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1 Ion| and an evil mist is spread abroad (Od.).’~And there are many
2 Ion| and go to sleep and have absolutely no ideas of the least value,
3 Ion| feet, or the description of Achilles rushing at Hector, or the
4 Ion| of arithmetic, you would acknowledge that we did?~ION: Yes.~SOCRATES:
5 Ion| that you will not refuse to acquaint me with them.~ION: Certainly,
6 Ion| whether I and you became acquainted with this fact by the help
7 Ion| say: that when a man has acquired a knowledge of a whole art,
8 Ion| SOCRATES: And when any one acquires any other art as a whole,
9 Ion| inspiring influence, then I acquit you of dishonesty, and shall
10 Ion| poets speak concerning the actions of men; but like yourself
11 Ion| rhapsode like yourself and the actor are intermediate links,
12 Ion| more is known of him may be adduced in confirmation of the argument
13 Ion| the Panathenaea. Socrates admires and envies the rhapsode’
14 Ion| course of conversation the admission is elicited from Ion that
15 Ion| remember.~SOCRATES: And you admitted that being different they
16 Ion| eagle, with a cry, was borne afar on the wings of the wind (
17 Ion| the manner in which Ion is affected by his own recitations affords
18 Ion| of Polygnotus the son of Aglaophon, but incapable of criticizing
19 Ion| own self, and the world agrees with me in thinking that
20 Ion| nature: that ‘genius is akin to madness’ is a popular
21 Ion| other offices, although aliens, after they had shown their
22 Ion| them, he belonged to the allegorical school of interpreters.
23 Ion| to indicate to us and not allow us to doubt that these beautiful
24 Ion| mind of the performer. His allusion to his embellishments of
25 | almost
26 | along
27 Ion| Socrates, between the two alternatives; and inspiration is by far
28 Ion| This is confirmed by the analogy of sculpture, painting,
29 Ion| whole.~In the Protagoras the ancient poets are recognized by
30 Ion| Hector, or the sorrows of Andromache, Hecuba, or Priam,—are you
31 Ion| there is Phanosthenes of Andros, and Heraclides of Clazomenae,
32 Ion| but not until you have answered a question which I have
33 Ion| he has no knowledge?’ Ion answers that he can interpret anything
34 Ion| then, what Nestor says to Antilochus, his son, where he bids
35 Ion| critics of their own writings—anybody taken at random from the
36 | anything
37 Ion| to madness’ is a popular aphorism of modern times. The greatest
38 Ion| Ion, did you never hear of Apollodorus of Cyzicus?~ION: Who may
39 Ion| inspired, or when, as in the Apology, he speaks of poets as the
40 Ion| striking passage, such as the apparition of Odysseus leaping forth
41 Ion| truths are allowed dimly to appear.~The elements of a true
42 Ion| Athenians and Spartans will not appoint a foreigner to be their
43 Ion| sophist he is incapable of appreciating the commonest logical distinctions;
44 Ion| that strain only which is appropriated to the God by whom they
45 Ion| is being recited, but is apt to go to sleep at the recitations
46 Ion| Yes.~SOCRATES: You would argue, as I should, that when
47 Ion| idiotic themselves.’ (Compare Aristotle, Met.)~Ion the rhapsode
48 Ion| SOCRATES: And he will be the arithmetician?~ION: Yes.~SOCRATES: Well,
49 Ion| to the command of their armies and to other offices, although
50 Ion| when the time of payment arrives.~SOCRATES: Do you know that
51 Ion| suitors and casting his arrows at his feet, or the description
52 Ion| single object, or on a single aspect of human nature, overpowers
53 Ion| you, Socrates, are able to assign different passages in Homer
54 Ion| SOCRATES: Then, Ion, I shall assume the nobler alternative;
55 Ion| speak well: of that I can assure you.~SOCRATES: Surely not
56 Ion| and confused; they do not attain to the clearness of ideas,
57 Ion| in him: when he has not attained to this state, he is powerless
58 Ion| from Epidaurus, where I attended the festival of Asclepius.~
59 Ion| him only, woke up and was attentive and had plenty to say?~ION:
60 Ion| he is dressed in holiday attire, and has golden crowns upon
61 Ion| them a similar power of attracting other rings; and sometimes
62 Ion| Heraclea. This stone not only attracts iron rings, but also imparts
