(606) Therefore, Glaucon, I said, whenever you meet with any of the eulogists of Homer declaring that he has been the educator of Hellas, and that he is profitable for education and for the ordering of human things, and that you should take him up again and again and get to know him and regulate your whole life according to him, we may love and honour those who say these things—they are excellent people, as far as their lights extend; and we are ready to acknowledge that Homer is the greatest of poets and first of tragedy writers; but we must remain firm in our conviction that hymns to the gods and praises of famous men are the only poetry which ought to be admitted into our State. For if you go beyond this and allow the honeyed muse to enter, either in epic or lyric verse, not law and the reason of mankind, which by common consent have ever been deemed best, but pleasure and pain will be the rulers in our State. That is most true, he said. And now since we have reverted to the subject of poetry, let this our defence serve to show the reasonableness of our former judgment in sending away out of our State an art having the tendencies which we have described; for reason constrained us. But that she may not impute to us any harshness or want of politeness, let us tell her that there is an ancient quarrel between philosophy and poetry; of which there are many proofs, such as the saying of ‘the yelping hound howling at her lord,’ or of one ‘mighty in

(388) men to me, subdued at the hands of Patroclus the son of Menoetius 13 .’ For if, my sweet Adeimantus, our youth seriously listen to such unworthy representations of the gods, instead of laughing at them as they ought, hardly will any of them deem that he himself, being but a man, can be dishonoured by similar actions; neither will he rebuke any inclination which may arise in his mind to say and do the like. And instead of having any shame or self-control, he will be always whining and lamenting on slight occasions. Yes, he said, that is most true. Yes, I replied; but that surely is what ought not to be, as the argument has just proved to us; and by that proof we must abide until it is disproved by a better. It ought not to be. Neither ought our guardians to be given to laughter. For a fit of laughter which has been indulged to excess almost always produces a violent reaction. So I believe. Then persons of worth, even if only mortal men, must not be represented as overcome by laughter, and still less must such a representation of the gods be allowed. Still less of the gods, as you say, he replied. Then we shall not suffer such an expression to be used about the gods as that of Homer when he describes how ‘Inextinguishable laughter arose among the blessed gods, when they saw Hephaestus bustling about the mansion 14 .’ On your views, we must not admit them. On my views, if you like to father them on me; that we

(395) Neither are comic and tragic actors the same; yet all these things are but imitations. They are so. And human nature, Adeimantus, appears to have been coined into yet smaller pieces, and to be as incapable of imitating many things well, as of performing well the actions of which the imitations are copies. Quite true, he replied. If then we adhere to our original notion and bear in mind that our guardians, setting aside every other business, are to dedicate themselves wholly to the maintenance of freedom in the State, making this their craft, and engaging in no work which does not bear on this end, they ought not to practise or imitate anything else; if they imitate at all, they should imitate from youth upward only those characters which are suitable to their profession—the courageous, temperate, holy, free, and the like; but they should not depict or be skilful at imitating any kind of illiberality or baseness, lest from imitation they should come to be what they imitate. Did you never observe how imitations, beginning in early youth and continuing far into life, at length grow into habits and become a second nature, affecting body, voice, and mind? Yes, certainly, he said. Then, I said, we will not allow those for whom we profess a care and of whom we say that they ought to be good men, to imitate a woman, whether young or old, quarrelling with her husband, or striving and vaunting against the gods in

(394) In saying this, I intended to imply that we must come to an understanding about the mimetic art,—whether the poets, in narrating their stories, are to be allowed by us to imitate, and if so, whether in whole or in part, and if the latter, in what parts; or should all imitation be prohibited? You mean, I suspect, to ask whether tragedy and comedy shall be admitted into our State? Yes, I said; but there may be more than this in question: I really do not know as yet, but whither the argument may blow, thither we go. And go we will, he said. Then, Adeimantus, let me ask you whether our guardians ought to be imitators; or rather, has not this question been decided by the rule already laid down that one man can only do one thing well, and not many; and that if he attempt many, he will altogether fail of gaining much reputation in any? Certainly. And this is equally true of imitation; no one man can imitate many things as well as he would imitate a single one? He cannot. Then the same person will hardly be able to play a serious part in life, and at the same time to be an imitator and imitate many other parts as well; for even when two species of imitation are nearly allied, the same persons cannot succeed in both, as, for example, the writers of tragedy and comedy—did you not just now call them imitations? Yes, I did; and you are right in thinking that the same persons cannot succeed in both. Any more than they can be rhapsodists and actors at once? True.

