In Augustine's Confessions we can find two arguments against drama. One of them is entirely Platonic, echoing the problems raised in Republic 2 and 3 that representations of evil encourage moral turpitude. The other, which can be found in Republic 10, is much more visible in Confessions, and Augustine is more perspicuous than Plato in laying out the difficulty; it has to do with the immoral effect of suffering grief at staged sufferings, where we are moved neither to escape the (...) suffering nor to aid the sufferer, but to enjoy the suffering. Socrates had pointed out that letting suffering have free rein in us, as we do at a play, corrupts even the better sort of man (605c), but Augustine shows us that even the self-control we might exercise at a play is morally questionable. Like the arguments in Republic, Augustine's anti-poetic arguments raise serious problems about the status of the text in which they are found. The problems raised are both logical, on a par with the self-referential problems of Russell's theory of types, and moral, for the books themselves have the culpable nature each wishes to cast out from the republic and the soul: their narratives include representations of evil, and Augustine's book--if not Plato's--stages a suffering at the reading of which we might well be grieved. (shrink)