63 Ion| nobler alternative; and attribute to you in your praises of
64 Ion| in the Republic, Socrates attributes to dramatic performances
65 Ion| greatest effect upon the audience in the recitation of some
66 Ion| name of Plato, and is not authenticated by any early external testimony.
67 Ion| touch the extremity; and avoid catching the stone (Il.).’~
68 Ion| brightens up and is wide awake when Homer is being recited,
69 Ion| mind.~SOCRATES: And are you aware that you produce similar
70 Ion| inspired and possessed; like Bacchic maidens who draw milk and
71 Ion| in the description of the battle near the rampart, where
72 Ion| of all the writings which bear the name of Plato, and is
73 Ion| testimony. The grace and beauty of this little work supply
74 | became
75 | become
76 | becomes
77 Ion| the Muses; they, like the bees, winging their way from
78 | before
79 Ion| that a man must be mad who behaves in this way at a festival
80 Ion| them from the stage, and behold the various emotions of
81 Ion| show that, like them, he belonged to the allegorical school
82 Ion| in the Ion. The rhapsode belongs to the realm of imitation
83 | below
84 Ion| honour of Patroclus.~ION: ‘Bend gently,’ he says, ‘in the
85 Ion| resigned the strife, for he bent back and smote the bird
86 | beside
87 Ion| Antilochus, his son, where he bids him be careful of the turn
88 Ion| bent back and smote the bird which carried him on the
89 Ion| on the left, bore a huge bloody dragon in his talons, still
90 Ion| the people on the left, bore a huge bloody dragon in
91 Ion| the eagle, with a cry, was borne afar on the wings of the
92 Ion| which carried him on the breast by the neck, and he in pain
93 Ion| Hesiod and Archilochus;—he brightens up and is wide awake when
94 Ion| s milk with a grater of bronze, and at his side placed
95 Ion| The argument is at last brought home to the mind of Ion,
96 Ion| the voice of lamentation bursts forth, and your cheeks are
97 Ion| and that you could truly call us so; but you rhapsodes
98 Ion| the stone which Euripides calls a magnet, but which is commonly
99 Ion| nothing that any one would care to remember but the famous
100 Ion| son, where he bids him be careful of the turn at the horserace
101 Ion| we know by the art of the carpenter that which we know by the
102 Ion| the fields, rushes along carrying death among the ravenous
103 Ion| never think this to be the case.~SOCRATES: I should like
104 Ion| recognized by the suitors and casting his arrows at his feet,
105 Ion| the extremity; and avoid catching the stone (Il.).’~SOCRATES:
106 Ion| with us. And Tynnichus the Chalcidian affords a striking instance
107 Ion| he says, ‘in the polished chariot to the left of them, and
108 Ion| arts, as for example, of chariot-driving, or of medicine, or of prophecy,
109 Ion| lamentation bursts forth, and your cheeks are wet with tears. And
110 Ion| Pramnian wine; and she grated cheese of goat’s milk with a grater
111 Ion| the transparent vanity and childlike enthusiasm of the rhapsode
112 Ion| merit. And will they not choose Ion the Ephesian to be their
113 Ion| hymns of praise, another choral strains, another epic or
114 Ion| masters and under-masters of choruses, who are suspended, as if
115 Ion| foreigner, has often been chosen their general by the Athenians:
116 Ion| school of interpreters. The circumstance that nothing more is known
117 Ion| Andros, and Heraclides of Clazomenae, whom they have also appointed
118 Ion| they do not attain to the clearness of ideas, or to the knowledge
119 Ion| have always to wear fine clothes, and to look as beautiful
120 Ion| have also appointed to the command of their armies and to other
121 Ion| are wise; whereas I am a common man, who only speak the
122 Ion| incapable of appreciating the commonest logical distinctions; he
123 Ion| calls a magnet, but which is commonly known as the stone of Heraclea.
124 Ion| For consider what a very commonplace and trivial thing is this
125 Ion| very idiotic themselves.’ (Compare Aristotle, Met.)~Ion the
126 Ion| their interpreters may be compared to a chain of magnetic rings
127 Ion| the better judge? Ion is compelled to admit that every man
128 Ion| And were you one of the competitors—and did you succeed?~ION:
129 Ion| epic as well as lyric, compose their beautiful poems not
130 Ion| right mind when they are composing their beautiful strains:
131 Ion| touch of madness in their composition (Phaedr.), and should be
132 Ion| with reason and fact. The concentration of the mind on a single
133 Ion| words in which poets speak concerning the actions of men; but
134 Ion| passage in which Hecamede, the concubine of Nestor, is described
135 Ion| Socrates. For I must frankly confess that at the tale of pity
136 Ion| nothing to trouble him. Ion is confident that Socrates would never
137 Ion| of him may be adduced in confirmation of the argument that this
138 Ion| of all poetry.’ This is confirmed by the analogy of sculpture,
139 Ion| but they are narrow and confused; they do not attain to the
140 Ion| Socrates. Nevertheless I am conscious in my own self, and the
141 Ion| simple; the dramatic interest consists entirely in the contrast
142 Ion| do the Epidaurians have contests of rhapsodes at the festival?~
143 Ion| again, you are obliged to be continually in the company of many good
144 Ion| of Ion, who asks how this contradiction is to be solved. The solution
145 Ion| are many examples to the contrary. But Ion has long been playing
146 Ion| own art; his great memory contrasts with his inability to follow
147 Ion| of them. In the course of conversation the admission is elicited
148 Ion| indeed, Ion, if you are correct in saying that by art and
149 Ion| passages in Homer to their corresponding arts, I wish that you would
150 Ion| sternness, stamped upon their countenances when I am speaking: and
151 Ion| the reason is, that my countrymen, the Ephesians, are the
152 Ion| the prince of them. In the course of conversation the admission
153 Ion| vestibule is full, and the court is full, of ghosts descending
154 Ion| to soothe the infuriated cows?~ION: No, he will not.~SOCRATES:
155 Ion| Aglaophon, but incapable of criticizing other painters; and when
156 Ion| speaks of poets as the worst critics of their own writings—anybody
157 Ion| taken at random from the crowd is a better interpreter
158 Ion| holiday attire, and has golden crowns upon his head, of which
159 Ion| from honeyed fountains, culling them out of the gardens
160 Ion| never hear of Apollodorus of Cyzicus?~ION: Who may he be?~SOCRATES:
161 Ion| expounding the merits of Daedalus the son of Metion, or of
162 Ion| Corybantian revellers when they dance are not in their right mind,
163 Ion| there is a vast chain of dancers and masters and under-masters
164 Ion| possessed, and have plenty of dances and words for that, but
165 Ion| ghosts descending into the darkness of Erebus, and the sun has
166 Ion| praise Homer, you do not deal fairly with me, and after
167 Ion| exhibit Homer, you are not dealing fairly with me. But if,
168 Ion| fields, rushes along carrying death among the ravenous fishes (
169 Ion| exhibit them, you are only a deceiver, and so far from exhibiting
170 Ion| you not remember that you declared the art of the rhapsode
171 Ion| embellishments of Homer, in which he declares himself to have surpassed
172 Ion| And she descended into the deep like a leaden plummet, which,
173 Ion| and earnest, in which no definite result is obtained, but
174 Ion| of single poets.~Ion is delighted at the notion of being inspired,
175 Ion| them out of the gardens and dells of the Muses; they, like
176 Ion| or defects?~ION: I cannot deny what you say, Socrates.
177 Ion| rings, which are the poets, depend others, some deriving their
178 Ion| long chain: and all of them derive their power of suspension
179 Ion| all knowledge, which is derived by him from Homer, just
180 Ion| is an inspired person who derives a mysterious power from
181 Ion| poets, depend others, some deriving their inspiration from Orpheus,
182 Ion| when Homer says,~‘And she descended into the deep like a leaden
183 Ion| court is full, of ghosts descending into the darkness of Erebus,
184 Ion| Odyssee for you passages which describe the office of the prophet
185 Ion| before Plato’s mind when he describes the poet as inspired, or
186 Ion| faces, when there is no one despoiling or wronging him;—is he in
187 Ion| prophet ought to consider and determine.~ION: And you are quite