(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,

(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

(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

(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;

(599) these were but imitations thrice removed from the truth, and could easily be made without any knowledge of the truth, because they are appearances only and not realities? Or, after all, they may be in the right, and poets do really know the things about which they seem to the many to speak so well? The question, he said, should by all means be considered. Now do you suppose that if a person were able to make the original as well as the image, he would seriously devote himself to the image-making branch? Would he allow imitation to be the ruling principle of his life, as if he had nothing higher in him? I should say not. The real artist, who knew what he was imitating, would be interested in realities and not in imitations; and would desire to leave as memorials of himself works many and fair; and, instead of being the author of encomiums, he would prefer to be the theme of them. Yes, he said, that would be to him a source of much greater honour and profit. Then, I said, we must put a question to Homer; not about medicine, or any of the arts to which his poems only incidentally refer: we are not going to ask him, or any other poet, whether he has cured patients like Asclepius, or left behind him a school of medicine such as the Asclepiads were, or whether he only talks about medicine and other arts at second-hand; but we have a right to know respecting military tactics, politics, education, which are the chiefest

(487) Here Adeimantus interposed and said: To these statements, Socrates, no one can offer a reply; but when you talk in this way, a strange feeling passes over the minds of your hearers: They fancy that they are led astray a little at each step in the argument, owing to their own want of skill in asking and answering questions; these littles accumulate, and at the end of the discussion they are found to have sustained a mighty overthrow and all their former notions appear to be turned upside down. And as unskilful players of draughts are at last shut up by their more skilful adversaries and have no piece to move, so they too find themselves shut up at last; for they have nothing to say in this new game of which words are the counters; and yet all the time they are in the right. The observation is suggested to me by what is now occurring. For any one of us might say, that although in words he is not able to meet you at each step of the argument, he sees as a fact that the votaries of philosophy, when they carry on the study, not only in youth as a part of education, but as the pursuit of their maturer years, most of them become strange monsters, not to say utter rogues, and that those who may be considered the best of them are made useless to the world by the very study which you extol. Well, and do you think that those who say so are wrong? I cannot tell, he replied; but I should like to know what is your opinion. Hear my answer; I am of opinion that they are quite right.

(606) element to break loose because the sorrow is another’s; and the spectator fancies that there can be no disgrace to himself in praising and pitying any one who comes telling him what a good man he is, and making a fuss about his troubles; he thinks that the pleasure is a gain, and why should he be supercilious and lose this and the poem too? Few persons ever reflect, as I should imagine, that from the evil of other men something of evil is communicated to themselves. And so the feeling of sorrow which has gathered strength at the sight of the misfortunes of others is with difficulty repressed in our own. How very true! And does not the same hold also of the ridiculous? There are jests which you would be ashamed to make yourself, and yet on the comic stage, or indeed in private, when you hear them, you are greatly amused by them, and are not at all disgusted at their unseemliness;—the case of pity is repeated;—there is a principle in human nature which is disposed to raise a laugh, and this which you once restrained by reason, because you were afraid of being thought a buffoon, is now let out again; and having stimulated the risible faculty at the theatre, you are betrayed unconsciously to yourself into playing the comic poet at home. Quite true, he said. And the same may be said of lust and anger and all the other affections, of desire and pain and pleasure, which are held to be inseparable from every action—in all of them poetry feeds and waters the passions instead of drying them up; she lets them rule, although they ought to be controlled, if mankind are ever to increase in happiness and virtue. I cannot deny it.

