INTRODUCTION.
Ion.
Introduction.
The Ion is the shortest, or nearly the shortest, of all the writings which bear the name of Plato, and is not authenticated by any early external testimony. The grace and beauty of this little work supply the only, and perhaps a sufficient, proof of its genuineness. The plan is simple ; the dramatic interest consists entirely in the contrast between the irony of Socrates and the transparent vanity and childlike enthusiasm of the rhapsode Ion.
The theme of the Dialogue may possibly have been suggested by the passage of Xenophon's Memorabilia (iv. 2, 10) in which the rhapsodists are described by Euthydemus as ' very precise about the exact words of Homer, but very idiotic themselves.' (Cp. Aristotle, Met. xiii. chap. 6. § 7.)
Steph. 530 Analysis. Ion the rhapsode has just come to Athens ; he has been exhibiting in Epidaurus at the festival of Asclepius, and is intending to exhibit at the festival of the Panathenaea. Socrates admires and envies the rhapsode's art ; for he is always well dressed and in good company — in the company of good poets and of Homer, who is the prince of them. In the course of conversation the 531 admission is elicited from Ion that his skill is restricted to Homer, and that he knows nothing of inferior poets, such as Hesiod and Archilochus; — he brightens up and is wide awake when Homer is being recited, but is apt to go to sleep at the recitations of any other poet. 'And yet, surely, he who knows the superior ought 533 to know the inferior also ; — he who can judge of the good speaker is able to judge of the bad. And poetry is a whole ; and he who judges of poetry by rules of art ought to be able to judge of 533 all poetry.' This is confirmed by the analogy of sculpture, painting, flute-playing, and the other arts. The argument is at last brought home to the mind of Ion, who asks how this
