Timaeus — Plato

76 The styles of poetry. Repubiiciii. By all means, he replied. Socrates, But now that we are determining what classes of subjects adeimantus. 2^j.g Q^ g^j-g j^Q|. |.Q i^g spoken of, let us see whether any have been omitted by us. The manner in which gods and demigods and heroes and the world below should be treated has been already laid down. Very true. Misstatements And what shall we say about men?

That is clearly the of the poets • • ,• <. i_ • . about men. rcmammg portion of our subject. Clearly so. But we are not in a condition to answer this question at present, my friend. Why not?

Because, if I am not mistaken, we shall have to say that 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, 1 will not take the whole of the subject, but will break a piece off in illustration of my meaning.

You know the first hnes of the IHad, in which the poet says that 93 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 beheve 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

Republic III. Socrates, Adeimantus. Analysis of the dramatic element in Epic poetry.

Epic poetry has an element of imitation in the speeches ; the rest is simple narrative.

Illustrations from the beginning of the Iliad.

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The imitative art.

Republic III. Socrates, Adeimantus.

Tragedy and Comedy are wholly imitative; dithyrambic and some other kinds of poetry are devoid of imitation. Epic poetry is a combination of the two.