(380) ‘God plants guilt among men when he desires utterly to destroy a house.’ And if a poet writes of the sufferings of Niobe—the subject of the tragedy in which these iambic verses occur—or of the house of Pelops, or of the Trojan war or on any similar theme, either we must not permit him to say that these are the works of God, or if they are of God, he must devise some explanation of them such as we are seeking; he must say that God did what was just and right, and they were the better for being punished; but that those who are punished are miserable, and that God is the author of their misery—the poet is not to be permitted to say; though he may say that the wicked are miserable because they require to be punished, and are benefited by receiving punishment from God; but that God being good is the author of evil to any one is to be strenuously denied, and not to be said or sung or heard in verse or prose by any one whether old or young in any well-ordered commonwealth. Such a fiction is suicidal, ruinous, impious. I agree with you, he replied, and am ready to give my assent to the law. Let this then be one of our rules and principles concerning the gods, to which our poets and reciters will be expected to conform,—that God is not the author of all things, but of good only. That will do, he said.

(381) Then everything which is good, whether made by art or nature, or both, is least liable to suffer change from without? True. But surely God and the things of God are in every way perfect? Of course they are. Then he can hardly be compelled by external influence to take many shapes? He cannot. But may he not change and transform himself? Clearly, he said, that must be the case if he is changed at all. And will he then change himself for the better and fairer, or for the worse and more unsightly? If he change at all he can only change for the worse, for we cannot suppose him to be deficient either in virtue or beauty. Very true, Adeimantus; but then, would any one, whether God or man, desire to make himself worse? Impossible. Then it is impossible that God should ever be willing to change; being, as is supposed, the fairest and best that is conceivable, every God remains absolutely and for ever in his own form. That necessarily follows, he said, in my judgment. Then, I said, my dear friend, let none of the poets tell us that ‘The gods, taking the disguise of strangers from other lands, walk up and down cities in all sorts of forms 13 ;’ and let no one slander Proteus and Thetis, neither let any one, either in tragedy or in any other kind of poetry, introduce Here disguised in the likeness of a priestess asking an alms ‘For the life-giving daughters of Inachus the river of Argos;’

(2) In souls, however, which rule over bodies, and precedaneously pay attention to them, and which, prior to generation, have by themselves a perpetual arrangement, essential good is not present, nor the cause of good, which is prior to essence; but to these a certain participation and habit, proceeding from essential good, accedes; just as we see that the participation of beauty and virtue is very different [in these souls] from that which we behold in men. For the latter is ambiguous, and accedes to composite natures as something adventitious. But the former has an immutable and never failing establishment in souls, and neither itself ever departs from itself, nor can be taken away by any thing else. Such, therefore, being the beginning and end in the divine genera, conceive two media between these extreme boundaries, viz. the order of heroes, which has an arrangement more elevated than that of souls, in power and virtue, in beauty and magnitude, and in all the goods which subsist about souls, and which, though it entirely transcends the psychical order, yet, at the same time, is proximately conjoined to it, through the alliance of a similar formed life. But the other medium, which is suspended from the Gods, though it is far inferior to them, is that of dæmons, which is hot of a primarily operative nature, but is subservient to, and follows the beneficent will of the Gods.

(495) them—a land well stocked with fair names and showy titles—like prisoners running out of prison into a sanctuary, take a leap out of their trades into philosophy; those who do so being probably the cleverest hands at their own miserable crafts? For, although philosophy be in this evil case, still there remains a dignity about her which is not to be found in the arts. And many are thus attracted by her whose natures are imperfect and whose souls are maimed and disfigured by their meannesses, as their bodies are by their trades and crafts. Is not this unavoidable? Yes. Are they not exactly like a bald little tinker who has just got out of durance and come into a fortune; he takes a bath and puts on a new coat, and is decked out as a bridegroom going to marry his master’s daughter, who is left poor and desolate? A most exact parallel. What will be the issue of such marriages? Will they not be vile and bastard? There can be no question of it. And when persons who are unworthy of education approach philosophy and make an alliance with her who is in a rank above them what sort of ideas and opinions are likely to be generated? 4 Will they not be sophisms captivating to the ear, having nothing in them genuine, or worthy of or akin to true wisdom? No doubt, he said. Then, Adeimantus, I said, the worthy disciples of philosophy

