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, but will break a piece off in
illustration of my meaning. You know the first lines of the Iliad,
in which the poet says that Chryses prayed Agamemnon to release his
daughter, and that Agamemnon flew into a passion with him; whereupon
Chryses, failing of his object, invoked the anger of the God against the
Achaeans. Now as far as these lines,

'And he prayed all the Greeks, but especially the two sons of Atreus,
the chiefs of the people,'

the poet is speaking in his own person; he never leads us to suppose
that he is any one else. But in what follows he takes the person of
Chryses, and then he does all that he can to make us believe that the
speaker is not Homer, but the aged priest himself. And in this double
form he has cast the entire narrative of the events which occurred at
Troy and in Ithaca and throughout the Odyssey.

Yes.

And a narrative it remains both in the speeches which the poet recites
from time to time and in the intermediate passages?

Quite true.

But when the poet speaks in the person of another, may we not say that
he assimilates his style to that of the person who, as he informs you,
is going to speak?

Certainly.

And this assimilation of himself to another, either by the use of voice
or gesture, is the imitation of the person whose character he assumes?

Of course.

Then in this case the narrative of the poet may be said to proceed by
way of imitation?

Very true.

Or, if the poet everywhere appears and never conceals himself, then
again the imitation is dropped, and his poetry becomes simple narration.
However, in order that I may make my meaning quite clear, and that you
may no more say, 'I don't understand,' I will show how the change might
be effected. If Homer had said, 'The priest came, having his daughter's
ransom in his hands, supplicating the Achaeans, and above all the
kings;' and then if, instead of speaking in the person of Chryses,
he had continued in his own person, the words would have been, not
imitation, but simple narration. The passage would have run as follows
(I am no poet, and therefore I drop the metre), 'The priest came and
prayed the gods on behalf of the Greeks that they might capture Troy
and return safely home, but begged that they would give him back his
daughter, and take the ransom which he brought, and respect the God.
Thus he spoke, and the other Greeks revered the priest and assented. But
Agamemnon was wroth, and bade him depart and not come again, lest the
staff and chaplets of the God should be of no avail to him--the daughter
of Chryses should not be released, he said--she should grow old with him
in Argos. And then he told him to go away and not to provoke him, if he
intended to get home unscathed. And the old man went away in fear and
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.

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.

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 conceit of her happiness, or when she is in
affliction, or sorrow, or weeping; and certainly not one who is in
sickness, love, or labour.

Very right, he said.

Neither must they represent slaves, male or female, performing the
offices of slaves?

They must not.

And surely not bad men, whether cowards or any others, who do the
reverse of what we have just been prescribing, who scold or mock or
revile one another in drink or out of drink, or who in any other manner
sin against themselves and their neighbours in word or deed, as the
manner of such is. Neither should they be trained to imitate the action
or speech of men or women who are mad or bad; for madness, like vice, is
to be known but not to be practised or imitated.

Very true, he replied.

Neither may they imitate smiths or other artificers, or oarsmen, or
boatswains, or the like?

How can they, he said, when they are not allowed to apply their minds to
the callings of any of these?

Nor may they imitate the neighing of horses, the bellowing of bulls, the
murmur of rivers and roll of the ocean, thunder, and all that sort of
thing?

Nay, he said, if madness be forbidden, neither may they copy the
behaviour of madmen.

You mean, I said, if I understand you aright, that there is one sort of
narrative style which may be employed by a truly 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 must
necessarily take.

But there is another sort of character who will narrate anything, and,
the worse he is, the more unscrupulous he will be; nothing will be too
bad for him: and he will be ready to imitate anything, not as a joke,
but in right good earnest, and before a large company. As I was just now
saying, he will attempt to represent the roll of thunder, the noise of
wind and hail, or the creaking of wheels, and pulleys, and the various
sounds of flutes, pipes, trumpets, and all sorts of instruments: he will
bark like a dog, bleat like a sheep, or crow like a cock; his entire art
will consist in imitation of voice and gesture, and there will be very
little narration.

That, he said, will be his mode of speaking.

These, then, are the two kinds of style?

Yes.

And you would agree with me in saying that one of them is simple and has
but slight changes; and if the harmony and rhythm are also chosen
for their simplicity, the result is that the speaker, if he speaks
correctly, is always pretty much the same in style, and he will keep
within the limits of a single harmony (for the changes are not great),
and in like manner he will make use of nearly the same rhythm?

That is quite true, he said.

Whereas the other requires all sorts of harmonies and all sorts of
rhythms, if the music and the style are to correspond, because the style
has all sorts of changes.

That is also perfectly true, he replied.

And do not the two styles, or the mixture of the two, comprehend all
poetry, and every form of expression in words? No one can say anything
except in one or other of them or in both together.

They include all, he said.

And shall we receive into our State all the three styles, or one only of
the two unmixed styles? or would you include the mixed?

I should prefer only to admit the pure imitator of virtue.

Yes, I said, Adeimantus, but the mixed style is also very charming: and
indeed the pantomimic, which is the opposite of the one chosen by you,
is the most popular style with children and their attendants, and with
the world in general.

I do not deny it.

But I suppose you would argue that such a style is unsuitable to our
State, in which human nature is not twofold or manifold, for one man
plays one part only?

Yes; quite unsuitable.

And this is the reason why in our State, and in our State only, we
shall find a shoemaker to be a shoemaker and not a pilot also, and a
husbandman to be a husbandman and not a dicast also, and a soldier a
soldier and not a trader also, and the same throughout?

True, he said.

And therefore when any one of these pantomimic gentlemen, who are so
clever that they can imitate anything, comes to us, and makes a proposal
to exhibit himself and his poetry, we will fall down and worship him as
a sweet and holy and wonderful being; but we must also inform him that
in our State such as he are not permitted to exist; the law will not
allow them. And so when we have anointed him with myrrh, and set a
garland of wool upon his head, we shall send him away to another city.
For we mean to employ for 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.