ΑΘ. πάντων γὰρ τούτων διδασκάλους τε εἶναι δεῖ κοινούς, ἀρνυμένους μισθὸν παρὰ τῆς πόλεως, καὶ τούτων μαθητὰς τοὺς ἐν τῇ πόλει παῖδάς τε καὶ ἄνδρας, καὶ κόρας καὶ γυναῖκας πάντων τούτων ἐπιστήμονας, κόρας μὲν οὔσας ἔτι πᾶσαν τὴν ἐν ὅπλοις ὄρχησιν καὶ μάχην μεμελετηκυίας, γυναῖκας δέ, διεξόδων καὶ τάξεων καὶ θέσεως καὶ ἀναιρέσεως ὅπλων ἡμμένας, εἰ μηδενὸς ἕνεκα, ἀλλʼ εἴ ποτε δεήσειε πανδημεὶ πάσῃ τῇ δυνάμει καταλείποντας τὴν πόλιν ἔξω στρατεύεσθαι, τοὺς φυλάξοντας παῖδάς τε καὶ τὴν ἄλλην πόλιν ἱκανοὺς εἶναι τό γε τοσοῦτον, ἢ καὶ τοὐναντίον, ὧν οὐδὲν ἀπώμοτον, ἔξωθεν πολεμίους εἰσπεσόντας ῥώμῃ τινὶ μεγάλῃ καὶ βίᾳ, βαρβάρους εἴτε Ἕλληνας, ἀνάγκην παρασχεῖν περὶ αὐτῆς τῆς πόλεως τὴν διαμάχην γίγνεσθαι, πολλή που κακία πολιτείας οὕτως αἰσχρῶς τὰς γυναῖκας εἶναι τεθραμμένας, ὡς μηδʼ ὥσπερ ὄρνιθας περὶ τέκνων μαχομένας πρὸς ὁτιοῦν τῶν ἰσχυροτάτων θηρίων ἐθέλειν ἀποθνῄσκειν τε καὶ πάντας κινδύνους κινδυνεύειν, ἀλλʼ εὐθὺς πρὸς ἱερὰ φερομένας, πάντας βωμούς τε καὶ ναοὺς ἐμπιμπλάναι, καὶ δόξαν τοῦ τῶν ἀνθρώπων γένους καταχεῖν ὡς πάντων δειλότατον φύσει θηρίων ἐστίν.
ΚΛ. οὐ μὰ τὸν Δία, ὦ ξένε, οὐδαμῶς εὔσχημον γίγνοιτʼ ἄν, τοῦ κακοῦ χωρίς, τοῦτο ἐν πόλει ὅπου γίγνοιτο.
ΑΘ. οὐκοῦν τιθῶμεν τὸν νόμον τοῦτον, μέχρι γε τοσούτου μὴ ἀμελεῖσθαι τὰ περὶ τὸν πόλεμον γυναιξὶν δεῖν, ἐπιμελεῖσθαι δὲ πάντας τοὺς πολίτας καὶ τὰς πολίτιδας;
ΚΛ. ἐγὼ γοῦν συγχωρῶ.
ΑΘ. πάλης τοίνυν τὰ μὲν εἴπομεν, ὃ δʼ ἐστὶ μέγιστον, ὡς ἐγὼ φαίην ἄν, οὐκ εἰρήκαμεν, οὐδʼ ἔστι ῥᾴδιον ἄνευ τοῦ τῷ σώματι δεικνύντα ἅμα καὶ τῷ λόγῳ φράζειν. τοῦτʼ οὖν τότε κρινοῦμεν, ὅταν ἔργῳ λόγος ἀκολουθήσας μηνύσῃ τι σαφὲς τῶν τε ἄλλων ὧν εἴρηκεν πέρι, καὶ ὅτι τῇ πολεμικῇ μάχῃ πασῶν κινήσεων ὄντως ἐστὶ συγγενὴς πολὺ μάλισθʼ ἡμῖν ἡ τοιαύτη πάλη, καὶ δὴ καὶ ὅτι δεῖ ταύτην ἐκείνης χάριν ἐπιτηδεύειν, ἀλλʼ οὐκ ἐκείνην ταύτης ἕνεκα μανθάνειν.
ΚΛ. καλῶς τοῦτό γε λέγεις.
