + </p> + <p> + ION: Clearly. + </p> + <p> + SOCRATES: But how did you come to have this skill about Homer only, and + not about Hesiod or the other poets? Does not Homer speak of the same + themes which all other poets handle? Is not war his great argument? and + does he not speak of human society and of intercourse of men, good and + bad, skilled and unskilled, and of the gods conversing with one another + and with mankind, and about what happens in heaven and in the world below, + and the generations of gods and heroes? Are not these the themes of which + Homer sings? + </p> + <p> + ION: Very true, Socrates. + </p> + <p> + SOCRATES: And do not the other poets sing of the same? + </p> + <p> + ION: Yes, Socrates; but not in the same way as Homer. + </p> + <p> + SOCRATES: What, in a worse way? + </p> + <p> + ION: Yes, in a far worse. + </p> + <p> + SOCRATES: And Homer in a better way? + </p> + <p> + ION: He is incomparably better. + </p> + <p> + SOCRATES: And yet surely, my dear friend Ion, in a discussion about + arithmetic, where many people are speaking, and one speaks better than the + rest, there is somebody who can judge which of them is the good speaker? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And he who judges of the good will be the same as he who judges + of the bad speakers? + </p> + <p> + ION: The same. + </p> + <p> + SOCRATES: And he will be the arithmetician? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: Well, and in discussions about the wholesomeness of food, when + many persons are speaking, and one speaks better than the rest, will he + who recognizes the better speaker be a different person from him who + recognizes the worse, or the same? + </p> + <p> + ION: Clearly the same. + </p> + <p> + SOCRATES: And who is he, and what is his name? + </p> + <p> + ION: The physician. + </p> + <p> + SOCRATES: And speaking generally, in all discussions in which the subject + is the same and many men are speaking, will not he who knows the good know + the bad speaker also? For if he does not know the bad, neither will he + know the good when the same topic is being discussed. + </p> + <p> + ION: True. + </p> + <p> + SOCRATES: Is not the same person skilful in both? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And you say that Homer and the other poets, such as Hesiod and + Archilochus, speak of the same things, although not in the same way; but + the one speaks well and the other not so well? + </p> + <p> + ION: Yes; and I am right in saying so. + </p> + <p> + SOCRATES: And if you knew the good speaker, you would also know the + inferior speakers to be inferior? + </p> + <p> + ION: That is true. + </p> + <p> + SOCRATES: Then, my dear friend, can I be mistaken in saying that Ion is + equally skilled in Homer and in other poets, since he himself acknowledges + that the same person will be a good judge of all those who speak of the + same things; and that almost all poets do speak of the same things? + </p> + <p> + ION: Why then, Socrates, do I lose attention and go to sleep and have + absolutely no ideas of the least value, when any one speaks of any other + poet; but when Homer is mentioned, I wake up at once and am all attention + and have plenty to say? + </p> + <p> + SOCRATES: The reason, my friend, is obvious. No one can fail to see that + you speak of Homer without any art or knowledge. If you were able to speak + of him by rules of art, you would have been able to speak of all other + poets; for poetry is a whole. + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And when any one acquires any other art as a whole, the same may + be said of them. Would you like me to explain my meaning, Ion? + </p> + <p> + ION: Yes, indeed, Socrates; I very much wish that you would: for I love to + hear you wise men talk. + </p> + <p> + SOCRATES: O that we were wise, Ion, and that you could truly call us so; + but you rhapsodes and actors, and the poets whose verses you sing, are + wise; whereas I am a common man, who only speak the truth. For consider + what a very commonplace and trivial thing is this which I have said—a + thing which any man might say: that when a man has acquired a knowledge of + a whole art, the enquiry into good and bad is one and the same. Let us + consider this matter; is not the art of painting a whole? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And there are and have been many painters good and bad? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And did you ever know any one who was skilful in pointing out + the excellences and defects of Polygnotus the son of Aglaophon, but + incapable of criticizing other painters; and when the work of any other + painter was produced, went to sleep and was at a loss, and had no ideas; + but when he had to give his opinion about Polygnotus, or whoever the + painter might be, and about him only, woke up and was attentive and had + plenty to say? + </p> + <p> + ION: No indeed, I have never known such a person. + </p> + <p> + SOCRATES: Or did you ever know of any one in sculpture, who was skilful in + expounding the merits of Daedalus the son of Metion, or of Epeius the son + of Panopeus, or of Theodorus the Samian, or of any individual sculptor; + but when the works of sculptors in general were produced, was at a loss + and went to sleep and had nothing to say? + </p> + <p> + ION: No indeed; no more than the other. + </p> + <p> + SOCRATES: And if I am not mistaken, you never met with any one among + flute-players or harp-players or singers to the harp or rhapsodes who was + able to discourse of Olympus or Thamyras or Orpheus, or Phemius the + rhapsode of Ithaca, but was at a loss when he came to speak of Ion of + Ephesus, and had no notion of his merits or defects? + </p> + <p> + ION: I cannot deny what you say, Socrates. Nevertheless I am conscious in + my own self, and the world agrees with me in thinking that I do speak + better and have more to say about Homer than any other man. But I do not + speak equally well about others—tell me the reason of this. + </p> + <p> + SOCRATES: I perceive, Ion; and I will proceed to explain to you what I + imagine to be the reason of this. The gift which you possess of speaking + excellently about Homer is not an art, but, as I was just saying, an + inspiration; there is a divinity moving you, like that contained in the + stone which Euripides calls a magnet, but which is commonly known as the + stone of Heraclea. This stone not only attracts iron rings, but also + imparts to them a similar power of attracting other rings; and sometimes + you may see a number of pieces of iron and rings suspended from one + another so as to form quite a long chain: and all of them derive their + power of suspension from the original stone. In like manner the Muse first + of all inspires men herself; and from these inspired persons a chain of + other persons is suspended, who take the inspiration. For all good poets, + epic as well as lyric, compose their beautiful poems not by art, but + because they are inspired and possessed. And as the Corybantian revellers + when they dance are not in their right mind, so the lyric poets are not in + their right mind when they are composing their beautiful strains: but when + falling under the power of music and metre they are inspired and + possessed; like Bacchic maidens who draw milk and honey from the rivers + when they are under the influence of Dionysus but not when they are in + their right mind. And the soul of the lyric poet does the same, as they + themselves say; for they tell us that they bring songs from honeyed + fountains, culling them out of the gardens and dells of the Muses; they, + like the bees, winging their way from flower to flower. And this is true. + For the poet is a light and winged and holy thing, and there is no + invention in him until he has been inspired and is out of his senses, and + the mind is no longer in him: when he has not attained to this state, he + is powerless and is unable to utter his oracles. Many are the noble words + in which poets speak concerning the actions of men; but like yourself when + speaking about Homer, they do not speak of them by any rules of art: they + are simply inspired to utter that to which the Muse impels them, and that + only; and when inspired, one of them will make dithyrambs, another hymns + of praise, another choral strains, another epic or iambic verses—and + he who is good at one is not good at any other kind of verse: for not by + art does the poet sing, but by power divine. Had he learned by rules of + art, he would have known how to speak not of one theme only, but of all; + and therefore God takes away the minds of poets, and uses them as his + ministers, as he also uses diviners and holy prophets, in order that we + who hear them may know them to be speaking not of themselves who utter + these priceless words in a state of unconsciousness, but that God himself + is the speaker, and that through them he is conversing with us. And + Tynnichus the Chalcidian affords a striking instance of what I am saying: + he wrote nothing that any one would care to remember but the famous paean + which is in every one's mouth, one of the finest poems ever written, + simply an invention of the Muses, as he himself