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Téchne and Enthousiasmós in Plato’s Critique of Poetry

Téchne and Enthousiasmós in Plato’s Critique of Poetry

Javier Aguirre, “Téchne and Enthousiasmós in Plato’s Critique of Poetry,” Revista Portuguesa de Filosofia 72, no. 1 (2016): 181–98, DOI 10.17990/RPF/2016_72_1_0181

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Téchne and Enthousiasmós in Plato’s Critique of Poetry

  • Type Journal Article
    Author Javier Aguirre
    Rights © 2016 Aletheia - Associação Científica e Cultural | © 2016 Revista Portuguesa de Filosofia
    Volume 72
    Issue 1
    Pages 181-198
    Publication Revista Portuguesa de Filosofia
    ISSN 0870-5283; 2183-461X
    Date 2016
    DOI 10.17990/RPF/2016_72_1_0181
    Language English
    Abstract Platonic critique of poetry in the Ion is structured around notions of téchne (craft) and enthousiasmós (divine inspiration). Whilst téchne constitutes the fundamental assessment criteria for rhapsodic and poetic activity, enthousiasmós arises as an opposing notion to téchne, and it is in that opposition that its meaning within the dialogue lies. Firstly, Plato asks whether rhapsody and poetry are téchnai, and once that condition is refuted, the philosopher turns to the notion of enthousiasmós with the aim of explaining the origin of the activities of poets and rhapsodists. It can be concluded from the strategy developed by Plato in his dialogues, that his main interest lies in determining not so much what the source of poetic creation is (enthousiasmós), but rather what it is not (téchne), in a clearly political context. A context in which both notions appear for the first time in the history of Greek literature as opposing and exclusive, and where the legitimacy of poets and rhapsodists as competent models for guiding the polis and the citizens is brought into doubt.
    Date Added 13/04/2016, 16:26:11
    Modified 13/04/2016, 16:56:05


    • enthousiasmós
    • Ion
    • Plato and poetry
    • téchne


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