柏拉图以其灵魂学说中的迷狂说为标准,认为“神智清醒的诗”不如“迷狂的诗”;依据理念说判定“真故事”高于“假故事”。他从模仿作为文学表现手法出发,认为模仿和叙述对立,作为模仿或叙述这两种单纯体裁,分别体现为戏剧和抒情诗两大文类,而模仿兼叙述的混合体裁则体现为包括史诗在内的叙事诗文类,由此发明了著名的西方文类“三分法”;另一方面,他又基于理念的“影子的影子”说,提出一切文学艺术皆是虚假的模仿,远离理念。柏拉图以理想国的政治学说为基础,提出悲剧位于众多文类等级之巅;以正义说作为文类偏长思想的深层的理论基石。柏拉图虽注意到悲剧和喜剧在美感特征上的一致性以及不同文类在审美接受中的主体差异性特征,但仍倾向于坚持文类之间的清晰界限。总之,奉哲学为最高级文章的柏拉图,坚持立足自身的理念说、灵魂学说、政治学说等理论解说和推演包括文类思想在内的整个诗学思想。 Plato, in his theory of madness as the standard, holds that “sober-minded poem” is inferior to “mad-mad poem”; judging from the theory that “truth” is higher than “false story” . He started from imitation as a means of literary expression, and regarded imitation and narration as the two simple genres of imitation or narration, which were respectively embodied in drama and lyric poetry. The mixed genre of imitation and narration, however, On the other hand, he also proposed based on the concept of “Shadow of Shadow”, saying that all literature and art are false imitations , Away from the concept. Based on the political doctrine of the ideal country, Plato proposed that tragedy should be at the top of many literary classifications, and that justice should be used as a profound theoretical foundation for the genre’s long thought. Although Plato noticed the consistency of the traits of aesthetics and tragedy in the aesthetic characteristics and the differences in the subject of aesthetics in different genres, Plato still tended to adhere to the clear boundaries between genres. In a word, Plato, who regarded philosophy as the most advanced essay, insisted on explaining and deducing the whole poetic thought including literary thoughts based on his theory, soul theory and political theory.