(19) Socrates: I am conscious of my own inability ever to magnify sufficiently our citizens and our State. Now in this inability of mine there is nothing surprising; but I have formed the same opinion about the poets also, those of the present as well as those of the past; not that I disparage in any way the poetic clan, but it is plain to all that the imitative tribe will imitate with most ease and success the things amidst which it has been reared, whereas it is hard for any man to imitate well in action what lies outside the range of his rearing,

(4) "O thou who honourest every art and science, Who may these be, which such great honour have, That from the fashion of the rest it parts them?" And he to me: "The honourable name, That sounds of them above there in thy life, Wins grace in Heaven, that so advances them." In the mean time a voice was heard by me: "All honour be to the pre-eminent Poet; His shade returns again, that was departed." After the voice had ceased and quiet was, Four mighty shades I saw approaching us; Semblance had they nor sorrowful nor glad. To say to me began my gracious Master: "Him with that falchion in his hand behold, Who comes before the three, even as their lord. That one is Homer, Poet sovereign; He who comes next is Horace, the satirist; The third is Ovid, and the last is Lucan. Because to each of these with me applies The name that solitary voice proclaimed, They do me honour, and in that do well." Thus I beheld assemble the fair school Of that lord of the song pre-eminent, Who o'er the others like an eagle soars.

(4) A poet was I, and I sang that just Son of Anchises, who came forth from Troy, After that Ilion the superb was burned. But thou, why goest thou back to such annoyance? Why climb'st thou not the Mount Delectable, Which is the source and cause of every joy?" "Now, art thou that Virgilius and that fountain Which spreads abroad so wide a river of speech?" I made response to him with bashful forehead. "O, of the other poets honour and light, Avail me the long study and great love That have impelled me to explore thy volume! Thou art my master, and my author thou, Thou art alone the one from whom I took The beautiful style that has done honour to me. Behold the beast, for which I have turned back; Do thou protect me from her, famous Sage, For she doth make my veins and pulses tremble." "Thee it behoves to take another road," Responded he, when he beheld me weeping, "If from this savage place thou wouldst escape; Because this beast, at which thou criest out, Suffers not any one to pass her way, But so doth harass him, that she destroys him;

(49) Let these species, then, of Greek plagiarism of sentiments, being such, stand as sufficient for a clear specimen to him who is capable of perceiving.

(3) But say if him I here behold, who forth Evoked the new-invented rhymes, beginning, 'Ladies, that have intelligence of love?'" And I to him: "One am I, who, whenever Love doth inspire me, note, and in that measure Which he within me dictates, singing go." "O brother, now I see," he said, "the knot Which me, the Notary, and Guittone held Short of the sweet new style that now I hear. I do perceive full clearly how your pens Go closely following after him who dictates, Which with our own forsooth came not to pass; And he who sets himself to go beyond, No difference sees from one style to another;" And as if satisfied, he held his peace. Even as the birds, that winter tow'rds the Nile, Sometimes into a phalanx form themselves, Then fly in greater haste, and go in file; In such wise all the people who were there, Turning their faces, hurried on their steps, Both by their leanness and their wishes light. And as a man, who weary is with trotting, Lets his companions onward go, and walks, Until he vents the panting of his chest;

(53) These Homer transferrred to the Cyclops. And Hesiod writes of Melampous: "Gladly to hear, what the immortals have assigned To men, the brave from cowards clearly marks;" and so forth, taking it word for word from the poet Musaeus. And Aristophanes the comic poet has, in the first of the Thesmophoriazusoe, transferred the words from the Empiprameni of Cratinus. And Plato the comic poet, and Aristophanes in Doeda-lus, steal from one another. Cocalus, composed by Araros, the son of Aristophanes, was by the comic poet Philemon altered, and made into the comedy called Hypobolimoens.

(6) Whence I: "Thou peradventure marvellest, O antique spirit, at the smile I gave; But I will have more wonder seize upon thee. This one, who guides on high these eyes of mine, Is that Virgilius, from whom thou didst learn To sing aloud of men and of the Gods. If other cause thou to my smile imputedst, Abandon it as false, and trust it was Those words which thou hast spoken concerning him." Already he was stooping to embrace My Teacher's feet; but he said to him: "Brother, Do not; for shade thou art, and shade beholdest." And he uprising: "Now canst thou the sum Of love which warms me to thee comprehend, When this our vanity I disremember, Treating a shadow as substantial thing."

