The Commentaries on the Timaeus of Plato — trans. Thomas Taylor

But the contests of rhapsody, are analogous to the contests which souls sustain, weaving their own ΠΡ together with the universe. And the rhapsody

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uself, resembles the above-mentioned woven life of the universe. For this has an imitation of intellectual forms, in the same manner as the contests of rhapsody have of heroic actions and manners, possessing together with an harmonious conjunction, a connected series. The many poems of many poets, adumbrate the many natures, and many circum-mundane productive powers,’ and, in short, the division of physical imitations, But the new poems, are images of forms which are perpetually flourishing, always perfect and prolific, and able to operate efhieaciously on other things. And thus much concerning these particulars.

Mention, however, is made of the poems of Solon, not as of a poct in the popular sense of the word, but as of one who mingled philosophy with poetry. For of mundane works likewise, and whole productions, a royal intellect is the leader. And the praise is related as being mentioned to another person, i.e. to Amynander, because, as we learn in the Phadrus, that which judges diflers from that which makes and generates. Referring, however, all that has been said, to the universe, we may infer as from images, that partial souls, partial natures, and partible forms, and of these, those especially that are always new and efficacious, contribute to the mundase war. But all these are connected together by the Gods, who are the inspective guardians of fabrication, and are co-arranged with one world, one harmony, and one kindred life.

ee ut then one of our tribe, whether he was willing to gratify Critias, or whether it was his real opinion, affirmed that Solon appeared to him to be most wise in other concerns, and in things respecting poetry, the most ingenuous and free of all poets. Upon hearing this, the old man (for I very well remember) was vehemently delighted ; and said, laughing —If Solon, O Amynander, had not engaged in poetry as a casual affair, but had made it as others do a serious employment ; and if through seditions and other fluctuations of the state in which he found his country involved, he had not been compelled to neglect the completion of the history which he brought from Egypt, I do not think that cither [Hesiod or Homer, or any other poet, would have acquired greater glory and renown.” ° /

Here again, the lovers of diction may indicate to their admirers, that Plato

* The word Aoyovs is, | conceive, omitted in the original in this place.

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cautiously praises the poetry of Solon, since he represents the praise as bestowed by a private individual, and for the sake of others, and not as given by one who spoke conformably to intellect and reason. For Plato, if any one, was a most excellent judge of pocts, as Longinus also admits. Heraclides Ponticus therefore says, that Cheerilus and Antimachus being at that time most renowned, Plato preferred the poems of the latter to those of the former, and that he persuaded Heraclides at Colophon, to collect the poems of Antimachus. Tn vain, therefore, is it futilely observed by Callimachus and Duris, that Plato was nota sufficient judge of poets. Hence, what is here said manifests the judgment of the philosopher, and it may be considered in a more historical point of view. The investigator, however, of things, will think it requisite to show how all the causes of the orderly distribution of the universe, and also the causes that are connective of contrariety, are extended to one principle, and how the last adhere through media to the first of things. For thus those who receive the narration of the ancient Critias, are extended to him, but he looks to Solon. And he, indeed, admires the poctic power of Solon ; but they, through Critias as a medium, are referred to the poetry of Solon. For gratifying the former [1. e. Critias], they praise the poctry of the latter. But what is it that Critias says respecting Solon? That he was subordinate to divinely-inspired pocts, from these two causes; because he engaged in poetry as a casual affair; and because when he came from Egypt, he found the city of the Athenians in a state of sedition, and that he was not able, his country being involved in difficulties, to complete the history, which he brought from thence hither. What the history therefore was, he informs us as he proceeds.

From these things, however, as images, Plato manifests, that what is primanly demiurgic, and every thing effective, have other primary energies ; but that their secondary energy is the production of secondary things. Likewise, that the confused, disorderly, and unstable nature of matter, frequently does not receive ornament from more divine causes, but subsists without symmetry’ to the gift which proceeds from them. Hence, second and third powers are unfolded into light, which proximately adorn its formless nature. Solon, therefore, being most ingenuous, and imitating exempt causes, did not deliver through poetry the Atlantic war. But Critias, and those posterior to him, transmit the account of this war to others, imitating second and third causes, who produce the variety of

‘ For ἀλλα ovpperpws in this place, it is necessary to read, αλλ᾽ aovpperpes.

p. 77

But Critias, and those posterior to him, transmit the account of this war to others, imitating second and third causes, who produce the variety of

‘ For ἀλλα ovpperpws in this place, it is necessary to read, αλλ᾽ aovpperpes.

p. 77

effective principles, and the orderly distribution of things, which is harmonized from contraries into a visible subsistence. Moreover, the assertion that Solon was the wisest of the seven wise men, exhibits his analogy to the first principles. And his being most free, adumbrates the power which is exempt, and established in itself, and which fills all things in a hberated manner. A thing of this kind likewise concurs with the wise man, as being immaterial, without a master, and of itself. The ancient Critias, also, being said to be old, indicates a cause which is intellectual, and remote from generation. For “ wisdom,” says Plato, “ and true opinions are most desirable things to himwho has arrived at old age.” Again, the assertion of Critias, that he very well remembers, exhibits to our view the salvation of eternal productive powers, and the stable energy of secondary causes, about such as are first. But Solon engaging in poetry asa casual affair, represents to us that productions into secondary natures, have only a secondary rank among first causes. For their first energies are intellectual, according to which they are united to the beings prior to themselces.

If, however, some one omiiting the survey of things, should consider through what cause Plato introduced’ these particulars, according to their apparent’ meaning, he will very properly find that they contributed to the thing proposed. For the design of Plato was to narrate the Atlantic war. But it was requisite that the messenger of this history should neither deceive nor be deceived. Hence also, Solon is said to have been most wise, and intimately acquainted with those about Critias. For as a wise man, he was not déceived, and as being an intimate acquaintance, he would not deceive. It was likewise requisite, that the receiver of this history should neither have been aged, in order that the narration may appear to be ancient, nor yet so young, as to be forgetful. Hence, Critias is supposed to have been a youth, but sufficiently able to remember, and in consequence of this, to have contended with others in rhapsody, in which much memory is necessary.

Farther still, it was requisite, that the ancient Critias should not commit suchlike narrations to very young men, lest they should appear to them to be contemptible. Ience, it is very properly said, that some one of the tribes, by enquiry of Solon, heard the history. But it was requisite that he also should, in a certain respect, have been familiar with Solon, in order that the old man might opportunely relate all the history to him. Hence, likewise, the praises of the poetry of

* For παρεισκεκληκεν read παρεισκνκλ yeer.