(607) the vain talk of fools,’ and ‘the mob of sages circumventing Zeus,’ and the ‘subtle thinkers who are beggars after all’; and there are innumerable other signs of ancient enmity between them. Notwithstanding this, let us assure our sweet friend and the sister arts of imitation, that if she will only prove her title to exist in a well-ordered State we shall be delighted to receive her—we are very conscious of her charms; but we may not on that account betray the truth. I dare say, Glaucon, that you are as much charmed by her as I am, especially when she appears in Homer? Yes, indeed, I am greatly charmed. Shall I propose, then, that she be allowed to return from exile, but upon this condition only—that she make a defence of herself in lyrical or some other metre? Certainly. And we may further grant to those of her defenders who are lovers of poetry and yet not poets the permission to speak in prose on her behalf: let them show not only that she is pleasant but also useful to States and to human life, and we will listen in a kindly spirit; for if this can be proved we shall surely be the gainers—I mean, if there is a use in poetry as well as a delight? Certainly, he said, we shall be the gainers. If her defence fails, then, my dear friend, like other persons who are enamoured of something, but put a restraint upon themselves when they think their desires are opposed to their interests, so too must we after the manner of lovers give her up, though not without a struggle. We too are inspired by that love of poetry which the education

(2) A king, whose empire stretched to the far horizons, had a daughter as beautiful as the moon. Before her loveliness even the fairies were abashed. Her dimpled chin resembled the well of Joseph, and the locks of her hair wounded a hundred hearts. Her eyebrows were twin bows, and when she loosed their arrows the space between sang her praise. Her eyes, languorous as the narcissus, threw thorns of her eyelashes in the path of the wise. Her face was as the sun when he took the moon's virginity. The Angel Gabriel could not tear his eyes from the pearls and rubies of her mouth. A smile of her

lips dried up the water of life in the beholder, who yet begged alms from these same lips. Whoever glanced at her chin fell headlong into a spring of bubbling water.

The king also had a slave, a youth, so handsome that the sun grew pale and the light of the moon diminished. When he walked in the streets and market-place crowds stopped to gaze at him.

By chance one day the princess saw this slave, and in a moment her heart slipped from her hand. Reason forsook her and love took possession. Her soul, sweet as Shirin, turned bitter. Withdrawing from her companions she mused, and musing and reflecting, began to burn. Then she called her ten young maids of honour. They were excellent musicians and played on the shawms and pipes; their voices wxre those of nightingales, and their singing, which tore the soul, was worthy of David. Gathering them around her she told them about her state, saying that she was ready to sacrifice her name, her honour, and her life for the love of this youth; for when one is deep in love one is good for nothing else. 'But,' she said, 'if I tell him of my love no doubt he will do something rash. If it becomes known that I have been intimate with a slave both he and I will suffer. On the other hand, if he does not possess me, I shall die lamenting behind the curtain of the harem. I have read a hundred books on patience and still I am without it. What can I do! I must find a way to enjoy the love of this slender cypress, so that the desire of my body shall accord with the longing of my soul - and this must be done without his knowing.'

Then the sweet-voiced maids said: 'Do not grieve. Tonight we will bring him here unknown to anyone, and even he will know nothing about it.'

Soon, one of the young girls went in secret to the slave and asked him, as if to play with him, to bring two cups of wine. Into one cup she threw a drug, contriving that he should drink it. He at once fell asleep, so that she was able

to carry out her plan, and the youth of the silver breast remained without news of the two worlds.

