Plato as a Literary Theorist and Critic

Introduction: Plato as a Literary Theorist and Critic

Table of Contents

Understanding Plato as a literary theorist and critic requires recognizing how his philosophical inquiries intertwine with aesthetic and moral vision, as seen in both his own dialogues and in modern interpretations such as Jonny Thakkar’s Plato as Critical Theorist (2018). Thakkar situates Plato within a dialectic between ideal theory and critical theory, arguing that The Republic operates not merely as an abstract utopia but as a critique of existing sociopolitical orders through the lens of moral perfectionism and the pursuit of justice. Plato’s major works—The Republic, Ion, Phaedrus, and The Symposium—collectively reveal his enduring engagement with poetry, rhetoric, and art as both expressions and distortions of truth. His expulsion of poets from the ideal city in The Republic (Books II and X) reflects his suspicion of mimesis as an imitation thrice removed from the truth, yet his own use of the dialogic form transforms philosophy into a literary art that enacts dialectical inquiry rather than merely stating doctrine. In Ion and Phaedrus, Plato theorizes inspiration (mania) and rhetoric as divine yet dangerous forces that demand philosophical regulation through reason and the pursuit of the good. Thus, Plato’s literary theory rests on the moral function of art—its potential to educate or corrupt the soul—while his critical method exemplifies a fusion of ethical and aesthetic critique. His concept of the “philosopher-citizen,” as Thakkar notes, reimagines the Platonic ideal not as authoritarian rule but as a life devoted to wisdom, truth, and civic virtue, making Plato both the originator of Western literary criticism and a proto-critical theorist who examines how art shapes the just society.

Early Life and the Making of Plato as a Literary Theorist

Plato (427–347 BCE), born into an aristocratic Athenian family, was shaped intellectually and aesthetically by the political upheavals of fifth-century BCE Athens—a city still reeling from the Peloponnesian War and the execution of Socrates. According to John M. Cooper’s introduction to Plato: Complete Works, Plato’s early education included training in poetry, music, and gymnastics, reflecting the Greek conviction that the cultivation of beauty and intellect formed the complete citizen. Initially drawn to the literary and dramatic arts, he is said to have written tragedies and dithyrambs before turning from poetry to philosophy under the influence of Socrates. The death of Socrates in 399 BCE marked a decisive turning point: Plato abandoned his early literary ambitions and transformed his poetic sensibility into philosophical dialogue—a form that fuses art and argument. His subsequent travels to Egypt, Magna Graecia, and Sicily, where he encountered Pythagorean and Eleatic thinkers, deepened his metaphysical and aesthetic outlook.
Plato’s student life in the circle of Socrates developed his dialectical method, which later became the core of his literary-philosophical style. In founding the Academy around 387 BCE, Plato institutionalized this union of philosophy and rhetoric, training minds through conversation rather than dogma. His death in 347 BCE closed a life devoted to reconciling beauty, truth, and justice. The major works that reveal Plato’s literary-critical thought—Ion, Republic, Phaedrus, and Symposium—interrogate poetry’s moral and epistemic role. In Ion, he examines poetic inspiration (mania) as a divine but irrational force; in Republic X, he condemns mimetic art for its moral unreliability; in Phaedrus, he rehabilitates rhetoric and poetic inspiration through philosophical order; and in Symposium, he presents aesthetic desire as a ladder leading from sensual love to the contemplation of ideal beauty. As Jonny Thakkar notes in Plato as Critical Theorist, these dialogues mark Plato’s evolution from poet to theorist of art—a thinker who saw literature as both a moral education and a political danger, thus establishing the foundation for Western literary criticism.

Major Philosophical and Literary Works of Plato as a Theorist

1. The Republic

Gist: Explores justice, the ideal city (Kallipolis), and the role of poetry and imitation (mimesis). Plato critiques art as a deceptive imitation, thrice removed from truth.
Verified Quotation: “We must begin by supervising the makers of tales; and if they make a fine tale, it must be approved, but if it is not, it must be rejected” (Republic, 377b–c; Cooper, 1997, p. 972).
Interpretive Note: Thakkar notes that The Republic is “astonishingly reflexive,” dramatizing its own rules for storytelling through Socratic narration.