(2) From these things, therefore, the signs of those that are inspired are multiform. For the inspiration is indicated by the motions of the [whole] body, and of certain parts of it, by the perfect rest of the body, by harmonious orders and dances, and by elegant sounds, or the contraries of these. Either the body, likewise, is seen to be elevated, or increased in bulk, or to be borne along sublimely in the air, or the contraries of these, are seen to take place about it. An equability, also, of voice, according to magnitude, or a great variety of voice after intervals of silence, may be observed. And again, sometimes the sounds have a musical intension and remission, and sometimes they are strained and relaxed after a different manner.

(10) He like the blessed Gods his friends rever’d,

But reckon’d others men of no account.

Homer, too, especially deserves to be praised for calling a king the shepherd of the people . For being a friend to that government in which the rulers are few, he evinced by this epithet that the rest of men are cattle. To beans it is requisite to be hostile, as being the leaders of decision by lot; for by these men were allotted the administration of affairs. Again, empire should be the object of desire: for they proclaim that it is better to be one day a bull, than to be an ox for ever. That the legal institutes of others are laudable; but that they should be exhorted to use those which are known to themselves. In one word, Ninon showed that their philosophy was a conspiracy against the multitude, and therefore exhorted them not to hear the counsellors, but to consider that they would never have been admitted into the assembly, if the council of the Pythagoreans had been approved by the session of a thousand men; so that it was not fit to suffer those to speak, who prevented to the utmost of their power others from being heard. He observed, therefore, that they should consider the right hand which was rejected by the Pythagoreans, as hostile to them, when they gave their suffrages by an extension of the hands, or calculated the number of the votes. That they should also consider it to be a disgraceful circumstance, that they who conquered thirty myriads of men at the river Tracis, should be vanquished by a thousandth part of the same number through sedition in the city itself. In short Ninon so exasperated his hearers by his calumnies, that in a few days after, a great multitude assembled together intending to attack the Pythagoreans as they were sacrificing to the Muses in a house near to the temple of Apollo. The Pythagoreans, however, foreseeing that this would take place, fled to an inn; but Democedes, with those that had arrived at puberty, withdrew to Platea. And those that had dissolved the laws made a decree in which they accused Democedes of compelling the younger part of the community to the possession of empire, and proclaimed by a cryer that thirty talents should be given to any one who destroyed him. An engagement also taking place, and Theages having vanquished Democedes in that contest, they distributed to him the thirty talents which the city had promised. But as the city, and the whole region were involved in many evils, the exiles were brought to judgment, and the power of decision being given to three cities, viz. to the Tarentines, Metapontines, and the Caulonians, those that were sent by them to determine the cause were corrupted by money, as we learn from the chronicles of the Crotonians. Hence the Crotonians condemned by their own decision those that were accused, to exile. In consequence, too, of this decision, and the authority which it conferred on them, they expelled all those from the city, who were dissatisfied with the existing state of affairs, and at the same time banished all their families, asserting that it was not fit to be impious, and that children ought not to be divulsed from their parents. They likewise abolished loans, and made the land to be undivided.

(5) The greatest honor which can be paid to God, is to know and imitate him.

There is not any thing, indeed, which wholly resembles God; nevertheless the imitation of him as much as possible by an inferior nature is grateful to him.

(1) [ Missing the beginning ]..... that you may read them under your hand, and may be able to preserve them. Whether written compositions are not to be left behind at all; or if they are, by whom? And if the former, what need there is for written compositions? and if the latter, is the composition of them to be assigned to earnest men, or the opposite? It were certainly ridiculous for one to disapprove of the writing of earnest men, and approve of those, who are not such, engaging in the work of composition. Theopompus and Timaeus, who composed fables and slanders, and Epicurus the leader of atheism, and Hipponax and Archilochus, are to be allowed to write in their own shameful manner. But he who proclaims the truth is to be prevented from leaving behind him what is to benefit posterity. It is a good thing, I reckon, to leave to posterity good children. This is the case with children of our bodies. But words are the progeny of the soul. Hence we call those who have instructed us, fathers. Wisdom is a communicative and philanthropic thing. Accordingly, Solomon says, "My son, if thou receive the saying of my commandment, and hide it with thee, thine ear shall hear wisdom." He points out that the word that is sown is hidden in the soul of the learner, as in the earth, and this is spiritual planting. Wherefore also he adds, "And thou shall apply thine heart to understanding, and apply it for the admonition of thy son." For soul, me thinks, joined with soul, and spirit with spirit, in the sowing of the word, will make that which is sown grow and germinate. And every one who is instructed, is in respect of subjection the son of his instructor. "Son," says he, "forget not my laws."