When night came the maids of honour went softly to where he lay and put him on a litter and carried him to the princess. Then they sat him on a golden throne and placed a coronet of pearls on his head. At midnight, still a little drugged, he opened his eyes and saw a palace as fair as paradise, and around him were golden seats. The place was lighted by ten great candles perfumed with amber, and sweet aloe wood burned in pans. The maidens began to sing, but in such sweet strains that reason bade farewell to the spirit, and the soul to the body. Then the sun of wine went round to the light of the candles. Bewildered with the joy of his surroundings and dazzled by the beauty of the princess, the youth lost his wits. He was no longer really in this world nor was he in the other. With a heart full of love, and a body possessed with desire, amid these delights he fell into a state of ecstasy. His eyes were fastened on her beauty and his ears to the sound of the reed pipes. His nostrils took in the perfume of amber and the wine in his mouth became like liquid fire. The princess kissed him, and he shed tears of joy while she mingled hers with his. Sometimes she pressed sweet kisses on his mouth, sometimes they were tinged with salt; sometimes she ruffled his long hair, sometimes she lost herself in his eyes. He possessed her; and so they passed the time until the dawn appeared in the East. When morning Zephyr breathed the young slave became sad; but they sent him to sleep again and took him back to his quarters.

When he of the silver breast came to himself, without knowing why, he began to weep. One might say the thing was finished, so what was the good of crying out. He tore his clothes, pulled his hair and put earth on his head. Those about him asked why he was doing this, and what had happened. He said: Ht is impossible to describe what I have

I

seen, no one else can ever see it except in a dream, for what has happened to me can never have happened to anyone before. Never was there a more astonishing mystery.'

Another said: 'Wake up, and tell us at least one of the hundred things that happened.' He replied: 'lam in a tumult because what I have seen has happened to me in another body. While hearing nothing I have heard everything, while seeing nothing I have seen everything.'

Another said: 'Have you lost your wits or have you just been dreaming?' 'Ah,' he said, 'I don't know if I was drunk or sober. What can be more puzzling than something which is neither revealed nor hidden. What I have seen I can never forget, yet I have no idea where it happened. For one whole night I revelled with a beauty who is without equal. Who and what she is I do not know. Only love remains, and that is all. But God knows the truth.'

(605) which he represents some pitiful hero who is drawling out his sorrows in a long oration, or weeping, and smiting his breast—the best of us, you know, delight in giving way to sympathy, and are in raptures at the excellence of the poet who stirs our feelings most. Yes, of course I know. But when any sorrow of our own happens to us, then you may observe that we pride ourselves on the opposite quality—we would fain be quiet and patient; this is the manly part, and the other which delighted us in the recitation is now deemed to be the part of a woman. Very true, he said. Now can we be right in praising and admiring another who is doing that which any one of us would abominate and be ashamed of in his own person? No, he said, that is certainly not reasonable. Nay, I said, quite reasonable from one point of view. What point of view? If you consider, I said, that when in misfortune we feel a natural hunger and desire to relieve our sorrow by weeping and lamentation, and that this feeling which is kept under control in our own calamities is satisfied and delighted by the poets;—the better nature in each of us, not having been sufficiently trained by reason or habit, allows the sympathetic

(4) followed by a thundering peal, without end and without beginning, now dying, now living, now sinking, now rising, on and on without a moment's break. And so you were afraid. "When I played again, it was the harmony of the Yin and Yang, lighted by the glory of sun and moon; now broken, now prolonged, now gentle, now severe, in one unbroken, unfathomable volume of sound. Filling valley and gorge, stopping the ears and dominating the senses, adapting itself to the capacities of things,—the sound whirled around on all sides, with shrill note and clear. The spirits of darkness kept to their domain. Sun, moon, and stars, pursued their appointed course. When the melody was exhausted I stopped; if the melody did not stop, I went on. You would have sympathised, but you could not understand. You would have looked, but you could not see. You would have pursued, but you could not overtake. You stood dazed in the middle of the wilderness, leaning against a tree and crooning, your eye conscious of exhausted vision, your strength failing for the pursuit, and so unable to overtake me. Your frame was but an empty shell. You were completely at a loss, and so you were amazed. "Then I played in sounds which produce no amazement, the melodious law of spontaneity, springing forth like nature's countless buds, in manifold but formless joy, as though poured forth to the dregs, in deep but soundless bass. Beginning nowhere, the melody rested in void; some would say dead, others alive, others real, others ornamental, as it scattered itself on all sides in never to be anticipated chords.