188 Ion| the other earlier Platonic Dialogues, is a mixture of jest and
189 Ion| You admit that there are differences of arts?~ION: Yes.~SOCRATES:
190 Ion| Platonic truths are allowed dimly to appear.~The elements
191 Ion| are under the influence of Dionysus but not when they are in
192 Ion| the souls of men in any direction which he pleases, and makes
193 Ion| mingles with them and becomes discoloured by them. Imagination is
194 Ion| rhapsodes who was able to discourse of Olympus or Thamyras or
195 Ion| the same topic is being discussed.~ION: True.~SOCRATES: Is
196 Ion| my dear friend Ion, in a discussion about arithmetic, where
197 Ion| influence, then I acquit you of dishonesty, and shall only say that
198 Ion| appreciating the commonest logical distinctions; he cannot explain the nature
199 Ion| they were eager to pass the ditch, there came to them an omen:
200 Ion| inspired, one of them will make dithyrambs, another hymns of praise,
201 Ion| ministers, as he also uses diviners and holy prophets, in order
202 Ion| inspiration; there is a divinity moving you, like that contained
203 Ion| judgment of the sayings and doings of that art?~ION: Very true.~
204 | done
205 Ion| left, bore a huge bloody dragon in his talons, still living
206 Ion| which gives a relish to drink (Il.).’~Now would you say
207 Ion| arts? For example, about driving; if I can only remember
208 Ion| passion are too much for the ‘dry light’ of intelligence which
209 Ion| he says:—~‘As they were eager to pass the ditch, there
210 Ion| of the irony of Socrates, eagerly embraces the alternative
211 Ion| The Ion, like the other earlier Platonic Dialogues, is a
212 Ion| not authenticated by any early external testimony. The
213 Ion| is a mixture of jest and earnest, in which no definite result
214 Ion| does not your soul in an ecstasy seem to be among the persons
215 Ion| you produce the greatest effect upon the audience in the
216 Ion| that you produce similar effects on most of the spectators?~
217 Ion| strength is observed to have an element of limitation. Sense or
218 Ion| allowed dimly to appear.~The elements of a true theory of poetry
219 Ion| conversation the admission is elicited from Ion that his skill
220 Ion| whether you will ever have eloquence enough to persuade me that
221 | else
222 Ion| the mind of Plato, and is embodied by him in the contrast between
223 Ion| irony of Socrates, eagerly embraces the alternative of inspiration.~
224 Ion| and behold the various emotions of pity, wonder, sternness,
225 Ion| knowledge of a whole art, the enquiry into good and bad is one
226 Ion| transparent vanity and childlike enthusiasm of the rhapsode Ion. The
227 Ion| dramatic interest consists entirely in the contrast between
228 Ion| even after my repeated entreaties, explain to me the nature
229 Ion| Panathenaea. Socrates admires and envies the rhapsode’s art; for
230 Ion| heaven.~SOCRATES: I often envy the profession of a rhapsode,
231 Ion| the son of Metion, or of Epeius the son of Panopeus, or
232 Ion| they not choose Ion the Ephesian to be their general, and
233 Ion| Asclepius.~SOCRATES: And do the Epidaurians have contests of rhapsodes
234 Ion| descending into the darkness of Erebus, and the sun has perished
235 Ion| general, in order that you may escape exhibiting your Homeric
236 Ion| of many good poets; and especially of Homer, who is the best
237 Ion| contained in the stone which Euripides calls a magnet, but which
238 Ion| rhapsodists are described by Euthydemus as ‘very precise about the
239 Ion| perished out of heaven, and an evil mist is spread abroad (Od.).’~
240 Ion| very precise about the exact words of Homer, but very
241 Ion| which the rhapsode ought to examine and judge of better than
242 Ion| real reason; there are many examples to the contrary. But Ion
243 Ion| the passages of which the excellence ought to be judged by the
244 Ion| skilful in pointing out the excellences and defects of Polygnotus
245 Ion| you possess of speaking excellently about Homer is not an art,
246 Ion| general ought to say when exhorting his soldiers?~ION: Yes,
247 Ion| sculpture, who was skilful in expounding the merits of Daedalus the