2. Ion

Gist: Plato depicts poetic inspiration as divine madness (mania) rather than rational knowledge.
Corrected Quotation: “For not by art do they say what they say, but by divine power; for if they had learned by rules of art, they could have spoken about many other subjects as well” (Ion, 533e–534b; Cooper, 1997, p. 938).
Interpretive Note: The “divine madness” here frames poetry as inspired yet irrational—a tension that recurs in Plato’s aesthetic theory.

3. Phaedrus

Gist: Connects rhetoric, love, and beauty, defining philosophical discourse as a movement of the soul toward truth.
Corrected Quotation: “The soul is like the natural union of a team of winged horses and their charioteer… as long as its wings are in perfect condition, it flies high and governs all heaven” (Phaedrus, 246a–b; Cooper, 1997, p. 524).
Interpretive Note: The myth of the charioteer illustrates the ascent of reason over passion and the soul’s desire for divine beauty.

4. Symposium

Gist: Through Diotima’s discourse, Plato describes the ascent from physical attraction to contemplation of absolute Beauty.
Verified Quotation: “When someone rises by these stages… he will suddenly perceive a beauty wonderful in its nature, the very Beauty itself, pure, clear, unalloyed” (Symposium, 211b–d; Cooper, 1997, p. 494).
Interpretive Note: Love (eros) becomes a ladder of ascent from the sensible to the intelligible realm—a recurring metaphor in Plato’s philosophy of art.

5. Apology

Gist: Socrates defends his life of inquiry, arguing for the inseparability of virtue and wisdom.
Verified Quotation: “For the unexamined life is not worth living for men” (Apology, 38a; Cooper, 1997, p. 34).
Interpretive Note: The speech dramatizes philosophical integrity and transforms moral discourse into a form of living literature.

6. Phaedo

Gist: A dialogue on the soul’s immortality, blending rational argument with emotional narrative.
Corrected Quotation: “Those who practice philosophy in the right way are in training for dying and they fear death least of all men” (Phaedo, 67e; Cooper, 1997, p. 64).
Interpretive Note: Philosophy becomes both an intellectual and spiritual preparation for the soul’s liberation.

7. Gorgias

Gist: Contrasts rhetoric and philosophy, claiming that rhetoric aims at persuasion while philosophy seeks truth.
Verified Quotation: “Rhetoric is the art of persuasion, not of teaching what is right or wrong” (Gorgias, 454e–455a; Cooper, 1997, p. 797).
Interpretive Note: Establishes Plato’s normative aesthetics: true eloquence must be subordinated to moral knowledge.

8. Timaeus

Gist: A cosmological dialogue where divine craftsmanship models perfect rational order.
Verified Quotation: “He was good; and the good can never have any jealousy of anything. And being free from jealousy, he desired that all things should be as like himself as possible” (Timaeus, 29e; Cooper, 1997, p. 1229).
Interpretive Note: The Demiurge serves as the archetype of artistic imitation guided by goodness and harmony.

9. Laws

Gist: Plato’s final work, emphasizing education and moral regulation through poetry, music, and law.
Corrected Quotation: “No one should be without music or dancing; for lack of grace in rhythm and harmony is a sign of ignorance” (Laws, 654a; Cooper, 1997, p. 1327).
Interpretive Note: Art and education are tools for civic virtue, reflecting Plato’s late synthesis of aesthetics and ethics.

10. Plato as Critical Theorist (Jonny Thakkar, 2018)

Gist: Thakkar reads The Republic as a “critical ideal” that unites moral perfectionism with social critique.
Verified Quotation: “The Republic is a remarkably reflexive work, one that reflects on styles of storytelling and argument while itself deploying several different forms of storytelling and argument” (Thakkar, 2018, p. 47).
Interpretive Note: Thakkar redefines Plato as a proto-critical theorist who uses literary form itself as a medium of philosophical critique.

Major Literary Dialogues of Plato as a Theorist

1. The Republic

Nature of Work: A philosophical masterpiece blending political theory, ethics, psychology, and aesthetics.
Literary Form: A dramatic dialogue narrated by Socrates, rich in myth, allegory, and dialogue-within-dialogue structure.
Major Themes: Justice, the philosopher-king, the ideal city (Kallipolis), education, and censorship of art.

