(595) O F the many excellences which I perceive in the order of our State, there is none which upon reflection pleases me better than the rule about poetry. To what do you refer? To the rejection of imitative poetry, which certainly ought not to be received; as I see far more clearly now that the parts of the soul have been distinguished. What do you mean? Speaking in confidence, for I should not like to have my words repeated to the tragedians and the rest of the imitative tribe—but I do not mind saying to you, that all poetical imitations are ruinous to the understanding of the hearers, and that the knowledge of their true nature is the only antidote to them. Explain the purport of your remark. Well, I will tell you, although I have always from my earliest youth had an awe and love of Homer, which even now makes the words falter on my lips, for he is the great captain and teacher of the whole of that charming tragic company; but a man is not to be reverenced more than the truth, and therefore I will speak out. Very good, he said. Listen to me then, or rather, answer me. Put your question. Can you tell me what imitation is? for I really do not know. A likely thing, then, that I should know.

(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

(20) Hermocrates: Critias here mentioned to us a story derived from ancient tradition; and now, Critias, pray tell it again to our friend here, so that he may help us to decide whether or not it is pertinent to our prescribed theme. Critias: That I must certainly do, if our third partner, also approves. Timaeus: Assuredly I approve. Critias: Listen then, Socrates, to a tale which, though passing strange, is yet wholly true, as Solon,

(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.

(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,

(6) This chapter and the following are recensions and combinations of extremely ancient texts

(7) Of qualities I saw the good collector, Hight Dioscorides; and Orpheus saw I, Tully and Livy, and moral Seneca, Euclid, geometrician, and Ptolemy, Galen, Hippocrates, and Avicenna, Averroes, who the great Comment made. I cannot all of them pourtray in full, Because so drives me onward the long theme, That many times the word comes short of fact. The sixfold company in two divides; Another way my sapient Guide conducts me Forth from the quiet to the air that trembles; And to a place I come where nothing shines.

(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

(21) Critias: to Critias—declared that in his opinion Solon was not only the wisest of men in all else, but in poetry also he was of all poets the noblest. Whereat the old man (I remember the scene well) was highly pleased and said with a smile, “If only, Amynander, he had not taken up poetry as a by-play but had worked hard at it like others, and if he had completed the story he brought here from Egypt , instead of being forced to lay it aside owing to the seditions and all the other evils he found here on his return,—

(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.

(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

(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

(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."

(6) It is likewise related of Clinias the Tarentine, that when he had learnt that Prorus the Cyrenæan, who was zealously addicted to the Pythagorean doctrines, was in danger of losing all his property, he sailed to Cyrene, after having collected a sum of money, and restored the affairs of Prorus to a better condition, not only incurring, in so doing, a diminution of his own property, but despising the peril which he was exposed to in the voyage. After the same manner also, Thestor Posidoniates, having learnt from report alone, that Thymaridas Parius the Pythagorean had fallen into poverty, from the possession of great wealth, is said to have sailed to Parus, after having collected a large sum of money, and thus reinstated Thymaridas in property.

These therefore are beautiful instances of friendship. The decisions, however, of the Pythagoreans respecting the communion of divine goods, the concord of intellect, and things pertaining to a divine soul, are much more admirable than the above examples. For they perpetually exhorted each other, not to divulse the God within them. Hence all the endeavour of their friendship both in deeds and words, was directed to a certain divine mixture, to a union with divinity, and to a communion with intellect and a divine soul. But it is not possible to find any thing better than this, either in what is uttered by words, or performed by deeds. For I am of opinion, that all the goods of friendship are comprehended in this. Hence, as we have collected in this, as in a summit, all the prerogatives of the Pythagoric friendship, we shall omit to say any thing further about it.