248 Ion| these lines are rightly expressed or not?~ION: Clearly, Socrates,
249 Ion| really ought to hear how exquisitely I render Homer. I think
250 Ion| question: Does your art extend to Hesiod and Archilochus,
251 Ion| authenticated by any early external testimony. The grace and
252 Ion| not even seem to touch the extremity; and avoid catching the
253 Ion| of inspiration he has an eye to his own gains.~The old
254 Ion| is obvious. No one can fail to see that you speak of
255 Ion| and he in pain let him fall from him to the ground into
256 Ion| beautiful strains: but when falling under the power of music
257 Ion| then, as I was saying, in falsifying your promise that you would
258 Ion| original sophists; and this family resemblance may be traced
259 Ion| Yes, indeed, Socrates, I feel that you are; for your words
260 Ion| perception of the whole. Yet the feelings too bring truths home to
261 Ion| casting his arrows at his feet, or the description of Achilles
262 Ion| of ox that ranges in the fields, rushes along carrying death
263 Ion| tale of pity my eyes are filled with tears, and when I speak
264 Ion| Republic leads to their final separation, is already working
265 Ion| you have always to wear fine clothes, and to look as
266 Ion| one’s mouth, one of the finest poems ever written, simply
267 Ion| know that here are five fingers, and you know the same.
268 Ion| death among the ravenous fishes (Il.),’—~will the art of
269 Ion| example, I know that here are five fingers, and you know the
270 Ion| Odysseus leaping forth on the floor, recognized by the suitors
271 Ion| never met with any one among flute-players or harp-players or singers
272 Ion| of sculpture, painting, flute-playing, and the other arts. The
273 Ion| contrasts with his inability to follow the steps of the argument.
274 Ion| about the wholesomeness of food, when many persons are speaking,
275 Ion| Platonic little work is not a forgery of later times.~
276 Ion| memory.~ION: Why, what am I forgetting?~SOCRATES: Do you not remember
277 Ion| surely. Have you already forgotten what you were saying? A
278 Ion| from one another so as to form quite a long chain: and
279 Ion| You have literally as many forms as Proteus; and now you
280 Ion| bring songs from honeyed fountains, culling them out of the
281 Ion| ought to say, and what a freeman and what a slave ought to
282 Ion| more than twenty thousand friendly faces, when there is no
283 Ion| he is surrounded by his friends and there is nothing to
284 Ion| he has an eye to his own gains.~The old quarrel between
285 Ion| culling them out of the gardens and dells of the Muses;
286 Ion| different,—if they both gave the same knowledge. For
287 Ion| SOCRATES: And speaking generally, in all discussions in which
288 Ion| the world below, and the generations of gods and heroes? Are
289 Ion| of Patroclus.~ION: ‘Bend gently,’ he says, ‘in the polished
290 Ion| sufficient, proof of its genuineness. The plan is simple; the
291 Ion| and the court is full, of ghosts descending into the darkness
292 Ion| be solved. The solution given by Socrates is as follows:—~
293 Ion| side placed an onion which gives a relish to drink (Il.).’~
294 Ion| Nestor, is described as giving to the wounded Machaon a
295 Ion| as many.~SOCRATES: I am glad to hear you say so, Ion;
296 Ion| Stesimbrotus of Thasos, nor Glaucon, nor any one else who ever
297 Ion| professions of knowing many glorious things about Homer, and
298 Ion| And when you are at the goal, let the left horse draw
299 Ion| and she grated cheese of goat’s milk with a grater of
300 Ion| tell me, Ion, what I am going to ask of you: When you
301 Ion| Ion, what in the name of goodness can be the reason why you,
302 Ion| external testimony. The grace and beauty of this little
303 Ion| with Pramnian wine; and she grated cheese of goat’s milk with
304 Ion| cheese of goat’s milk with a grater of bronze, and at his side
305 Ion| others from Musaeus; but the greater number are possessed and
306 Ion| him fall from him to the ground into the midst of the multitude.
307 Ion| follows:—~The rhapsode is not guided by rules of art, but is
308 Ion| urge the horse on the right hand with whip and voice; and
309 Ion| themes which all other poets handle? Is not war his great argument?