ΑΘ. νῦν δὴ τῆς μὲν περὶ παλαίστραν δυνάμεως τὸ μέχρι δεῦρʼ ἡμῖν εἰρήσθω· περὶ δὲ τῆς ἄλλης κινήσεως παντὸς τοῦ σώματος, ἧς τὸ πλεῖστον μέρος ὄρχησίν τινά τις προσαγορεύων ὀρθῶς ἂν φθέγγοιτο, δύο μὲν αὐτῆς εἴδη χρὴ νομίζειν εἶναι, τὴν μὲν τῶν καλλιόνων σωμάτων ἐπὶ τὸ σεμνὸν μιμουμένην, τὴν δὲ τῶν αἰσχιόνων ἐπὶ τὸ φαῦλον, καὶ πάλιν τοῦ φαύλου τε δύο καὶ τοῦ σπουδαίου δύο ἕτερα.
Ath. In all these subjects there should be public instructors, paid by the State; and their pupils should be not only the boys and men in the State, but also the girls and women who understand all these matters—being practiced in all military drill and fighting while still girls and, when grown to womanhood, taking part in evolutions and rank-forming and the piling and shouldering of arms,— and that, if for no other reason, at least for this reason, that, if ever the guards of the children and of the rest of the city should be obliged to leave the city and march out in full force, these women should be able at least to take their place; while if, on the other hand—and this is quite a possible contingency—an invading army of foreigners, fierce and strong, should force a battle round the city itself, then it would be a sore disgrace to the State if its women were so ill brought up as not even to be willing to do as do the mother-birds, which fight the strongest beasts in defence of their broods, but, instead of facing all risks, even death itself, to run straight to the temples and crowd all the shrines and holy places, and drown mankind in the disgrace of being the most craven of living creatures.
Clin. By Heaven, Stranger, if ever this took place in a city, it would be a most unseemly thing, apart from the mischief of it.
Ath. Shall we, then, lay down this law,—that up to the point stated women must not neglect military training, but all citizens, men and women alike, must pay attention to it?
Clin. I, for one, agree.
Ath. As regards wrestling, some points have been explained; but we have not explained what is, in my opinion, the most important point, nor is it easy to express it in words without the help of a practical illustration. This point, then, we shall decide about when word accompanied by deed can clearly demonstrate this fact, among the others mentioned,—that wrestling of this kind is of all motions by far the most nearly allied to military fighting; and also that it is not the latter that should be learned for the sake of the former, but, on the contrary, it is the former that should be practiced for the sake of the latter.