(1) The elementary teaching, then, of this the perfecting service, through the things done over the Divine Muron, shews this, in my judgment, that, that which is holy and of sweet savour in the minds of devout men is covered, as with a veil, since it Divinely enjoins upon holy men to have their beautiful and well-savoured assimilations in virtue to the hidden God not seen for vain glory. For the hidden comeliness of God is unsullied, and is sweet beyond conception, and manifested for spiritual contemplation to the intellectual alone, through a desire to have the unsullied images of virtue in souls of the same pattern. For by looking away from the undistorted and well imitated image of the Godlike virtue to that contemplated and fragrant beauty, he thus moulds and fashions it to the most beautiful imitation. And, as in the case of sensible images, if the artist look without distraction upon the archetypal form, not distracted by sight of anything else, or in any way divided in attention, he will duplicate, if I may so speak, the very person that is being sketched, whoever he may be, and will shew the reality in the likeness, and the archetype in the image, and each in each, save the difference of substance; thus, to copyists who love the beautiful in mind, the persistent and unflinching contemplation of the sweet-savoured and hidden beauty will confer the unerring and most Godlike appearance. Naturally, then, the divine copyists, who unflinchingly mould their own intellectual contemplation to the superessentially sweet and contemplated comeliness, do. none of their divinely imitated virtues "to be seen of men, as the Divine text expresses it; but reverently gaze upon the most holy things of the Church, veiled in the Divine Muron as in a figure. Wherefore, these also, by religiously concealing that which is holy and most Divine in virtue within their Godlike and God-engraved mind, look away to the archetypal conception alone; for not only are they blind to things dissimilar, but neither are they drawn down to gaze upon them. Wherefore, as becomes their character, they do neither love things, merely seeming good and just, but those really being such; nor do they look to opinion, upon which the multitude irrationally congratulate themselves, but, after the Divine example, by distinguishing the good or evil as it is in itself, they are Divine images of the most supremely Divine sweetness, which, having the truly sweet within itself, is not turned to the anomalously seeming of the multitude, moulding Its genuineness to the true images of Itself.

(3) Orpheus, then, having composed the line: "Since nothing else is more shameless and wretched than woman," Homer plainly says: "Since nothing else is more dreadful and shameless than a woman." And Musaeus having written: "Since art is greatly superior to strength," Homer says: "By art rather than strength is the woodcutter greatly superior." Again, Musaeus having composed the lines: "And as the fruitful field produceth leaves, And on the ash trees some fade, others grow, So whirls the race of man its leaf," Homer transcribes: "Some of the leaves the wind strews on the ground.

(2) First, then, let us examine those good qualities by which we hold Likeness comes, and seek to establish what is this thing which, as we possess it, in transcription, is virtue but as the Supreme possesses it, is in the nature of an exemplar or archetype and is not virtue.

We must first distinguish two modes of Likeness.

There is the likeness demanding an identical nature in the objects which, further, must draw their likeness from a common principle: and there is the case in which B resembles A, but A is a Primal, not concerned about B and not said to resemble B. In this second case, likeness is understood in a distinct sense: we no longer look for identity of nature, but, on the contrary, for divergence since the likeness has come about by the mode of difference.

What, then, precisely is Virtue, collectively and in the particular? The clearer method will be to begin with the particular, for so the common element by which all the forms hold the general name will readily appear.

The Civic Virtues, on which we have touched above, are a principle or order and beauty in us as long as we remain passing our life here: they ennoble us by setting bound and measure to our desires and to our entire sensibility, and dispelling false judgement- and this by sheer efficacy of the better, by the very setting of the bounds, by the fact that the measured is lifted outside of the sphere of the unmeasured and lawless.

And, further, these Civic Virtues- measured and ordered themselves and acting as a principle of measure to the Soul which is as Matter to their forming- are like to the measure reigning in the over-world, and they carry a trace of that Highest Good in the Supreme; for, while utter measurelessness is brute Matter and wholly outside of Likeness, any participation in Ideal-Form produces some corresponding degree of Likeness to the formless Being There. And participation goes by nearness: the Soul nearer than the body, therefore closer akin, participates more fully and shows a godlike presence, almost cheating us into the delusion that in the Soul we see God entire.