Contribution to Literary Theory:
- Introduces the first sustained critique of literature and art through the concept of mimesis (imitation).
- Advocates for moral censorship—only art that cultivates virtue and truth should be permitted.
- Establishes the ethical function of art, claiming it shapes citizens’ souls through imitation and narrative.
- Uses mythic storytelling (e.g., “The Allegory of the Cave,” “The Myth of Er”) to demonstrate how imagination can guide the intellect toward truth.
Critical Insight (Thakkar): The Republic is “astonishingly reflexive,” dramatizing the very tensions it critiques—between poetry and philosophy.

2. Ion

Nature of Work: A short Socratic dialogue on the nature of poetic inspiration and artistic knowledge.
Major Themes: Divine inspiration (mania), the irrationality of artistic genius, and the limits of technical knowledge (techne).
Contribution to Literary Theory:
- Establishes the idea of the poet as divinely inspired but intellectually ungrounded.
- Rejects the notion of poetry as rational knowledge, portraying it instead as a spiritual possession by the Muses.
- Foregrounds the distinction between emotional intuition and rational understanding—a tension central to Western aesthetics.

Example: “For not by art do they say what they say, but by divine power” (Ion, 533e–534b; Cooper, 1997, p. 938).

3. Phaedrus

Nature of Work: A dialogue on love, rhetoric, and the soul, combining myth, psychology, and aesthetic philosophy.
Major Themes: Love (eros) as a divine madness, rhetoric and persuasion, the soul’s ascent to divine truth.

Contribution to Literary Theory:
- Defines philosophical rhetoric—speech that guides the soul toward truth through structured persuasion.
- The Charioteer Myth (246a–b) symbolizes the internal conflict of human desire between reason and passion.
- Transforms art and rhetoric into moral tools when guided by truth and philosophy.
- Emphasizes beauty as a bridge between the sensory and the intelligible world.
Critical Insight (Thakkar): Plato uses Phaedrus to “reclaim rhetoric for philosophy,” merging aesthetics with ethics in a model of self-governance.

4. Symposium

Nature of Work: A dramatic dialogue set at a banquet, exploring love, beauty, and creativity through successive speeches.
Major Themes: Hierarchy of love, spiritual ascent, the Form of Beauty, creative desire (eros).
Contribution to Literary Theory:
- Develops a philosophy of love as aesthetic ascent, from physical beauty to the contemplation of the ideal.
- Presents Diotima’s Ladder of Love, a framework for understanding how art and desire lead the soul toward eternal truth.
- Merges poetic myth, philosophy, and dramatic form, showing literature as a vehicle of philosophical revelation.

Example: “He will suddenly perceive a beauty wonderful in its nature, the very Beauty itself, pure, clear, unalloyed” (Symposium, 211b–d; Cooper, 1997, p. 494).
Critical Insight: The dialogue becomes a metaphor for artistic creation itself—a journey from imitation to intellectual vision.

5. Gorgias

Nature of Work: A dialogue on rhetoric, ethics, and the moral responsibility of the speaker.

Major Themes: Persuasion versus truth, moral corruption, justice and speech.
Contribution to Literary Theory:
- Distinguishes rhetoric as persuasion from philosophy as truth-seeking.
- Condemns rhetoric that aims merely to please rather than to teach virtue.
- Sets the foundation for later rhetorical ethics—linking speech to moral education and civic responsibility.
Example: “Rhetoric is the art of persuasion, not of instruction in the matter of right and wrong” (Gorgias, 454e–455a; Cooper, 1997, p. 797).

6. Phaedo

Nature of Work: A narrative dialogue recounting Socrates’ final moments and his discourse on the immortality of the soul.

Major Themes: Death, purification, knowledge through reason, and the soul’s liberation.
Contribution to Literary Theory:
- Exemplifies the fusion of philosophy and dramatic form—Socrates’ death becomes a literary enactment of his doctrine.
- Explores the therapeutic role of discourse, where philosophy purifies emotion through argument and myth.
- Introduces myth as didactic allegory, blending logic and narrative beauty.

7. Timaeus

Nature of Work: A cosmological dialogue linking art, science, and divine order.

Major Themes: Creation, harmony, proportion, and imitation of the divine.
Contribution to Literary Theory:
- Recasts creation itself as cosmic artistry—the Demiurge as an ideal craftsman (demiourgos).
- Offers an aesthetic model of creation as rational imitation of perfection.
- Bridges scientific rationality and artistic design, showing how order and beauty are united through reason.

8. Laws

Nature of Work: Plato’s final and most practical dialogue, focusing on legislation, education, and the role of art in the state.