310 Ion| Wretched men! what is happening to you? Your heads and your
311 Ion| mankind, and about what happens in heaven and in the world
312 Ion| harp-players or singers to the harp or rhapsodes who was able
313 Ion| one among flute-players or harp-players or singers to the harp or
314 Ion| has golden crowns upon his head, of which nobody has robbed
315 Ion| is happening to you? Your heads and your faces and your
316 Ion| mind of the poet to his hearers, but how can he interpret
317 Ion| shall take an opportunity of hearing your embellishments of him
318 Ion| hair stands on end and my heart throbs.~SOCRATES: Well,
319 Ion| know the passage in which Hecamede, the concubine of Nestor,
320 Ion| description of Achilles rushing at Hector, or the sorrows of Andromache,
321 Ion| the sorrows of Andromache, Hecuba, or Priam,—are you in your
322 Ion| words for that, but take no heed of any other. And you, Ion,
323 Ion| number are possessed and held by Homer. Of whom, Ion,
324 Ion| best of rhapsodes in all Hellas, go about as a rhapsode
325 Ion| general? Do you think that the Hellenes want a rhapsode with his
326 Ion| And you are the best of Hellenic rhapsodes?~ION: Far the
327 Ion| commonly known as the stone of Heraclea. This stone not only attracts
328 Ion| Phanosthenes of Andros, and Heraclides of Clazomenae, whom they
329 Ion| generations of gods and heroes? Are not these the themes
330 | herself
331 Ion| the argument. And in his highest moments of inspiration he
332 Ion| same thing; for he is taken hold of. And from these first
333 Ion| an omen: a soaring eagle, holding back the people on the left,
334 Ion| to ask you,—whether this holds universally? Must the same
335 Ion| festival, when he is dressed in holiday attire, and has golden crowns
336 Ion| may escape exhibiting your Homeric lore. And if you have art,
337 Ion| Homer. I think that the Homeridae should give me a golden
338 Ion| maidens who draw milk and honey from the rivers when they
339 Ion| that they bring songs from honeyed fountains, culling them
340 Ion| SOCRATES: Well done; and I hope that you will do the same
341 Ion| plummet, which, set in the horn of ox that ranges in the
342 Ion| tears, and when I speak of horrors, my hair stands on end and
343 Ion| also have a knowledge of horsemanship as well as of the lyre:
344 Ion| careful of the turn at the horserace in honour of Patroclus.~
345 Ion| Theoclymenus the prophet of the house of Melampus says to the
346 | however
347 Ion| people on the left, bore a huge bloody dragon in his talons,
348 Ion| make dithyrambs, another hymns of praise, another choral
349 Ion| strains, another epic or iambic verses—and he who is good
350 Ion| words of Homer, but very idiotic themselves.’ (Compare Aristotle,
351 Ion| when horses were well or ill managed. But suppose I were
352 Ion| recitations affords a lively illustration of the power which, in the
353 Ion| becomes discoloured by them. Imagination is often at war with reason
354 Ion| to explain to you what I imagine to be the reason of this.
355 Ion| belongs to the realm of imitation and of opinion: he professes
356 Ion| Muse, and the ring which immediately follows is the poet himself;
357 Ion| attracts iron rings, but also imparts to them a similar power
358 Ion| utter that to which the Muse impels them, and that only; and
359 Ion| memory contrasts with his inability to follow the steps of the
360 Ion| a better way?~ION: He is incomparably better.~SOCRATES: And yet
361 Ion| way the God would seem to indicate to us and not allow us to
362 Ion| Theodorus the Samian, or of any individual sculptor; but when the works
363 Ion| say in order to soothe the infuriated cows?~ION: No, he will not.~
364 Ion| manner the Muse first of all inspires men herself; and from these
365 Ion| unconsciously under his inspiring influence, then I acquit
366 Ion| Chalcidian affords a striking instance of what I am saying: he
367 Ion| Meno, they have a divine instinct, but they are narrow and
368 Ion| much for the ‘dry light’ of intelligence which mingles with them
369 Ion| the lesson which the God intended to teach when by the mouth
370 Ion| of human society and of intercourse of men, good and bad, skilled