(3) Oh thou who art clouded, but manful, and who sailest round over that chine of Âpepi; thou of firm head and steadfast breast when coming forth from the fiery blows: Oh thou who art at the ship, let me sail the ship, let me fasten my tackle and come forth

(49) And though indeed thou must walk here with thy Body in the dark Night among Thorns and Thistles, (so that the Devil and also this World does rend and tear thee, and not only buffet, despise, deride, and villify thee outwardly, but also many Times stop thy dear Mind, and lead it captive in the Lust of this World into the Bath [or Lake] of S wines,) yet then the noble Virgin will help thee still, and will call upon thee to desist from thy ungodly mWays.

(1) The amorous Nightingale first came forward almost beside himself with passion. He poured emotion into each of the thousand notes of his song; and in each was to be found a world of secrets. When he sang of these mysteries the birds became silent. 'The secrets of love are known to me,' he said. 'All night I repeat my songs of love. Is there no unhappy David to whom I can sing the yearning psalms of love? The flute's sweet wailing is because of me, and the lamenting of the lute. I create a tumult among the roses as well as in the hearts of lovers. Always I teach new mysteries, at each instant I repeat new songs of sadness. When love overpowers my soul my singing is as the sighing sea. Who hears me forsakes his reason, though he be among the wise. If I am parted from my dear Rose I am desolate, I cease my singing and tell my secrets to none. Mv secrets are not known to everyone; only to the Rose are they known with certainty. So deep in love am I with the Rose that I do not even think of my own existence; but only of the Rose and

the coral of her petals. The journey to the Simurgh is beyond my strength; the love of the Rose is enough for the Nightingale. It is for me that she flowers with her hundred petals; what more then can I wish! The Rose which blooms today is full of longing, and for me smiles joyously. When she shows her face under the veil I know that it is for me. How then can the Nightingale remain a single night deprived of the love of this enchantress?'

(392) about men poets and story-tellers are guilty of making the gravest misstatements when they tell us that wicked men are often happy, and the good miserable; and that injustice is profitable when undetected, but that justice is a man’s own loss and another’s gain—these things we shall forbid them to utter, and command them to sing and say the opposite. To be sure we shall, he replied. But if you admit that I am right in this, then I shall maintain that you have implied the principle for which we have been all along contending. I grant the truth of your inference. That such things are or are not to be said about men is a question which we cannot determine until we have discovered what justice is, and how naturally advantageous to the possessor, whether he seem to be just or not. Most true, he said. Enough of the subjects of poetry: let us now speak of the style; and when this has been considered, both matter and manner will have been completely treated. I do not understand what you mean, said Adeimantus. Then I must make you understand; and perhaps I may be more intelligible if I put the matter in this way. You are aware, I suppose, that all mythology and poetry is a narration of events, either past, present, or to come? Certainly, he replied. And narration may be either simple narration, or imitation, or a union of the two? That again, he said, I do not quite understand. I fear that I must be a ridiculous teacher when I have so much difficulty in making myself apprehended. Like a bad speaker, therefore, I will not take the whole of the subject,

(398) our souls’ health the rougher and severer poet or story-teller, who will imitate the style of the virtuous only, and will follow those models which we prescribed at first when we began the education of our soldiers. We certainly will, he said, if we have the power. Then now, my friend, I said, that part of music or literary education which relates to the story or myth may be considered to be finished; for the matter and manner have both been discussed. I think so too, he said. Next in order will follow melody and song. That is obvious. Every one can see already what we ought to say about them, if we are to be consistent with ourselves. I fear, said Glaucon, laughing, that the word ‘every one’ hardly includes me, for I cannot at the moment say what they should be; though I may guess. At any rate you can tell that a song or ode has three parts—the words, the melody, and the rhythm; that degree of knowledge I may presuppose? Yes, he said; so much as that you may. And as for the words, there will surely be no difference between words which are and which are not set to music; both will conform to the same laws, and these have been already determined by us? Yes. And the melody and rhythm will depend upon the words? Certainly. We were saying, when we spoke of the subject-matter, that we had no need of lamentation and strains of sorrow? True.