Major Themes: Law, moral education, virtue through music and poetry.
Contribution to Literary Theory:
- Advocates for state-guided aesthetic education to form virtuous citizens.
- Positions music, dance, and poetry as essential disciplines in cultivating grace, moderation, and harmony.
- Represents Plato’s mature synthesis—art as moral legislation, not mere pleasure.
Example: “No one should be without music or dancing; for lack of rhythm and harmony is a sign of ignorance” (Laws, 654a; Cooper, 1997, p. 1327).

9. Apology

Nature of Work: A literary reconstruction of Socrates’ defense speech at his trial.

Major Themes: Justice, truth, the moral duty of philosophy, and the examined life.
Contribution to Literary Theory:
- Establishes the genre of philosophical autobiography and moral heroism in literature.
- Demonstrates that philosophy can be performed as art, turning moral argument into dramatic expression.
- Inspires later traditions of intellectual martyrdom and self-reflective narrative.
Example: “The unexamined life is not worth living for men” (Apology, 38a; Cooper, 1997, p. 34).

10. Plato as Critical Theorist (Thakkar, 2018) – Interpretive Bridge

Nature of Work: A modern reinterpretation that situates Plato’s dialogues within the lineage of critical theory.
Contribution to Theory:
- Reads The Republic as “a dialogue that performs its own critique of ideology.”
- Highlights how Plato’s literary form is inseparable from his philosophy—each dialogue embodies a method of critique.
- Shows that Plato’s combination of drama, narrative, and dialectic prefigures modern critical discourse.

Key Critical Concepts Introduced by Plato as a Literary Theorist

Concept	Explanation	Key Texts & References
1. Mimesis (Imitation)	Central to Plato’s literary theory, mimesis refers to art’s imitative nature—an imitation of the physical world, which itself imitates the eternal Forms. Plato warns that art is “thrice removed from truth,” as it mirrors appearances rather than reality.	Republic X (596a–598d) – “All poetical imitations are ruinous to the understanding of the hearers unless a man has the knowledge of the truth” (Cooper, 1997, p. 1021).
2. Theory of Forms and Aesthetics of Truth	Plato links beauty and art to his metaphysics of Forms, arguing that true beauty exists only in the realm of the intelligible. Art must guide the soul upward toward this ideal.	Symposium (210d–211d) – “He will suddenly perceive a beauty wonderful in its nature, the very Beauty itself” (Cooper, 1997, p. 494).
3. Moral Function of Art	Art has an ethical dimension—it can either elevate or corrupt the soul. Plato emphasizes censorship and moral responsibility in artistic production to protect civic virtue.	Republic II & III (377b–398b) – “We must supervise the makers of tales; if they make a fine tale, it must be approved, but if not, it must be rejected” (Cooper, 1997, p. 972).
4. Poetic Inspiration (Divine Mania)	Plato redefines artistic inspiration as divine madness (mania) bestowed by the Muses, acknowledging its power while questioning its rationality. The poet is inspired, not knowledgeable.	Ion (533e–534b) – “Not by art do they speak, but by divine power” (Cooper, 1997, p. 938).
5. The Charioteer Analogy (The Soul and Art)	In Phaedrus, Plato uses the image of the soul as a charioteer with two horses—reason and passion—to illustrate the balance between rational control and emotional inspiration in rhetoric and art.	Phaedrus (246a–b) – “The soul is like the natural union of a team of winged horses and their charioteer” (Cooper, 1997, p. 524).
6. Rhetoric and the Art of Persuasion	Plato contrasts sophistic rhetoric (mere persuasion) with true rhetoric, which must aim at the soul’s moral improvement through dialectical truth.	Gorgias (454e–455a) – “Rhetoric is the art of persuasion, not of instruction in what is right or wrong” (Cooper, 1997, p. 797).
7. The Allegory of the Cave (Epistemic Aesthetics)	A metaphor for education and the philosopher’s journey from illusion to knowledge; literature and art can either keep people in darkness or guide them toward enlightenment.	Republic VII (514a–520a) – “They see only their own shadows, or the shadows of one another” (Cooper, 1997, p. 1132).
8. Philosopher as Artist	Plato’s dialogues embody artistic creation—Socrates is both character and philosopher, and the dialogues themselves perform philosophy through dramatic form.	Plato as Critical Theorist (Thakkar, 2018, p. 30) – “Plato uses the whole conversation as his mouthpiece, blending philosophical reasoning with literary artistry.”
9. Aesthetic Education and the State	Plato assigns art a political function: it must serve education and align with the state’s moral ideals. Music and poetry are tools for shaping virtue and harmony.	Laws (654a) – “No one should be without music or dancing; for lack of rhythm and harmony is a sign of ignorance” (Cooper, 1997, p. 1327).
10. Critical Theory and Ideological Critique	Thakkar interprets The Republic as an early form of critical theory—its imagined city (Kallipolis) critiques the ideological foundations of Athens and provokes moral reflection in readers.	Thakkar (2018, p. 199) – “Plato’s Republic develops a robust critical theory… designed to provide critical purchase on the polis as such and on Athens in particular.”

