Most modern theories of art are based upon the view that art is an end in itself, that the beautiful has, as such, absolute value, and not value merely as a means to some further end. Upon such a view, art is recognized as autonomous within its own sphere, governed only by its own laws, judged only by its own standards. It cannot be judged, as Tolstoi would have us believe, by the standard of morals. The beautiful is not a means to the good. They may be indeed, ultimately identical, but their identity cannot be recognized till their difference has been admitted. Nor can one be subordinated to the other. Now this view of art finds no place at all in Plato's thought. Art is, for him, absolutely subservient both to morals and to philosophy. That it subserves morality we see from the "Republic," where only that poetry is allowed which inculcates virtue, and only because it inculcates virtue. It is no sufficient justification of a poem to plead that it is beautiful. Beautiful or not, if it does not subserve the ends of morality, it is forbidden. Hence too the preposterous notion that its exercise is to be controlled, even in details, by the State. That this would mean the utter destruction of art either did not occur to Plato, or if it did, did not deter him. If poetry cannot exist under the yoke of morality, it must not be allowed to exist at all. That art is merely a means to philosophy is even more evident. The end of all education is the knowledge of the Ideas, and every other subject, science, mathematics, art, is introduced into the {231} educational curriculum solely as a preparation for that end. They have no value in themselves. This is obvious from the teaching of the "Republic," and it is even more evident in the "Symposium," where the love of beautiful objects is made to end, not in itself, but in philosophy. Plato's low estimate of art appears also in his theory of art as imitation, and his contemptuous references to the nature of artistic genius. As to the first, art is, to him, only imitation. It is the copy of an object of the senses, and this again is only a copy of an Idea. Hence a work of art is only a copy of a copy. Plato did not recognise the creativeness of art. This view is certainly false. If the aims of art were merely to imitate, a photograph would be the best picture, since it is the most accurate copy of its object. What Plato failed to see was that the artist does not copy his object, but idealizes it. And this means that he does not see the object simply as an object, but as the revelation of an Idea. He does not see the phenomenon with the eyes of other men, but penetrates the sensuous envelope and exhibits the Idea shining through the veils of sense.