(600) at home with them? Or, if the master would not stay, then the disciples would have followed him about everywhere, until they had got education enough? Yes, Socrates, that, I think, is quite true. Then must we not infer that all these poetical individuals, beginning with Homer, are only imitators; they copy images of virtue and the like, but the truth they never reach? The poet is like a painter who, as we have already observed, will make a likeness of a cobbler though he understands nothing of cobbling; and his picture is good enough for those who know no more than he does, and judge only by colours and figures. Quite so. In like manner the poet with his words and phrases 2 may be said to lay on the colours of the several arts, himself understanding their nature only enough to imitate them; and other people, who are as ignorant as he is, and judge only from his words, imagine that if he speaks of cobbling, or of military tactics, or of anything else, in metre and harmony and rhythm, he speaks very well—such is the sweet influence which melody and rhythm by nature have. And I think that you must have observed again and again what a poor appearance the tales of poets make when stripped of the colours which music puts upon them, and recited in simple prose. Yes, he said. They are like faces which were never really beautiful, but only blooming; and now the bloom of youth has passed away from them? Exactly. Here is another point: The imitator or maker of the image knows nothing of true existence; he knows appearances only.

(6) It is farther related of the Pythagoreans, that they expelled from themselves lamentation, weeping, and every thing else of this kind; and that neither gain, nor desire, nor anger, nor ambition, nor any thing of a similar nature, became the cause of dissension among them; but that all the Pythagoreans were so disposed towards each other, as a worthy father is towards his offspring. This also is a beautiful circumstance, that they referred every thing to Pythagoras, and called it by his name, and that they did not ascribe to themselves the glory of their own inventions, except very rarely. For there are very few whose works are acknowledged to be their own. The accuracy too, with which they preserved their writings is admirable. For in so many ages, no one appears to have met with any of the commentaries of the Pythagoreans, prior to the time of Philolaus. But he first published those three celebrated books, which Dion the Syracusan is said to have bought, at the request of Plato, for a hundred mina. For Philolaus had fallen into a certain great and severe poverty; and from his alliance to the Pythagoreans, was a partaker of their writings.

(405) a master in dishonesty; able to take every crooked turn, and wriggle into and out of every hole, bending like a withy and getting out of the way of justice: and all for what?—in order to gain small points not worth mentioning, he not knowing that so to order his life as to be able to do without a napping judge is a far higher and nobler sort of thing. Is not that still more disgraceful? Yes, he said, that is still more disgraceful. Well, I said, and to require the help of medicine, not when a wound has to be cured, or on occasion of an epidemic, but just because, by indolence and a habit of life such as we have been describing, men fill themselves with waters and winds, as if their bodies were a marsh, compelling the ingenious sons of Asclepius to find more names for diseases, such as flatulence and catarrh; is not this, too, a disgrace? Yes, he said, they do certainly give very strange and newfangled names to diseases. Yes, I said, and I do not believe that there were any such diseases in the days of Asclepius; and this I infer from the circumstance that the hero Eurypylus, after he has been wounded in Homer, drinks a posset of Pramnian wine well

(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

(5) We shall however adduce another example of it, viz. the salvation of legitimate opinion; for, preserving this, he performed that which appeared to him to be just, and which was dictated by right reason, not being diverted from his intention either by pleasure, or labor, or any other passion, or danger. His disciples also chose to die rather than transgress his mandates. And when they were exposed to all-various fortunes, they preserved invariably the same manners. When also they were involved in ten thousand calamities, they never deviated from his precepts. But it was a never-failing exhortation with them, always to give assistance to law, but to be hostile to illegality, and to be accustomed from their birth to a life of temperance and fortitude, in order to restrain and repel luxury.

They had also certain melodies which were devised by them, as remedies against the passions of the soul, and likewise against despondency and lamentation, which Pythagoras invented, as affording the greatest assistance in these maladies. And again, they employed other melodies against rage and anger, through which they gave intension and remission to these passions, till they reduced them to moderation, and rendered them commensurate with fortitude. That, however, which afforded them the greatest support in generous endurance, was the persuasion that no human casualties ought to be unexpected by men who are in the possession of intellect, but that all things ought to be expected by them, over which they have no absolute power.