Interpreting Plato’s Criticism of Image- Making as Self-Directed
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Plato is both the harshest critic of image-making and the master image-maker. The usual approach distinguishes between good, truthful images (Plato’s) and bad, deceptive ones (the poets’ or the sophists’). This approach assumes that critics do not belong to the target group at which their criticism is aimed. Yet the evidence provided by Socrates’ awareness of his own fallibility compels to question this assumption. My alternate solution to the problem raised by Plato’s attitude towards images relies on interpreting Plato’s criticism as both self-directed and as an inducement for the reader to critically examine Plato’s images. The reader’s task is exemplified through the critical examination of some bodily images of the soul. Then, the general scheme of the critical method is further explained, setting the scene for a paradigm shift in Plato studies.
Abstract
Plato is both the harshest critic of image-making and the master image-maker. The usual approach distinguishes between good, truthful images (Plato’s) and bad, deceptive ones (the poets’ or the sophists’). This approach assumes that critics do not belong to the target group at which their criticism is aimed. Yet the evidence provided by Socrates’ awareness of his own fallibility compels to question this assumption. My alternate solution to the problem raised by Plato’s attitude towards images relies on interpreting Plato’s criticism as both self-directed and as an inducement for the reader to critically examine Plato’s images. The reader’s task is exemplified through the critical examination of some bodily images of the soul. Then, the general scheme of the critical method is further explained, setting the scene for a paradigm shift in Plato studies.
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