Plato’s Contribution to Literary Theory and Criticism

1. Founder of Western Literary Criticism

Plato is regarded as the first systematic literary theorist in Western tradition.

He introduced a philosophical framework for evaluating art, linking literature with ethics, metaphysics, and politics.
His dialogues (Republic, Ion, Phaedrus) treat art not as mere entertainment but as a moral and epistemological force.
Through Socratic dialectic, Plato laid the foundation for critical inquiry into the purpose and effects of literature.

2. Concept of Mimesis (Imitation)

Plato’s central idea in Republic Book X is that art is mimetic, an imitation of appearances rather than of truth.
Mimesis is “thrice removed from reality” since art imitates the material world, which itself imitates the eternal Forms.
He viewed poetry and painting as deceptive representations, shaping false beliefs rather than rational understanding.

This idea forms the earliest aesthetic distinction between illusion and reality, influencing Aristotle’s later Poetics.

“All poetical imitations are ruinous to the understanding of the hearers unless a man has knowledge of the truth.” (Republic, 602b–d; Cooper, 1997, p. 1024)

3. Moral and Political Function of Art

Plato insisted that art must serve the moral education of citizens.

Poetry and drama should promote virtue, temperance, and justice, not pleasure or imitation of vice.
The Republic prescribes censorship of immoral or emotionally disturbing art to preserve the integrity of the state.
He saw literature as a formative social institution, shaping the character of the youth through emotional imitation.

“We must supervise the makers of tales… if they make a fine tale, it must be approved, but if not, it must be rejected.” (Republic, 377b–c; Cooper, 1997, p. 972)

4. Theory of Poetic Inspiration (Divine Mania)

In Ion, Plato explores the paradox of poetic creation as both divine and irrational.
Poets, he claims, are possessed by the Muses and create not through knowledge (techne) but through inspiration (mania).

This idea establishes the Romantic concept of genius—the poet as a medium of divine truth rather than a craftsman.

“Not by art do they speak, but by divine power.” (Ion, 534b; Cooper, 1997, p. 938)

5. The Role of the Philosopher as Critic

Plato’s philosopher is both critic and moral legislator.
The philosopher distinguishes between truthful representation and misleading imitation.
The philosopher-king in The Republic serves as the ultimate critic of art, regulating its production for the good of society.

Plato thus initiates the link between aesthetics and ethics, influencing later theorists like Sidney, Coleridge, and Arnold.

6. The Charioteer and the Psychology of Art

In Phaedrus, Plato presents the Charioteer Myth to describe the soul’s movement between reason and passion.
Art and rhetoric, when guided by philosophy, can elevate the soul toward truth and beauty.

This allegory grounds aesthetic experience in psychological harmony, foreshadowing later theories of catharsis and balance.

“The soul is like a team of winged horses and a charioteer.” (Phaedrus, 246a–b; Cooper, 1997, p. 524)

7. Allegory of the Cave: Literature as Illusion and Enlightenment

Plato’s Allegory of the Cave in Republic Book VII serves as both a literary metaphor and a critical framework.
It shows how humans are bound by illusion (shadows on the wall) and how education leads from appearance to truth.
This allegory provides a proto-epistemological theory of art—literature can either imprison or liberate the mind.

“They see only their own shadows, or the shadows of one another.” (Republic, 515c; Cooper, 1997, p. 1133)

8. Rhetoric and Truth

In Gorgias and Phaedrus, Plato contrasts rhetoric as persuasion with philosophy as truth-seeking.
He condemns sophistic rhetoric that appeals to emotion without moral foundation.