Clin. There, at any rate, you are right.
Ath. For the present let this suffice as an account of the functions of the wrestling-school. Motion of the whole body, other than wrestling, has for its main division what may be rightly termed dancing; and we ought to consider it as consisting of two kinds,—the one representing the solemn movement of beautiful bodies, the other the ignoble movement of ugly bodies; and of these again there are two subdivisions.
ΑΘ. τοῦ δὴ σπουδαίου τὴν μὲν κατὰ πόλεμον καὶ ἐν βιαίοις ἐμπλακέντων πόνοις σωμάτων μὲν καλῶν, ψυχῆς δʼ ἀνδρικῆς, τὴν δʼ ἐν εὐπραγίαις τε οὔσης ψυχῆς σώφρονος ἐν ἡδοναῖς τε ἐμμέτροις· εἰρηνικὴν ἄν τις λέγων κατὰ φύσιν τὴν τοιαύτην ὄρχησιν λέγοι. τὴν πολεμικὴν δὴ τούτων, ἄλλην οὖσαν τῆς εἰρηνικῆς, πυρρίχην ἄν τις ὀρθῶς προσαγορεύοι, τάς τε εὐλαβείας πασῶν πληγῶν καὶ βολῶν ἐκνεύσεσι καὶ ὑπείξει πάσῃ καὶ ἐκπηδήσεσιν ἐν ὕψει καὶ σὺν ταπεινώσει μιμουμένην, καὶ τὰς ταύταις ἐναντίας, τὰς ἐπὶ τὰ δραστικὰ φερομένας αὖ σχήματα, ἔν τε ταῖς τῶν τόξων βολαῖς καὶ ἀκοντίων καὶ πασῶν πληγῶν μιμήματα ἐπιχειρούσας μιμεῖσθαι· τό τε ὀρθὸν ἐν τούτοις καὶ τὸ εὔτονον, τῶν ἀγαθῶν σωμάτων καὶ ψυχῶν ὁπόταν γίγνηται μίμημα, εὐθυφερὲς ὡς τὸ πολὺ τῶν τοῦ σώματος μελῶν γιγνόμενον, ὀρθὸν μὲν τὸ τοιοῦτον, τὸ δὲ τούτοις τοὐναντίον οὐκ ὀρθὸν ἀποδεχόμενον. τὴν δὲ εἰρηνικὴν ὄρχησιν τῇδʼ αὖ θεωρητέον ἑκάστων, εἴτε ὀρθῶς εἴτε μὴ κατὰ φύσιν τις τῆς καλῆς ὀρχήσεως ἀντιλαμβανόμενος ἐν χορείαις πρεπόντως εὐνόμων ἀνδρῶν διατελεῖ. τὴν τοίνυν ἀμφισβητουμένην ὄρχησιν δεῖ πρῶτον χωρὶς τῆς ἀναμφισβητήτου διατεμεῖν. τίς οὖν αὕτη, καὶ πῇ δεῖ χωρὶς τέμνειν ἑκατέραν; ὅση μὲν βακχεία τʼ ἐστὶν καὶ τῶν ταύταις ἑπομένων, ἃς Νύμφας τε καὶ Πᾶνας καὶ Σειληνοὺς καὶ Σατύρους ἐπονομάζοντες, ὥς φασιν, μιμοῦνται κατῳνωμένους, περὶ καθαρμούς τε καὶ τελετάς τινας ἀποτελούντων, σύμπαν τοῦτο τῆς ὀρχήσεως τὸ γένος οὔθʼ ὡς εἰρηνικὸν οὔθʼ ὡς πολεμικὸν οὔθʼ ὅτι ποτὲ βούλεται ῥᾴδιον ἀφορίσασθαι· διορίσασθαι μήν μοι ταύτῃ δοκεῖ σχεδὸν ὀρθότατον αὐτὸ εἶναι, χωρὶς μὲν πολεμικοῦ, χωρὶς δὲ εἰρηνικοῦ θέντας, εἰπεῖν ὡς οὐκ ἔστι πολιτικὸν τοῦτο τῆς ὀρχήσεως τὸ γένος, ἐνταῦθα δὲ κείμενον ἐάσαντας κεῖσθαι, νῦν ἐπὶ τὸ πολεμικὸν ἅμα καὶ εἰρηνικὸν ὡς ἀναμφισβητήτως ἡμέτερον ὂν ἐπανιέναι. τὸ δὲ τῆς ἀπολέμου μούσης, ἐν ὀρχήσεσιν δὲ τούς τε θεοὺς καὶ τοὺς τῶν θεῶν παῖδας τιμώντων, ἓν μὲν σύμπαν γίγνοιτʼ ἂν γένος ἐν δόξῃ τοῦ πράττειν εὖ γιγνόμενον, τοῦτο δὲ διχῇ διαιροῖμεν ἄν, τὸ μὲν ἐκ πόνων τινῶν αὐτοῦ καὶ κινδύνων διαπεφευγότων εἰς ἀγαθά, μείζους ἡδονὰς ἔχον, τὸ δὲ τῶν ἔμπροσθεν ἀγαθῶν σωτηρίας οὔσης καὶ ἐπαύξης, πρᾳοτέρας τὰς ἡδονὰς κεκτημένον ἐκείνων.