says. For in this way the + God would seem to indicate to us and not allow us to doubt that these + beautiful poems are not human, or the work of man, but divine and the work + of God; and that the poets are only the interpreters of the Gods by whom + they are severally possessed. Was not this the lesson which the God + intended to teach when by the mouth of the worst of poets he sang the best + of songs? Am I not right, Ion? + </p> + <p> + ION: Yes, indeed, Socrates, I feel that you are; for your words touch my + soul, and I am persuaded that good poets by a divine inspiration interpret + the things of the Gods to us. + </p> + <p> + SOCRATES: And you rhapsodists are the interpreters of the poets? + </p> + <p> + ION: There again you are right. + </p> + <p> + SOCRATES: Then you are the interpreters of interpreters? + </p> + <p> + ION: Precisely. + </p> + <p> + SOCRATES: I wish you would frankly tell me, Ion, what I am going to ask of + you: When you produce the greatest effect upon the audience in the + recitation of some striking passage, such as the apparition of Odysseus + leaping forth on the floor, recognized by the suitors and casting his + arrows at his feet, or the description of Achilles rushing at Hector, or + the sorrows of Andromache, Hecuba, or Priam,—are you in your right + mind? Are you not carried out of yourself, and does not your soul in an + ecstasy seem to be among the persons or places of which you are speaking, + whether they are in Ithaca or in Troy or whatever may be the scene of the + poem? + </p> + <p> + ION: That proof strikes home to me, Socrates. For I must frankly confess + that at the tale of pity my eyes are filled with tears, and when I speak + of horrors, my hair stands on end and my heart throbs. + </p> + <p> + SOCRATES: Well, Ion, and what are we to say of a man who at a sacrifice or + festival, when he is dressed in holiday attire, and has golden crowns upon + his head, of which nobody has robbed him, appears weeping or + panic-stricken in the presence of more than twenty thousand friendly + faces, when there is no one despoiling or wronging him;—is he in his + right mind or is he not? + </p> + <p> + ION: No indeed, Socrates, I must say that, strictly speaking, he is not in + his right mind. + </p> + <p> + SOCRATES: And are you aware that you produce similar effects on most of + the spectators? + </p> + <p> + ION: Only too well; for I look down upon them from the stage, and behold + the various emotions of pity, wonder, sternness, stamped upon their + countenances when I am speaking: and I am obliged to give my very best + attention to them; for if I make them cry I myself shall laugh, and if I + make them laugh I myself shall cry when the time of payment arrives. + </p> + <p> + SOCRATES: Do you know that the spectator is the last of the rings which, + as I am saying, receive the power of the original magnet from one another? + The rhapsode like yourself and the actor are intermediate links, and the + poet himself is the first of them. Through all these the God sways the + souls of men in any direction which he pleases, and makes one man hang + down from another. Thus there is a vast chain of dancers and masters and + under-masters of choruses, who are suspended, as if from the stone, at the + side of the rings which hang down from the Muse. And every poet has some + Muse from whom he is suspended, and by whom he is said to be possessed, + which is nearly the same thing; for he is taken hold of. And from these + first rings, which are the poets, depend others, some deriving their + inspiration from Orpheus, others from Musaeus; but the greater number are + possessed and held by Homer. Of whom, Ion, you are one, and are possessed + by Homer; and when any one repeats the words of another poet you go to + sleep, and know not what to say; but when any one recites a strain of + Homer you wake up in a moment, and your soul leaps within you, and you + have plenty to say; for not by art or knowledge about Homer do you say + what you say, but by divine inspiration and by possession; just as the + Corybantian revellers too have a quick perception of that strain only + which is appropriated to the God by whom they are possessed, and have + plenty of dances and words for that, but take no heed of any other. And + you, Ion, when the name of Homer is mentioned have plenty to say, and have + nothing to say of others. You ask, 'Why is this?' The answer is that you + praise Homer not by art but by divine inspiration. + </p> + <p> + ION: That is good, Socrates; and yet I doubt whether you will ever have + eloquence enough to persuade me that I praise Homer only when I am mad and + possessed; and if you could hear me speak of him I am sure you would never + think this to be the case. + </p> + <p> + SOCRATES: I should like very much to hear you, but not until you have + answered a question which I have to ask. On what part of Homer do you + speak well?