371 Ion| is simple; the dramatic interest consists entirely in the
372 Ion| yourself and the actor are intermediate links, and the poet himself
373 Ion| ION: Very true, Socrates; interpretation has certainly been the most
374 Ion| INTRODUCTION~The Ion is the shortest,
375 | its
376 Ion| Dialogues, is a mixture of jest and earnest, in which no
377 Ion| ION: Yes.~SOCRATES: And in judging of the general’s art, do
378 Ion| particular art will have no right judgment of the sayings and doings
379 Ion| so.~SOCRATES: And if you knew the good speaker, you would
380 Ion| all your professions of knowing many glorious things about
381 Ion| certainly been the most laborious part of my art; and I believe
382 Ion| night; and the voice of lamentation bursts forth, and your cheeks
383 | later
384 Ion| descended into the deep like a leaden plummet, which, set in the
385 Ion| poetry, which in the Republic leads to their final separation,
386 Ion| the apparition of Odysseus leaping forth on the floor, recognized
387 Ion| a moment, and your soul leaps within you, and you have
388 Ion| understand him, and not merely learn his words by rote, is a
389 Ion| by power divine. Had he learned by rules of art, he would
390 | least
391 Ion| possessed. Was not this the lesson which the God intended to
392 | likely
393 Ion| and your faces and your limbs underneath are shrouded
394 Ion| observed to have an element of limitation. Sense or passion are too
395 Ion| the actor are intermediate links, and the poet himself is
396 Ion| the nature of it. You have literally as many forms as Proteus;
397 Ion| Republic), but not allowed to live in a well-ordered state.
398 Ion| own recitations affords a lively illustration of the power
399 Ion| dragon in his talons, still living and panting; nor had he
400 Ion| appreciating the commonest logical distinctions; he cannot
401 Ion| senses, and the mind is no longer in him: when he has not
402 Ion| exhibiting your Homeric lore. And if you have art, then,
403 Ion| Why then, Socrates, do I lose attention and go to sleep
404 Ion| wish that you would: for I love to hear you wise men talk.~
405 Ion| as giving to the wounded Machaon a posset, as he says,~‘Made
406 | Made
407 Ion| be compared to a chain of magnetic rings suspended from one
408 Ion| possessed; like Bacchic maidens who draw milk and honey
409 Ion| than the rhapsode. He still maintains, however, that he understands
410 | makes
411 Ion| with one another and with mankind, and about what happens
412 Ion| vast chain of dancers and masters and under-masters of choruses,
413 Ion| same. Let us consider this matter; is not the art of painting
414 Ion| unless he knows what he means? All this is greatly to
415 Ion| prophet of the house of Melampus says to the suitors:—~‘Wretched
416 Ion| the passage of Xenophon’s Memorabilia in which the rhapsodists
417 Ion| Like the Statesmen in the Meno, they have a divine instinct,
418 Ion| understand him, and not merely learn his words by rote,
419 Ion| merits of Daedalus the son of Metion, or of Epeius the son of
420 Ion| under the power of music and metre they are inspired and possessed;
421 Ion| him to the ground into the midst of the multitude. And the
422 Ion| light’ of intelligence which mingles with them and becomes discoloured
423 Ion| poets, and uses them as his ministers, as he also uses diviners
424 Ion| out of heaven, and an evil mist is spread abroad (Od.).’~
425 Ion| Platonic Dialogues, is a mixture of jest and earnest, in
426 Ion| is a popular aphorism of modern times. The greatest strength
427 Ion| of Homer you wake up in a moment, and your soul leaps within
428 Ion| argument. And in his highest moments of inspiration he has an
429 Ion| inspiration; there is a divinity moving you, like that contained
430 Ion| ground into the midst of the multitude. And the eagle, with a cry,
431 Ion| from Orpheus, others from Musaeus; but the greater number
432 Ion| falling under the power of music and metre they are inspired
433 Ion| yes; and of all sorts of musical performers.~SOCRATES: And
434 Ion| inspired person who derives a mysterious power from the poet; and
435 Ion| divine instinct, but they are narrow and confused; they do not
436 Ion| Ion. Are you from your native city of Ephesus?~ION: No,