(394) silence, and, when he had left the camp, he called upon Apollo by his many names, reminding him of everything which he had done pleasing to him, whether in building his temples, or in offering sacrifice, and praying that his good deeds might be returned to him, and that the Achaeans might expiate his tears by the arrows of the god,’—and so on. In this way the whole becomes simple narrative. I understand, he said. Or you may suppose the opposite case—that the intermediate passages are omitted, and the dialogue only left. That also, he said, I understand; you mean, for example, as in tragedy. You have conceived my meaning perfectly; and if I mistake not, what you failed to apprehend before is now made clear to you, that poetry and mythology are, in some cases, wholly imitative—instances of this are supplied by tragedy and comedy; there is likewise the opposite style, in which the poet is the only speaker—of this the dithyramb affords the best example; and the combination of both is found in epic, and in several other styles of poetry. Do I take you with me? Yes, he said; I see now what you meant. I will ask you to remember also what I began by saying, that we had done with the subject and might proceed to the style. Yes, I remember.

(6) And to the sun I pointed. "Through the deep Night of the truly dead has this one led me, With this true flesh, that follows after him. Thence his encouragements have led me up, Ascending and still circling round the mount That you doth straighten, whom the world made crooked. He says that he will bear me company, Till I shall be where Beatrice will be; There it behoves me to remain without him. This is Virgilius, who thus says to me," And him I pointed at; "the other is That shade for whom just now shook every slope Your realm, that from itself discharges him."

(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."

(376) is likely to be gentle to his friends and acquaintances, must by nature be a lover of wisdom and knowledge? That we may safely affirm. Then he who is to be a really good and noble guardian of the State will require to unite in himself philosophy and spirit and swiftness and strength? Undoubtedly. Then we have found the desired natures; and now that we have found them, how are they to be reared and educated? Is not this an enquiry which may be expected to throw light on the greater enquiry which is our final end—How do justice and injustice grow up in States? for we do not want either to omit what is to the point or to draw out the argument to an inconvenient length. Adeimantus thought that the enquiry would be of great service to us. Then, I said, my dear friend, the task must not be given up, even if somewhat long. Certainly not. Come then, and let us pass a leisure hour in story-telling, and our story shall be the education of our heroes. By all means. And what shall be their education? Can we find a better than the traditional sort?—and this has two divisions, gymnastic for the body, and music for the soul. True. Shall we begin education with music, and go on to gymnastic afterwards? By all means. And when you speak of music, do you include literature or not? I do. And literature may be either true or false? Yes.

(605) Certainly. Then the imitative poet who aims at being popular is not by nature made, nor is his art intended, to please or to affect the rational principle in the soul; but he will prefer the passionate and fitful temper, which is easily imitated? Clearly. And now we may fairly take him and place him by the side of the painter, for he is like him in two ways: first, inasmuch as his creations have an inferior degree of truth—in this, I say, he is like him; and he is also like him in being concerned with an inferior part of the soul; and therefore we shall be right in refusing to admit him into a well-ordered State, because he awakens and nourishes and strengthens the feelings and impairs the reason. As in a city when the evil are permitted to have authority and the good are put out of the way, so in the soul of man, as we maintain, the imitative poet implants an evil constitution, for he indulges the irrational nature which has no discernment of greater and less, but thinks the same thing at one time great and at another small—he is a manufacturer of images and is very far removed from the truth 3 . Exactly. But we have not yet brought forward the heaviest count in our accusation:—the power which poetry has of harming even the good (and there are very few who are not harmed), is surely an awful thing? Yes, certainly, if the effect is what you say. Hear and judge: The best of us, as I conceive, when we listen to a passage of Homer, or one of the tragedians, in