True rhetoric, he argues, must be guided by dialectic—an art of leading the soul toward truth.

“Rhetoric is the art of persuasion, not of instruction in what is right or wrong.” (Gorgias, 455a; Cooper, 1997, p. 797)

9. Art, Education, and the State

In Laws, Plato emphasizes that art is essential for civic education.

Music, poetry, and dance must nurture grace, order, and harmony—qualities essential for good governance.
This links aesthetics directly with political virtue and collective morality.

“No one should be without music or dancing; for lack of rhythm and harmony is a sign of ignorance.” (Laws, 654a; Cooper, 1997, p. 1327)

10. Plato’s Reflexive Contribution (as noted by Thakkar)

Jonny Thakkar highlights Plato’s dialogues as self-reflexive works of literary theory.
The Republic, for instance, critiques storytelling while being a work of storytelling itself—a meta-theoretical act.
Thakkar identifies this as the foundation of critical theory: Plato’s art critiques ideology through its own form.

“The Republic is astonishingly reflexive… the key to its coherence is its philosophical agenda.” (Thakkar, 2018, p. 30)
“Plato’s Republic develops a robust critical theory… designed to provide critical purchase on the polis as such and on Athens in particular.” (Thakkar, 2018, p. 199)

Modern Criticism and Reinterpretations of Plato’s Literary Ideas

1. Plato as a Proto–Critical Theorist (Thakkar, 2018)

Modern scholars such as Jonny Thakkar reinterpret Plato not as an authoritarian idealist but as a founder of critical theory, whose dialogues critique ideology through their own literary form.
Thakkar argues that The Republic “reflects on styles of storytelling and argument while itself deploying several different forms of storytelling and argument,” revealing Plato’s reflexivity about his medium.

He situates Plato between ideal theory (normative philosophy) and critical theory (social critique), showing that Plato’s thought can coexist with liberal democracy rather than oppose it.

2. Literary Form as Philosophical Method

Contemporary readings reject earlier “dogmatic” interpretations that treat Socrates as Plato’s mouthpiece. Instead, they see Plato’s dialogues as performative philosophy—literary compositions that invite readers to think dialectically rather than accept doctrines.
Thakkar and Cooper emphasize that Plato’s dialogues are not didactic treatises but “coherent works combining literary and philosophical content,” whose meaning emerges through form and dialogue rather than explicit assertion.

3. Democratic Reinterpretations of Plato

Modern democratic theorists like Martha Nussbaum and David Estlund (as cited by Thakkar) reinterpret Plato’s elitist “philosopher-king” model as a metaphor for civic excellence within democratic systems.
Thakkar shows that epistocracy—the rule of the wise—can be reconciled with democracy when interpreted as educational empowerment rather than authoritarian hierarchy.

4. Plato and Modern Philosophy

Thakkar draws parallels between Plato’s metaphysical realism and the analytic philosophy of Gottlob Frege, arguing that “essentialist metaphysics… is thriving in modern philosophy” despite its premodern origins.

This indicates a revival of Platonism in modern ontology and epistemology, especially in debates about universals, truthmaking, and mathematical realism.

5. From Authoritarian to Dialogical Plato

Modern scholars emphasize Plato’s literary plurality and irony, viewing him as a dramatist of ideas rather than a dogmatic system-builder.
Cooper’s introduction highlights that Plato “never speaks in his own voice” and uses multiple perspectives to create philosophical tension, which invites reader participation rather than obedience.

This re-reading shifts Plato’s image from an authoritarian censor of art to a philosopher of dialogue, critique, and education.

6. Neo-Platonic and Postmodern Reassessments

Neo-Platonists and later philosophers (e.g., Plotinus, Badiou) revived Plato as a metaphysical system-builder, but Thakkar’s modern analysis resists this closure, advocating a pluralist and reflexive reading.
Postmodern thinkers like Alain Badiou reinterpret The Republic as a radical political text that anticipates the politics of truth, blending art and ideology critique.

7. Relevance to Modern Critical Theory

Thakkar’s project “brings Plato to bear on contemporary debates concerning democracy, liberalism, and metaphysics,” demonstrating that “the Platonic way of thinking allows us to grasp our present situation anew”.
This situates Plato as a precursor to Frankfurt School thinkers (Adorno, Habermas) in his integration of moral philosophy, aesthetics, and critique of ideology.