437 Ion| draw near, yet so that the nave of the well-wrought wheel
438 Ion| medicine, or of prophecy, or of navigation—will he, or will the charioteer
439 Ion| him on the breast by the neck, and he in pain let him
440 Ion| soldiers of Athens, and do not need a general; and you and Sparta
441 | Nevertheless
442 Ion| underneath are shrouded in night; and the voice of lamentation
443 Ion| his oracles. Many are the noble words in which poets speak
444 | nobody
445 Ion| of the mind on a single object, or on a single aspect of
446 Ion| The greatest strength is observed to have an element of limitation.
447 Ion| The reason, my friend, is obvious. No one can fail to see
448 Ion| evil mist is spread abroad (Od.).’~And there are many such
449 Ion| such as the apparition of Odysseus leaping forth on the floor,
450 Ion| passages which describe the office of the prophet and the physician
451 Ion| their armies and to other offices, although aliens, after
452 Ion| eye to his own gains.~The old quarrel between philosophy
453 Ion| was able to discourse of Olympus or Thamyras or Orpheus,
454 Ion| ditch, there came to them an omen: a soaring eagle, holding
455 Ion| and at his side placed an onion which gives a relish to
456 Ion| SOCRATES: I shall take an opportunity of hearing your embellishments
457 Ion| and is unable to utter his oracles. Many are the noble words
458 Ion| human nature, overpowers the orderly perception of the whole.
459 Ion| Were not the Ephesians originally Athenians, and Ephesus is
460 | over
461 Ion| aspect of human nature, overpowers the orderly perception of
462 Ion| which, set in the horn of ox that ranges in the fields,
463 Ion| remember but the famous paean which is in every one’s
464 Ion| breast by the neck, and he in pain let him fall from him to
465 Ion| him, appears weeping or panic-stricken in the presence of more
466 Ion| or of Epeius the son of Panopeus, or of Theodorus the Samian,
467 Ion| talons, still living and panting; nor had he yet resigned
468 Ion| are many such passages, particularly in the Odyssee; as, for
469 Ion| As they were eager to pass the ditch, there came to
470 Ion| this kind may have been passing before Plato’s mind when
471 Ion| of limitation. Sense or passion are too much for the ‘dry
472 Ion| the horserace in honour of Patroclus.~ION: ‘Bend gently,’ he
473 Ion| shall cry when the time of payment arrives.~SOCRATES: Do you
474 Ion| reason of this.~SOCRATES: I perceive, Ion; and I will proceed
475 Ion| Socrates attributes to dramatic performances over the mind of the performer.
476 Ion| beside himself when he is performing;—his eyes rain tears and
477 | perhaps
478 Ion| Erebus, and the sun has perished out of heaven, and an evil
479 Ion| have eloquence enough to persuade me that I praise Homer only
480 Ion| touch my soul, and I am persuaded that good poets by a divine
481 Ion| madness in their composition (Phaedr.), and should be treated
482 Ion| Athenians: and there is Phanosthenes of Andros, and Heraclides
483 Ion| Thamyras or Orpheus, or Phemius the rhapsode of Ithaca,
484 Ion| The old quarrel between philosophy and poetry, which in the
485 Ion| you may see a number of pieces of iron and rings suspended
486 Ion| bronze, and at his side placed an onion which gives a relish
487 Ion| be among the persons or places of which you are speaking,
488 Ion| of its genuineness. The plan is simple; the dramatic
489 Ion| contrary. But Ion has long been playing tricks with the argument;
490 Ion| Panathenaea.~ION: And I will, please heaven.~SOCRATES: I often
491 Ion| in any direction which he pleases, and makes one man hang
492 Ion| into the deep like a leaden plummet, which, set in the horn
493 Ion| shows a sympathy with the poetic nature. Also, the manner
494 Ion| any one who was skilful in pointing out the excellences and
495 Ion| gently,’ he says, ‘in the polished chariot to the left of them,
496 Ion| is akin to madness’ is a popular aphorism of modern times.
497 Ion| this. The gift which you possess of speaking excellently
498 Ion| divine inspiration and by possession; just as the Corybantian
499 Ion| to the wounded Machaon a posset, as he says,~‘Made with
500 Ion| attained to this state, he is powerless and is unable to utter his