This is the way in which men of the Civic Virtues attain Likeness.

(5) The moment I heard name himself the father Of me and of my betters, who had ever Practised the sweet and gracious rhymes of love; And without speech and hearing thoughtfully For a long time I went, beholding him, Nor for the fire did I approach him nearer. When I was fed with looking, utterly Myself I offered ready for his service, With affirmation that compels belief. And he to me: "Thou leavest footprints such In me, from what I hear, and so distinct, Lethe cannot efface them, nor make dim. But if thy words just now the truth have sworn, Tell me what is the cause why thou displayest In word and look that dear thou holdest me?" And I to him: "Those dulcet lays of yours Which, long as shall endure our modern fashion, Shall make for ever dear their very ink!" "O brother," said he, "he whom I point out," And here he pointed at a spirit in front, "Was of the mother tongue a better smith. Verses of love and proses of romance, He mastered all; and let the idiots talk, Who think the Lemosin surpasses him.

(33) But not to protract the discourse further, in our anxiety to show the propensity of the Greeks to plagiarism in expressions and dogmas, allow us to adduce the express testimony of Hippias, the sophist of Elea, who discourses on the point in hand, and speaks thus: "Of these things some perchance are said by Orpheus, some briefly by Musaeus; some in one place, others in other places; some by Hesiod, some by Homer, some by the rest of the poets; and some in prose compositions, some by Greeks, some by Barbarians. And I from all these, placing together the things of most importance and of kindred character, will make the present discourse new and varied."

(1) What you afterwards say is as follows: “ That some of those who suffer a mental alienation, energize enthusiastically on hearing cymbals or drums, or a certain modulated sound, such as those who are Corybantically inspired, those who are possessed by Sabazius, and those who are inspired by the mother of the Gods .” It is necessary, therefore, to discuss the causes of these things, and to show how they are definitely produced. That music, therefore, is of a motive nature, and is adapted to excite the affections, and that the melody of pipes produces or heals the disordered passions of the soul, changes the temperaments or dispositions of the body, and by some melodies causes a Bacchic fury, but by others occasions this fury to cease; and, likewise, how the differences of these accord with the several dispositions of the soul, and that an unstable and variable melody is adapted to ecstasies, such as are the melodies of Olympus, and others of the like kind; all these appear to me to be adduced in a way foreign to enthusiasm. For they are physical and human, and the work of our art; but nothing whatever of a divine nature in them presents itself to the view.

(5) Sometimes an animal, when covered, struggles So that his impulse needs must be apparent, By reason of the wrappage following it; And in like manner the primeval soul Made clear to me athwart its covering How jubilant it was to give me pleasure. Then breathed: "Without thy uttering it to me, Thine inclination better I discern Than thou whatever thing is surest to thee; For I behold it in the truthful mirror, That of Himself all things parhelion makes, And none makes Him parhelion of itself. Thou fain wouldst hear how long ago God placed me Within the lofty garden, where this Lady Unto so long a stairway thee disposed. And how long to mine eyes it was a pleasure, And of the great disdain the proper cause, And the language that I used and that I made. Now, son of mine, the tasting of the tree Not in itself was cause of so great exile, But solely the o'erstepping of the bounds. There, whence thy Lady moved Virgilius, Four thousand and three hundred and two circuits Made by the sun, this Council I desired;

(6) Such longing upon longing came upon me To be above, that at each step thereafter For flight I felt in me the pinions growing. When underneath us was the stairway all Run o'er, and we were on the highest step, Virgilius fastened upon me his eyes, And said: "The temporal fire and the eternal, Son, thou hast seen, and to a place art come Where of myself no farther I discern. By intellect and art I here have brought thee; Take thine own pleasure for thy guide henceforth; Beyond the steep ways and the narrow art thou. Behold the sun, that shines upon thy forehead; Behold the grass, the flowerets, and the shrubs Which of itself alone this land produces. Until rejoicing come the beauteous eyes Which weeping caused me to come unto thee, Thou canst sit down, and thou canst walk among them. Expect no more or word or sign from me; Free and upright and sound is thy free-will, And error were it not to do its bidding; Thee o'er thyself I therefore crown and mitre!"

(51) You will also find that Homer, the great poet, took from Orpheus, from the Disappearance of Dionysus, those words and what follows verbatim: "As a man trains a luxuriant shoot of olive."