(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

(537) Do you not remark, I said, how great is the evil which dialectic has introduced? What evil? he said. The students of the art are filled with lawlessness. Quite true, he said. Do you think that there is anything so very unnatural or inexcusable in their case? or will you make allowance for them? In what way make allowance? I want you, I said, by way of parallel, to imagine a supposititious son who is brought up in great wealth; he is one of a great and numerous family, and has many flatterers. When he grows up to manhood, he learns that his alleged are not his real parents; but who the real are he is unable to discover. Can you guess how he will be likely to behave towards his flatterers and his supposed parents, first of all during the period when he is ignorant of the false relation, and then again when he knows? Or shall I guess for you? If you please. Then I should say, that while he is ignorant of the truth he will be likely to honour his father and his mother and his supposed relations more than the flatterers; he will be less inclined to neglect them when in need, or to do or say anything against them; and he will be less willing to disobey them in any important matter. He will. But when he has made the discovery, I should imagine that he would diminish his honour and regard for them, and would become more devoted to the flatterers; their influence over him would greatly increase; he would now live after

(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.

(6) And to the Poet said I: "Now was ever So vain a people as the Sienese? Not for a certainty the French by far." Whereat the other leper, who had heard me, Replied unto my speech: "Taking out Stricca, Who knew the art of moderate expenses, And Niccolo, who the luxurious use Of cloves discovered earliest of all Within that garden where such seed takes root; And taking out the band, among whom squandered Caccia d'Ascian his vineyards and vast woods, And where his wit the Abbagliato proffered! But, that thou know who thus doth second thee Against the Sienese, make sharp thine eye Tow'rds me, so that my face well answer thee, And thou shalt see I am Capocchio's shade, Who metals falsified by alchemy; Thou must remember, if I well descry thee, How I a skilful ape of nature was."

(534) Yes, he said, you and I together will make it. Dialectic, then, as you will agree, is the coping-stone of the sciences, and is set over them; no other science can be placed higher—the nature of knowledge can no further go? I agree, he said. But to whom we are to assign these studies, and in what way they are to be assigned, are questions which remain to be considered. Yes, clearly. You remember, I said, how the rulers were chosen before? Certainly, he said. The same natures must still be chosen, and the preference again given to the surest and the bravest, and, if possible, to the fairest; and, having noble and generous tempers, they should also have the natural gifts which will facilitate their education. And what are these? Such gifts as keenness and ready powers of acquisition; for the mind more often faints from the severity of study than from the severity of gymnastics: the toil is more entirely the mind’s own, and is not shared with the body. Very true, he replied.

(6) For another play represents Thrasonides of the comic drama as saying: "A worthless wench made me her slave."

(5) My Master thereupon on his right cheek Did backward turn himself, and looked at me; Then said: "He listeneth well who noteth it." Nor speaking less on that account, I go With Ser Brunetto, and I ask who are His most known and most eminent companions. And he to me: "To know of some is well; Of others it were laudable to be silent, For short would be the time for so much speech. Know them in sum, that all of them were clerks, And men of letters great and of great fame, In the world tainted with the selfsame sin. Priscian goes yonder with that wretched crowd, And Francis of Accorso; and thou hadst seen there If thou hadst had a hankering for such scurf,

(396) good man when he has anything to say, and that another sort will be used by a man of an opposite character and education. And which are these two sorts? he asked. Suppose, I answered, that a just and good man in the course of a narration comes on some saying or action of another good man,—I should imagine that he will like to personate him, and will not be ashamed of this sort of imitation: he will be most ready to play the part of the good man when he is acting firmly and wisely; in a less degree when he is overtaken by illness or love or drink, or has met with any other disaster. But when he comes to a character which is unworthy of him, he will not make a study of that; he will disdain such a person, and will assume his likeness, if at all, for a moment only when he is performing some good action; at other times he will be ashamed to play a part which he has never practised, nor will he like to fashion and frame himself after the baser models; he feels the employment of such an art, unless in jest, to be beneath him, and his mind revolts at it. So I should expect, he replied. Then he will adopt a mode of narration such as we have illustrated out of Homer, that is to say, his style will be both imitative and narrative; but there will be very little of the former, and a great deal of the latter. Do you agree? Certainly, he said; that is the model which such a speaker

(6) Herein doth living Justice sweeten so Affection in us, that for evermore It cannot warp to any iniquity. Voices diverse make up sweet melodies; So in this life of ours the seats diverse Render sweet harmony among these spheres; And in the compass of this present pearl Shineth the sheen of Romeo, of whom The grand and beauteous work was ill rewarded. But the Provencals who against him wrought, They have not laughed, and therefore ill goes he Who makes his hurt of the good deeds of others. Four daughters, and each one of them a queen, Had Raymond Berenger, and this for him Did Romeo, a poor man and a pilgrim; And then malicious words incited him To summon to a reckoning this just man, Who rendered to him seven and five for ten. Then he departed poor and stricken in years, And if the world could know the heart he had, In begging bit by bit his livelihood, Though much it laud him, it would laud him more."

(6) There shall be seen the pride that causes thirst, Which makes the Scot and Englishman so mad That they within their boundaries cannot rest; Be seen the luxury and effeminate life Of him of Spain, and the Bohemian, Who valour never knew and never wished; Be seen the Cripple of Jerusalem, His goodness represented by an I, While the reverse an M shall represent; Be seen the avarice and poltroonery Of him who guards the Island of the Fire, Wherein Anchises finished his long life; And to declare how pitiful he is Shall be his record in contracted letters Which shall make note of much in little space.

(3) Of this chapter we have unfortunately but one copy in Fa , of the Musée Borély. This is defective both at the beginning and at the end, and the text is inaccurate. The later copies are so inaccurate that it is impossible to reconstitute the text. It is precisely on those points where grammatical accuracy is required for fixing a definite sense that the manuscripts are hopelessly defective. The preceding translation is verbally correct, I trust, but I do not pretend that it is intelligible. It stops where the papyrus Fa stops

(5) Therefore I caution thee, if e'er thou hearest Originate my city otherwise, No falsehood may the verity defraud." And I: "My Master, thy discourses are To me so certain, and so take my faith, That unto me the rest would be spent coals. But tell me of the people who are passing, If any one note-worthy thou beholdest, For only unto that my mind reverts." Then said he to me: "He who from the cheek Thrusts out his beard upon his swarthy shoulders Was, at the time when Greece was void of males, So that there scarce remained one in the cradle, An augur, and with Calchas gave the moment, In Aulis, when to sever the first cable. Eryphylus his name was, and so sings My lofty Tragedy in some part or other; That knowest thou well, who knowest the whole of it. The next, who is so slender in the flanks, Was Michael Scott, who of a verity Of magical illusions knew the game.