Top Representative Quotations of Plato as a Literary Theorist

No.	Quotation	Explanation / Theoretical Significance
1	“All poetical imitations are ruinous to the understanding of the hearers unless a man has knowledge of the truth.” (Republic, 602b–c; Cooper, 1997, p. 1024)	Plato’s foundational statement on mimesis (imitation) as epistemically deceptive. He argues that poets imitate appearances, not reality, thus corrupting moral and intellectual judgment. This marks the origin of Western aesthetic suspicion of art.
2	“We must supervise the makers of tales; if they make a fine tale, it must be approved, but if not, it must be rejected.” (Republic, 377b–c; Cooper, 1997, p. 972)	This reflects Plato’s theory of moral censorship—art must serve ethical and educational ends. Literature is seen as a pedagogical instrument shaping civic virtue.
3	“Not by art do they speak, but by divine power.” (Ion, 534b; Cooper, 1997, p. 938)	Plato’s concept of divine mania: the poet is divinely inspired rather than technically skilled. This establishes a paradox—poetry is both sacred and irrational—foreshadowing later Romantic ideas of poetic genius.
4	“The soul is like the natural union of a team of winged horses and their charioteer.” (Phaedrus, 246a–b; Cooper, 1997, p. 524)	Symbolizes the psychological duality of artistic creation: reason guides passion. Plato’s charioteer allegory connects art, love, and intellect, positioning beauty as a moral and intellectual ascent.
5	“He will suddenly perceive a beauty wonderful in its nature, the very Beauty itself, pure, clear, unalloyed.” (Symposium, 211d; Cooper, 1997, p. 494)	Plato’s Theory of Forms in aesthetic context: art and love lead from sensory beauty to the ideal Form of Beauty. This bridges metaphysics and aesthetics, defining art as a spiritual ladder toward truth.
6	“Rhetoric is the art of persuasion, not of instruction in what is right or wrong.” (Gorgias, 455a; Cooper, 1997, p. 797)	Plato’s critique of sophistry: rhetoric divorced from truth becomes manipulation. He redefines true rhetoric as dialectic—persuasion that aligns with moral truth, influencing later rhetorical theory.
7	“They see only their own shadows, or the shadows of one another.” (Republic, 515c; Cooper, 1997, p. 1133)	From the Allegory of the Cave, illustrating how art and perception can trap humanity in illusion. Yet, properly guided, it also models the educational journey from ignorance to enlightenment.
8	“No one should be without music or dancing; for lack of rhythm and harmony is a sign of ignorance.” (Laws, 654a; Cooper, 1997, p. 1327)	Reveals Plato’s belief in aesthetic education—art as a civic and moral necessity. Music and rhythm cultivate inner harmony, linking aesthetics to ethical and political order.
9	“The unexamined life is not worth living for men.” (Apology, 38a; Cooper, 1997, p. 34)	Though philosophical, this line embodies the aesthetic of self-reflection that informs Plato’s literary form. The Socratic dialogue itself becomes a work of moral art, dramatizing the pursuit of truth.
10	“Storytelling and argument… are themselves forms of governance.” (Republic, Book III interpretation; Thakkar, 2018, p. 30)	Thakkar’s modern reading highlights Plato’s reflexivity—his dialogues govern thought through narrative. Literature is both a political act and a moral pedagogy, merging form and function.

Essential Readings and References on Plato as a Literary Theorist

Books

Plato. Plato: Complete Works. Edited by John M. Cooper and D. S. Hutchinson, Hackett Publishing, 1997.
Thakkar, Jonny. Plato as Critical Theorist. Harvard University Press, 2018.

Academic Articles

Kraut, Richard. “Plato on Rhetoric and Poetry.” The Stanford Encyclopedia of Philosophy, edited by Edward N. Zalta, Stanford University, 2004, plato.stanford.edu/entries/plato-rhetoric/.
“A History of Literary Theory and Criticism from Plato to the Present.” Bryn Mawr Classical Review, 27 May 2008, bmcr.brynmawr.edu/2008/2008.05.27/.

Websites

“Literary Criticism of Plato.” Literariness.org, 1 May 2017, https://literariness.org/2017/05/01/literary-criticism-of-plato/.
“Platonic Criticism.” Encyclopaedia Britannica, 2025, https://www.britannica.com/art/Platonic-criticism.