(1) Men subdued by women's wiles. In this manner she pleaded with gentle coaxing, How could his firmness and endurance abide When even without tears she could charm his heart? That rain brought forth a flash of lightning Since the man was the slave of her fair face, How was it when she stooped to slavish entreaties? When she whose airs set thy heart a-quaking, When she weeps, how feelest thou then? When she whose coquetry makes thy heart bleed

(56) Here now stood the kindled bride in the seventh nature-spirit, like a proud beast; now she supposed she was beyond or above God, nothing was like her now: Love grew cold, the Heart of God could not touch it, for there was a contrary will or opposition between them. The Heart of God moved very meekly and lovingly, and the heart of the angel moved very darkly, hard, cold and fiery.

(3) In her body she became a whore and gave herself to everyone, seeing each one she hugged as a husband. After she let herself be taken by lecherous, unfaithful adulterers, she sighed deeply and repented. But even when she turned her face from the adulterers, she ran to others, and they compelled her to live with them and make love with them on their beds as if they were her masters. Then, out of shame, she no longer dared leave them, while they double-crossed her, pretending to be faithful, true husbands, as if they respected her. After all these acts, they took off, abandoning her.

(27) And therefore when a Man sleeps, so that the Tincture rests, then there are no Thoughts in the Spirit; but the Constellation Air, or Receptacle. rumbles in the Elements, and beats into the Brains what shall (through their Operation) come to pass, which yet is often broke again by another Conjunction, so that it comes not to effect; besides, it can show nothing exactly, except it comes by a Conjunction of Planets and fixed Stars, and that only goes forward, but it represents all [in an] earthly [Manner,] according to the Spirit of this World; so that where the syderial Spirit should speak of Men, it often speaks of Beasts, and continually represents the Contrary; as the earthly Spirit fancies from the starry Spirit, so he dreams.

(28) Who knows his manhood's strength, Yet still his female feebleness maintains; As to one channel flow the many drains, All come to him, yea, all beneath the sky. Thus he the constant excellence retains; The simple child again, free from all stains. Who knows how white attracts, Yet always keeps himself within black's shade, The pattern of humility displayed, Displayed in view of all beneath the sky; He in the unchanging excellence arrayed, Endless return to man's first state has made. Who knows how glory shines, Yet loves disgrace, nor e'er for it is pale; Behold his presence in a spacious vale, To which men come from all beneath the sky. The unchanging excellence completes its tale; The simple infant man in him we hail. The unwrought material, when divided and distributed, forms vessels. The sage, when employed, becomes the Head of all the Officers (of government); and in his greatest regulations he employs no violent measures.

(14) Again, that the Spring is called "flowery," from its nature; and Night "still," on account of rest; and the Moon" Gorgonian," on account of the face in it; and that the time in which it is necessary to sow is called Aphrodite by the "Theologian." In the same way, too, the Pythagoreans figuratively called the planets the "dogs of Persephone;" and to the sea they applied the metaphorical appellation of "the tears of Kronus." Myriads on myriads of enigmatical utterances by both poets and philosophers are to be found; and there are also whole books which present the mind of the writer veiled, as that of Heraclitus On Nature, who on this very account is called "Obscure." Similar to this book is the Theology of Pherecydes of Syrup; for Euphorion the poet, and the Causes of Callimachus, and the Alexandra of Lycophron, and the like, are proposed as an exercise in exposition to all the grammarians.

(13) As to the beginning of the poem, the two first lines refer entirely to the activity of the Golden Flower. The two next lines are concerned with the mutual interpenetration of sun and moon. The sixth month is the adhering (Li) fire. The white snow that lies, is the true darkness of polarity in the middle of the fire sign, that is about to turn into the receptive. The third watch is the abysmal (K'ari) water. The sun's disk is the one polar line in the sign for water, which is about to turn into the creative. In this is contained the way to take the sign for the abysmal and the way to reverse the sign for the adhering (ire Li). The following two lines have to do with the activity of the pole of the Great Wain, the rise and fall of the whole release of polarity. Water is the sign of the abysmal; the eye is the wind of softness (Sun). The light of the eyes illumines the house of the abysmal, and controls there the seed of the great Light. " In Heaven " means the house of the creative (ChHen).