—not surely about every part. + </p> + <p> + ION: There is no part, Socrates, about which I do not speak well: of that + I can assure you. + </p> + <p> + SOCRATES: Surely not about things in Homer of which you have no knowledge? + </p> + <p> + ION: And what is there in Homer of which I have no knowledge? + </p> + <p> + SOCRATES: Why, does not Homer speak in many passages about arts? For + example, about driving; if I can only remember the lines I will repeat + them. + </p> + <p> + ION: I remember, and will repeat them. + </p> + <p> + SOCRATES: Tell me then, what Nestor says to Antilochus, his son, where he + bids him be careful of the turn at the horserace in honour of Patroclus. + </p> + <p> + ION: 'Bend gently,' he says, 'in the polished chariot to the left of them, + and urge the horse on the right hand with whip and voice; and slacken the + rein. And when you are at the goal, let the left horse draw near, yet so + that the nave of the well-wrought wheel may not even seem to touch the + extremity; and avoid catching the stone (Il.).' + </p> + <p> + SOCRATES: Enough. Now, Ion, will the charioteer or the physician be the + better judge of the propriety of these lines? + </p> + <p> + ION: The charioteer, clearly. + </p> + <p> + SOCRATES: And will the reason be that this is his art, or will there be + any other reason? + </p> + <p> + ION: No, that will be the reason. + </p> + <p> + SOCRATES: And every art is appointed by God to have knowledge of a certain + work; for that which we know by the art of the pilot we do not know by the + art of medicine? + </p> + <p> + ION: Certainly not. + </p> + <p> + SOCRATES: Nor do we know by the art of the carpenter that which we know by + the art of medicine? + </p> + <p> + ION: Certainly not. + </p> + <p> + SOCRATES: And this is true of all the arts;—that which we know with + one art we do not know with the other? But let me ask a prior question: + You admit that there are differences of arts? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: You would argue, as I should, that when one art is of one kind + of knowledge and another of another, they are different? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: Yes, surely; for if the subject of knowledge were the same, + there would be no meaning in saying that the arts were different,—if + they both gave the same knowledge. For example, I know that here are five + fingers, and you know the same. And if I were to ask whether I and you + became acquainted with this fact by the help of the same art of + arithmetic, you would acknowledge that we did? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: Tell me, then, what I was intending to ask you,—whether + this holds universally? Must the same art have the same subject of + knowledge, and different arts other subjects of knowledge? + </p> + <p> + ION: That is my opinion, Socrates. + </p> + <p> + SOCRATES: Then he who has no knowledge of a particular art will have no + right judgment of the sayings and doings of that art? + </p> + <p> + ION: Very true. + </p> + <p> + SOCRATES: Then which will be a better judge of the lines which you were + reciting from Homer, you or the charioteer? + </p> + <p> + ION: The charioteer. + </p> + <p> + SOCRATES: Why, yes, because you are a rhapsode and not a charioteer. + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And the art of the rhapsode is different from that of the + charioteer? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And if a different knowledge, then a knowledge of different + matters? + </p> + <p> + ION: True. + </p> + <p> + SOCRATES: You know the passage in which Hecamede, the concubine of Nestor, + is described as giving to the wounded Machaon a posset, as he says, + </p> + <p> + 'Made with Pramnian wine; and she grated cheese of goat's milk with a + grater of bronze, and at his side placed an onion which gives a relish to + drink (Il.).' + </p> + <p> + Now would you say that the art of the rhapsode or the art of medicine was + better able to judge of the propriety of these lines? + </p> + <p> + ION: The art of medicine. + </p> + <p> + SOCRATES: And when Homer says, + </p> + <p> + 'And she descended into the deep like a leaden plummet, which, set in the + horn of ox that ranges in the fields, rushes along carrying death among + the ravenous fishes (Il.),'— + </p> + <p> + will