Nota Bene: I originally published this post back in 2012, and it has been one of the most-read posts on this blog ever since. In fact, it sums up pretty well my defense of the necessity of literature — an
apologia pro literatura, if you will. For this reason, I’ve decided to pin it here to the top of the blog, so that anyone who stumbles on this site accidentally will know what I’m on about. If you want to know more, try reading some of the other articles in the “popular posts” list that you’ll find in the sidebar to the right. Welcome, and don’t feel shy about leaving comments. I respond to all comments on this blog (which is how I happened to write my most popular post of all time).
|I like about this edition chiefly because|
it's easy to follow who is speaking
in the dialogue.
Some time ago
, I lamented the fact that people — even allegedly “educated” people — these days are reading less and less; and I began to explore the question of why this fact should alarm us. Isn't reading just one of many ways to amuse ourselves in idle moments? Why should reading novels, say, be any better than watching movies or playing video games? After all, all three require us to enter into an imaginary world, not of our own making.
Good fiction is interested in truth
It's true that some reading material provides merely escapist pleasures — these are what C. S. Lewis, reasoning as he does in An Experiment in Criticism
, would classify as “bad” books, because they require little of the reader, and they repay that little effort poorly. Frankly, I don't care if anyone engages in such reading, although I would be concerned about anyone who made a steady diet of such fare. What I am more concerned about is the reading of well-crafted fiction that treats carefully the kinds of “universal” questions that Aristotle refers to in his Poetics
, which he said makes literature “philosophical,” i.e., capable of making us wiser. Greek culture in Aristotle's day deeply acknowledged the importance of epic poetry, the predominant kind of literary fiction in that age. In fact, the narrative poetry of such poets as Homer and Hesiod, which told of the interactions of gods and men, were regarded with much the same kind of reverence as the Bible is in Christian cultures (not quite, however — the Greeks didn't really have anything analogous to Sacred Scripture), and they considered such literature to be absolutely essential to education.
|Plato points upward toward transcendent truth,|
while Aristotle gestures toward the Earth.
Plato, of course, is famous for having Socrates say, in The Republic
, that the “lying poets” would have no place in the ideal society. Many people, especially in modern times, have argued that this means Plato was against “fiction.” Many of those same people will go on to say that this is evidence of the way in which Plato's views differed from those of his most famous pupil, Aristotle. A common, but simplistic, characterization of the differences between the two philosophers claims to find a marked dichotomy between the two:
- Plato is interested in transcendent truth while Aristotle is more interested in “real life.”
- Plato is focuses on the theoretical and abstract while Aristotle on the practical and concrete.
- Plato says poetry is a dangerous pack of lies while Aristotle says it is “philosophical” and can teach us about the human condition.
Like many over-simplifications, this one is misleading. It's worthwhile to take a closer look at what Plato really did say about poetry (or at least the poets) in The Republic
; anyone who does so will find that he does not object to storytelling per se
, nor does he dismiss fictional literature as just so many lies. What he objected to were the poet's (e.g., Homer and Hesiod's) depictions of the gods as being no better — and often much worse — than we mere mortals. So it wasn't the fiction he despised, it was the lies. In fact, he could not (and would not) have written The Republic
— his most famous and enduring philosophical work — if he did not believe in the powerful ability of “fiction” to show us truth.
Plato's Socratic dialogues are works of fiction
Why do I make such a claim? First of all, because Plato chose a “fictional” format for virtually all
of his philosophical treatises. Famously, all of Plato's treatises are written as dialogues, with fictionalized versions of Socrates and other real people as the participants in the discussion of whatever the topic may be: justice, beauty, etc. They are like conversations in which Plato really participated, but they are by no means transcriptions of real conversations — they are as carefully crafted as any poem. Why teach in this way? Because the dialogue format allows and invites the reader to be an imaginary participant in the discussion.
|In a Platonic dialogue, the participants are trying to |
get at the truth of some matter.
I believe Plato wanted his students to learn the way he learned from Socrates. That is why his philosophical dialogues are modeled on the kind of discussions that Socrates regularly engaged in in real life. Typically, they portray the philosopher and his friends trying to get at the truth of some concept by starting with their own assumptions and then putting them to the test to see if they hold water. True to life, this method does not lead directly to a clean, clear view of the truth of the matter; rather, the dialogues often reach a point at which the interlocutors find themselves at loggerheads, unable to reach an agreement, but not really sure why. (If you've had a college philosophy class, you may recall that this situation, in Greek, is called aporia
). Some of Plato's early philosophical dialogues end at this point, leaving the reader to figure out why the discussion came to an unsatisfactory end, or how the dialogue might have advanced had it been allowed to continue. The dialogue format, in other words, gets the reader imaginatively engaged in the discussion at hand, in such a way that s/he is likely to continue mental rumination after the reading has come to an end.