(41) "The fourth and fifth leaves therefore, were without any writing, all full of fair figures enlightened, or as it were enlightened, for the work was very exquisite. First he painted a young man with wings at his ancles, having in his hand a Caducean rod, writhen about with two serpents, wherewith he struck upon a helmet which covered his head. He seemed to my small judgment, to be the God Mercury of the pagans: against him there came running and flying with open wings, a great old man, who upon his head had an hour glass fastened, and in his hand a book (or syrhe) like death, with the which, in terrible and furious manner, he would have cut off the feet of Mercury. On the other side of the fourth leaf, he painted a fair flower on the top of a very high mountain which was sore shaken with the North wind; it had the foot blue, the flowers white and red, the leaves shining like fine gold: and round about it the dragons and griffons of the North made their nests and abode.

(10) Sleep has deserted my eyes Through my longing for Thee, O Envy of cypresses! Though I be unworthy of Thy favor, how were it If thou shouldst regard the grieves of unworthy me? What claim of right can a non-existent thing make To have the doors of Thy bounty opened to it? Yet Thy bounty had regard to my senseless dust And endued it with the ten jewels of the senses Five external senses and five internal senses,

(4) But there are earlier and loftier beauties than these. In the sense-bound life we are no longer granted to know them, but the soul, taking no help from the organs, sees and proclaims them. To the vision of these we must mount, leaving sense to its own low place.

As it is not for those to speak of the graceful forms of the material world who have never seen them or known their grace- men born blind, let us suppose- in the same way those must be silent upon the beauty of noble conduct and of learning and all that order who have never cared for such things, nor may those tell of the splendour of virtue who have never known the face of Justice and of Moral-Wisdom beautiful beyond the beauty of Evening and of dawn.

Such vision is for those only who see with the Soul's sight- and at the vision, they will rejoice, and awe will fall upon them and a trouble deeper than all the rest could ever stir, for now they are moving in the realm of Truth.

This is the spirit that Beauty must ever induce, wonderment and a delicious trouble, longing and love and a trembling that is all delight. For the unseen all this may be felt as for the seen; and this the Souls feel for it, every soul in some degree, but those the more deeply that are the more truly apt to this higher love- just as all take delight in the beauty of the body but all are not stung as sharply, and those only that feel the keener wound are known as Lovers.

(1) I say that virtue will be found sufficient to the avoidance of infelicity, and vice to the non-attainment of felicity, if we judiciously consider the habits [by which these are produced]. For it is necessary that the bad man should always be miserable; whether he is in affluence, for he employs it badly; or whether he is in penury; just as the blind man, whether he has light, and the most splendid visible object before him, or whether he is in the dark [is always necessarily without sight]. But the good man is not always happy; for felicity does not consist in the possession, but in the use of virtue. For neither does he who has sight always see; for he will not see, if he is without light.

Life, however, is divided into two paths; one of which is more arduous, and in which the patient Ulysses walked; but the other is more free from molestation, and is that in which Nestor proceeded. I say therefore that virtue desires the latter, but is able to proceed in the former of these paths. The nature however of felicity proclaims it to be a desirable and stable life, because it gives perfection to the decision of the soul. Hence the virtuous man who does not obtain such a life as this, is not indeed happy, nor yet entirely miserable. No one therefore will dare to say that the good man should be exempt from disease, and pain, and sorrow. For as we leave certain painful things to the body, so likewise we must permit them to be present with the soul.

The sorrows, however, of fools are most irrational; but those of wise men proceed only as far as reason, which gives limitation to things, permits. Moreover, the boast of apathy dissolves the generosity of virtue, when it opposes itself to things of an indifferent nature, and not to evils such as death, and pain, and poverty. For things which are not evils are easily vanquished. We should therefore exercise ourselves in the mediocrity of the passions, as we shall then equally avoid insensibility, and too much passivity, and shall not speak higher of our nature than we ought.