the art of the fisherman or of the rhapsode be better able to judge + whether these lines are rightly expressed or not? + </p> + <p> + ION: Clearly, Socrates, the art of the fisherman. + </p> + <p> + SOCRATES: Come now, suppose that you were to say to me: 'Since you, + Socrates, are able to assign different passages in Homer to their + corresponding arts, I wish that you would tell me what are the passages of + which the excellence ought to be judged by the prophet and prophetic art'; + and you will see how readily and truly I shall answer you. For there are + many such passages, particularly in the Odyssee; as, for example, the + passage in which Theoclymenus the prophet of the house of Melampus says to + the suitors:— + </p> + <p> + 'Wretched men! what is happening to you? Your heads and your faces and + your limbs underneath are shrouded in night; and the voice of lamentation + bursts forth, and your cheeks are wet with tears. And the vestibule is + full, and the court is full, of ghosts descending into the darkness of + Erebus, and the sun has perished out of heaven, and an evil mist is spread + abroad (Od.).' + </p> + <p> + And there are many such passages in the Iliad also; as for example in the + description of the battle near the rampart, where he says:— + </p> + <p> + 'As they were eager to pass the ditch, there came to them an omen: a + soaring eagle, holding back the people on the left, bore a huge bloody + dragon in his talons, still living and panting; nor had he yet resigned + the strife, for he bent back and smote the bird which carried him on the + breast by the neck, and he in pain let him fall from him to the ground + into the midst of the multitude. And the eagle, with a cry, was borne afar + on the wings of the wind (Il.).' + </p> + <p> + These are the sort of things which I should say that the prophet ought to + consider and determine. + </p> + <p> + ION: And you are quite right, Socrates, in saying so. + </p> + <p> + SOCRATES: Yes, Ion, and you are right also. And as I have selected from + the Iliad and Odyssee for you passages which describe the office of the + prophet and the physician and the fisherman, do you, who know Homer so + much better than I do, Ion, select for me passages which relate to the + rhapsode and the rhapsode's art, and which the rhapsode ought to examine + and judge of better than other men. + </p> + <p> + ION: All passages, I should say, Socrates. + </p> + <p> + SOCRATES: Not all, Ion, surely. Have you already forgotten what you were + saying? A rhapsode ought to have a better memory. + </p> + <p> + ION: Why, what am I forgetting? + </p> + <p> + SOCRATES: Do you not remember that you declared the art of the rhapsode to + be different from the art of the charioteer? + </p> + <p> + ION: Yes, I remember. + </p> + <p> + SOCRATES: And you admitted that being different they would have different + subjects of knowledge? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: Then upon your own showing the rhapsode, and the art of the + rhapsode, will not know everything? + </p> + <p> + ION: I should exclude certain things, Socrates. + </p> + <p> + SOCRATES: You mean to say that you would exclude pretty much the subjects + of the other arts. As he does not know all of them, which of them will he + know? + </p> + <p> + ION: He will know what a man and what a woman ought to say, and what a + freeman and what a slave ought to say, and what a ruler and what a + subject. + </p> + <p> + SOCRATES: Do you mean that a rhapsode will know better than the pilot what + the ruler of a sea-tossed vessel ought to say? + </p> + <p> + ION: No; the pilot will know best. + </p> + <p> + SOCRATES: Or will the rhapsode know better than the physician what the + ruler of a sick man ought to say? + </p> + <p> + ION: He will not. + </p> + <p> + SOCRATES: But he will know what a slave ought to say? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: Suppose the slave to be a cowherd; the rhapsode will know better + than the cowherd what he ought to say in order to soothe the infuriated + cows? + </p> + <p> + ION: No, he will not. + </p> + <p> + SOCRATES: But he will know what a spinning-woman ought to say about the + working of wool? + </p> + <p> + ION: No. + </p> + <p> + SOCRATES: At any rate he will know what a general ought to say when + exhorting his soldiers? + </p> + <p> + ION: Yes, that is the sort of thing which the rhapsode will be sure to + know. + </p> + <p> + SOCRATES: Well, but is the art of the rhapsode the art of the general? + </p> + <p> + ION: I am sure that I should know what a general ought to say. + </p> + <p> + SOCRATES: Why, yes, Ion, because you may possibly have a knowledge of the + art of the general as well as of the rhapsode; and you may also have a + knowledge of horsemanship as well as of the lyre: and then you would know + when horses were well or ill managed. But suppose I were to ask you: By + the help of which art, Ion, do you know whether horses are well managed, + by your skill as a horseman or as a performer on the lyre—what would + you answer? + </p> + <p> + ION: I should reply, by my skill as a horseman. + </p> + <p> + SOCRATES: And if you judged of performers on the lyre, you would admit + that you judged of them as a performer on the lyre, and not as a horseman? + </p> + <p> + ION: Yes. + </p> + <p> + SOCRATES: And in judging of the general's art, do you judge of it as a + general or a rhapsode? + </p> + <p> + ION: To me there appears to be no difference between them. + </p> + <p> + SOCRATES: What do you mean? Do you mean to say that the art of the + rhapsode and of the general is the same? + </p> + <p> + ION: Yes, one and the same. + </p> + <p> + SOCRATES: Then he who is a good rhapsode is also a good general? + </p> + <p> + ION: Certainly, Socrates. + </p> + <p> + SOCRATES: And he who is a good general is also a good rhapsode? + </p> + <p> + ION: No; I do not say that. + </p> + <p> + SOCRATES: But you do say that he who is a good rhapsode is also a good + general. + </p> + <p> + ION: Certainly. + </p> + <p> + SOCRATES: And you are the best of Hellenic rhapsodes? + </p> + <p> + ION: Far the best, Socrates. + </p> + <p> + SOCRATES: And are you the best general, Ion? + </p> + <p> + ION: To be sure, Socrates; and Homer was my master. + </p> + <p> + SOCRATES: But then, Ion, what in the name of goodness can be the reason + why you, who are the best of generals as well as the best of rhapsodes in + all Hellas, go about as a rhapsode when you might be a general? Do you + think that the Hellenes want a rhapsode with his golden crown, and do not + want a general? + </p> + <p> + ION: Why, Socrates, the reason is, that my countrymen, the Ephesians, are + the servants and soldiers of Athens, and do not need a general; and you + and Sparta are not likely to have me, for you think that you have enough + generals of your own. + </p> + <p> + SOCRATES: My good Ion, did you never hear of Apollodorus of Cyzicus? + </p> + <p> + ION: Who may he be? + </p> + <p> + SOCRATES: One who, though a foreigner, has often been chosen their general + by the Athenians: and there is Phanosthenes of Andros, and Heraclides of + Clazomenae, whom they have also appointed to the command of their armies + and to other offices, although aliens, after they had shown their merit. + And will they not choose Ion the Ephesian to be their general, and honour + him, if he prove himself worthy? Were not the Ephesians originally + Athenians, and Ephesus is no mean city? But, indeed, Ion, if you are + correct in saying that by art and knowledge you are able to praise Homer, + you do not deal fairly with me, and after all your professions of knowing + many glorious things about Homer, and promises that you would exhibit + them, you are only a deceiver, and so far from exhibiting the art of which + you are a master, will not, even after my repeated entreaties, explain to + me the nature of it. You have literally as many forms as Proteus; and now + you go all manner of ways, twisting and turning, and, like Proteus, become + all manner of people at once, and at last slip away from me in the + disguise of a general, in order that you may escape exhibiting your + Homeric lore. And if you have art, then, as I was saying, in falsifying + your promise that you would exhibit Homer, you are not dealing fairly with + me. But if, as I believe, you have no art, but speak all these beautiful + words about Homer unconsciously under his inspiring influence, then I + acquit you of dishonesty, and shall only say that you are inspired. Which + do you prefer to be thought, dishonest or inspired? + </p> + <p> + ION: There is a great difference, Socrates, between the two alternatives; + and inspiration is by far the nobler. + </p> + <p> + SOCRATES: Then, Ion, I shall assume the nobler alternative; and attribute + to you in your praises of Homer inspiration, and not art. + </p> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Ion, by Plato + +*** END OF THIS PROJECT GUTENBERG EBOOK ION *** + +***** This file should be named 1635-h.htm or 1635-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/6/3/1635/ + +Produced by Sue Asscher, and David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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