I remember the first time I read Plato's Euthyphro
, in which the title character is discussing with Socrates the nature of piety
— Socrates had almost gotten Euthryphro to arrive at a good general definition of piety, when Euthyphro gets frustrated and throws in the towel, just a moment too soon. I'm sure I must have groaned with frustration, because I knew he had quit at just the wrong moment — I wanted to shout after him as he walked away, “Come back! You were almost there!” At that moment, I could see what piety was, even if Euthyphro could not. (Don't ask me — read the dialogue!)
By the time he wrote The Republic
, Plato seems to have refined his use of the dialogue as a way to get at philosophical truth. Here, when Socrates' interlocutors reach aporia
or deadlock, on the subject of the nature of justice, he doesn't let them throw in the towel; instead, Plato has Socrates say, “Well, let's look at this another way ...” When they come up empty on defining “justice in the soul” (i.e., how the individual can behave justly), Socrates suggests that they widen the focus and try envisioning “justice in the city” (i.e., what a just society would be like). Even here, their first attempt at creating a just “city of words” (a made-up city that exists only in their imaginations) is not very good, and Socrates starts to suggest several features that such a just city would need to have in order to function. He gets his conversational partners to agree with each addition before moving on. It’s in this context of creating (theoretically) a just city that Socrates makes the startling assertion that the poetry of such literary giants as Homer and Hesiod should not be allowed to pollute the minds of schoolboys. His reason is that such poets portray the gods in such a way that they make poor role models for young men destined to become the guardians upon whom the city will have to depend for its safety and good order.
Good fiction teaches us to recognize, and to love, what is true
|The “myth of the cave” is a parable that illustrates |
the nature of, and the need for, philosophy.
Plato makes it pretty clear that the objection is not that all poetry corrupts but that lying poetry corrupts — in other words, poetry (fiction) should lead the imagination closer to truth, and should hold up models for us to emulate and present images that reflect truth. The Republic
itself is full of “made up stories” of this kind. For instance, the famous “myth of the cave” (mythos
being simply the Greek word which means “story”) is a kind of parable or analogy that Socrates uses to help his young friends see something that they were having trouble envisioning earlier when they were inventing their theoretically just city. The thing about parables, though, is that they are not necessarily self-explanatory. This is why Socrates tells them his parable and then explains what it means — much as Christ did with his own followers when he taught them in parables (see, for instance, Matthew 13
). In other words, the made-up tale is a way of conveying a truth that the young men could not grasp directly with their minds; another way of saying this is that they are not yet able to contemplate the truth (in the sense that Plato used that term), so he had to create an illustrative tale.
There are other instances of Socrates in The Republic
using parables or “noble fiction” (γενναῖον ψεῦδος, often translated “noble lies”) for instruction for those who can't grasp certain kinds of verities with their naked intellects. In each case, the fiction is meant to convey truth, and is intended for those who are not yet (and may never be) capable of grasping the truth with their unaided intellects. Aristotle undoubtedly, as a student of Plato, learned the value of these stories, and perhaps they helped shape his belief that poetry (fiction) can be “philosophical” (help its audience become wise).
|The Matrix and the Myth of the Cave have a lot in common|
We will always need “noble fiction”
I think it is a great pity that our schools and universities no longer teach literature as a way of grasping universal truths about human nature, presenting models from which we can learn. As a consequence, young people (and adults as well, for that matter) now have little or nothing to form their moral imaginations, while the culture at large feeds them a constant stream of images of violence and brokenness, with no censure implied, intended, or allowed. We have lost the idea that truth is beautiful, or that the beautiful is true; instead, popular reading material (as well as television and film) is often tawdry and shallow, when it is not full of darkness, despair, and depravity. “Realism" is offered rather than truth, and stories that show good people triumphing while wicked ones suffer are deemed “unrealistic” and untrue.
Is there no one left to tell us “noble lies”? If you know any contemporary writers who tell morally uplifting or instructive tales, please mention them in a comment.
©2012 Lisa A. Nicholas
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