Ath. Of the noble kind there is, on the one hand, the motion of fighting, and that of fair bodies and brave souls engaged in violent effort; and, on the other hand, there is the motion of a temperate soul living in a state of prosperity and moderate pleasures; and this latter kind of dancing one will call, in accordance with its nature, “pacific.” The warlike division, being distinct from the pacific, one may rightly term “pyrrhiche”; it represents modes of eluding all kinds of blows and shots by swervings and duckings and side-leaps upward or crouching; and also the opposite kinds of motion, which lead to active postures of offence, when it strives to represent the movements involved in shooting with bows or darts, and blows of every description. In all these cases the action and the tension of the sinews are correct when there is a representation of fair bodies and souls in which most of the limbs of the body are extended straight: this kind of representation is right, but the opposite kind we pronounce to be wrong. In pacific dancing, the point we must consider in every case is whether the performer in his dances keeps always rightly, or improperly, to the noble kind of dancing, in the way that befits law-abiding men. So, in the first place, we must draw a line between questionable dancing and dancing that is above question. All the dancing that is of a Bacchic kind and cultivated by those who indulge in drunken imitations of Pans, Sileni and Satyrs (as they call them), when performing certain rites of expiation and initiation,—all this class of dancing cannot easily be defined either as pacific or as warlike, or as of any one distinct kind. The most correct way of defining it seems to me to be this— to separate it off both from pacific and from warlike dancing, and to pronounce that this kind of dancing is unfitted for our citizens: and having thus disposed of it and dismissed it, we will now return to the warlike and pacific kinds which do beyond question belong to us. That of the unwarlike Muse, in which men pay honor to the gods and the children of the gods by dances, will consist, broadly speaking, of all dancing performed under a sense of prosperity: of this we may make two subdivisions— the one being of a more joyful description, and proper to men who have escaped out of toils and perils into a state of bliss,—and the other connected rather with the preservation and increase of pre-existent blessings, and exhibiting, accordingly, joyousness of a less ardent kind.
ΑΘ. ἐν δὲ δὴ τοῖς τοιούτοις που πᾶς ἄνθρωπος τὰς κινήσεις τοῦ σώματος μειζόνων μὲν τῶν ἡδονῶν οὐσῶν μείζους, ἐλαττόνων δὲ ἐλάττους κινεῖται, καὶ κοσμιώτερος μὲν ὢν πρός τε ἀνδρείαν μᾶλλον γεγυμνασμένος ἐλάττους αὖ, δειλὸς δὲ καὶ ἀγύμναστος γεγονὼς πρὸς τὸ σωφρονεῖν μείζους καὶ σφοδροτέρας παρέχεται μεταβολὰς τῆς κινήσεως· ὅλως δὲ φθεγγόμενος, εἴτʼ ἐν ᾠδαῖς εἴτʼ ἐν λόγοις, ἡσυχίαν οὐ πάνυ δυνατὸς τῷ σώματι παρέχεσθαι πᾶς. διὸ μίμησις τῶν λεγομένων σχήμασι γενομένη τὴν ὀρχηστικὴν ἐξηργάσατο τέχνην σύμπασαν. ὁ μὲν οὖν ἐμμελῶς ἡμῶν, ὁ δὲ πλημμελῶς ἐν τούτοις πᾶσι κινεῖται. πολλὰ μὲν δὴ τοίνυν ἄλλα ἡμῖν τῶν παλαιῶν ὀνομάτων ὡς εὖ καὶ κατὰ φύσιν κείμενα δεῖ διανοούμενον ἐπαινεῖν, τούτων δὲ ἓν καὶ τὸ περὶ τὰς ὀρχήσεις τὰς τῶν εὖ πραττόντων, ὄντων δὲ μετρίων αὐτῶν πρὸς τὰς ἡδονάς, ὡς ὀρθῶς ἅμα καὶ μουσικῶς ὠνόμασεν ὅστις ποτʼ ἦν, καὶ κατὰ λόγον αὐταῖς θέμενος ὄνομα συμπάσαις ἐμμελείας ἐπωνόμασε, καὶ δύο δὴ τῶν ὀρχήσεων τῶν καλῶν εἴδη κατεστήσατο, τὸ μὲν πολεμικὸν πυρρίχην, τὸ δὲ εἰρηνικὸν ἐμμέλειαν, ἑκατέρῳ τὸ πρέπον τε καὶ ἁρμόττον ἐπιθεὶς ὄνομα. ἃ δὴ δεῖ τὸν μὲν νομοθέτην ἐξηγεῖσθαι τύποις, τὸν δὲ νομοφύλακα ζητεῖν τε, καὶ ἀνερευνησάμενον, μετὰ τῆς ἄλλης μουσικῆς τὴν ὄρχησιν συνθέντα καὶ νείμαντα ἐπὶ πάσας ἑορτὰς τῶν θυσιῶν ἑκάστῃ τὸ πρόσφορον, οὕτω καθιερώσαντα αὐτὰ πάντα ἐν τάξει, τοῦ λοιποῦ μὴ κινεῖν μηδὲν μήτε ὀρχήσεως ἐχόμενον μήτε ᾠδῆς, ἐν ταῖς δʼ αὐταῖς ἡδοναῖς ὡσαύτως τὴν αὐτὴν πόλιν καὶ πολίτας διάγοντας, ὁμοίους εἰς δύναμιν ὄντας, ζῆν εὖ τε καὶ εὐδαιμόνως.