SOPHIST by Plato - Complete text

Page 28

Str. Well, then, pursuing the same analytic method as before, I think that I can discern two divisions of the imitative art, but I am not as yet able to see in which of them the desired form is to be found.

Theaet. Will you tell me first what are two divisions of which you are speaking?

Str. One is the art of likeness - making; - generally a likeness of anything is made by producing a copy which is executed according to the proportions of the original, similar in length and breadth and depth, each thing receiving also its appropriate colour.

Theaet. Is not this always the aim of imitation?

Str. Not always; in works either of sculpture or of painting, which are of any magnitude, there is a certain degree of deception; - for artists were to give the true proportions of their fair works, the upper part, which is farther off, would appear to be out of proportion in comparison with the lower, which is nearer; and so they give up the truth in their images and make only the proportions which appear to be beautiful, disregarding the real ones.

Theaet. Quite true.

Str. And that which being other is also like, may we not fairly call a likeness or image?

Theaet. Yes.

Str. And may we not, as I did just now, call that part of the imitative art which is concerned with making such images the art of likeness making?

Theaet. Let that be the name.

Str. And what shall we call those resemblances of the beautiful, which appear such owing to the unfavourable position of the spectator, whereas if a person had the power of getting a correct view of works of such magnitude, they would appear not even like that to which they profess to be like? May we not call these "appearances," since they appear only and are not really like?

Theaet. Certainly.

Str. There is a great deal of this kind of thing in painting, and in all imitation.

Theaet. Of course.

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