τὰ μὲν οὖν τῶν καλῶν σωμάτων καὶ γενναίων ψυχῶν εἰς τὰς χορείας, οἵας εἴρηται δεῖν αὐτὰς εἶναι, διαπεπέρανται, τὰ δὲ τῶν αἰσχρῶν σωμάτων καὶ διανοημάτων καὶ τῶν ἐπὶ τὰ τοῦ γέλωτος κωμῳδήματα τετραμμένων, κατὰ λέξιν τε καὶ ᾠδὴν καὶ κατὰ ὄρχησιν καὶ κατὰ τὰ τούτων πάντων μιμήματα κεκωμῳδημένα, ἀνάγκη μὲν θεάσασθαι καὶ γνωρίζειν· ἄνευ γὰρ γελοίων τὰ σπουδαῖα καὶ πάντων τῶν ἐναντίων τὰ ἐναντία μαθεῖν μὲν οὐ δυνατόν, εἰ μέλλει τις φρόνιμος ἔσεσθαι, ποιεῖν δὲ οὐκ αὖ δυνατὸν ἀμφότερα, εἴ τις αὖ μέλλει καὶ σμικρὸν ἀρετῆς μεθέξειν, ἀλλὰ αὐτῶν ἕνεκα τούτων καὶ μανθάνειν αὐτὰ δεῖ, τοῦ μή ποτε διʼ ἄγνοιαν δρᾶν ἢ λέγειν ὅσα γελοῖα, μηδὲν δέον, δούλοις δὲ τὰ τοιαῦτα καὶ ξένοις ἐμμίσθοις προστάττειν μιμεῖσθαι, σπουδὴν δὲ περὶ αὐτὰ εἶναι μηδέποτε μηδʼ ἡντινοῦν, μηδέ τινα μανθάνοντα αὐτὰ γίγνεσθαι φανερὸν τῶν ἐλευθέρων, μήτε γυναῖκα μήτε ἄνδρα, καινὸν δὲ ἀεί τι περὶ αὐτὰ φαίνεσθαι τῶν μιμημάτων.
Ath. Under these conditions every man moves his body more violently when his joys are greater, less violently when they are smaller; also, he moves it less violently when he is more sedate and better trained in courage, but when he is cowardly and untrained in temperance, he indulges in greater and more violent changes of motion; and in general, no one who is using his voice, whether in song or in speech, is able to keep his body wholly at rest. Hence, when the representation of things spoken by means of gestures arose, it produced the whole art of dancing. In all these instances, one man of us moves in tune with his theme, another out of tune. Many of the names bestowed in ancient times are deserving of notice and of praise for their excellence and descriptiveness: one such is the name given to the dances of men who are in a prosperous state and indulge in pleasures of a moderate kind: how true and how musical was the name so rationally bestowed on those dances by the man (whoever he was) who first called them all “Emmeleiai,” and established two species of fair dances—the warlike, termed “pyrrhiche,” and the pacific, termed “emmeleia”—bestowing on each its appropriate and harmonious name. These dances the lawgiver should describe in outline, and the Law-warden should search them out and, having investigated them, he should combine the dancing with the rest of the music, and assign what is proper of it to each of the sacrificial feasts, distributing it over all the feasts; and when he has thus consecrated all these things in due order, he should thenceforth make no change in all that appertains to either dancing or singing, but this one and the same city and body of citizens should continue in one and the same way, enjoying the same pleasures and living alike in all ways possible, and so pass their lives happily and well. What concerns the actions of fair and noble souls in the matter of that kind of choristry which we have approved as right has now been fully discussed. The actions of ugly bodies and ugly ideas and of the men engaged in ludicrous comic-acting, in regard to both speech and dance, and the representations given by all these comedians—all this subject we must necessarily consider and estimate. For it is impossible to learn the serious without the comic, or any one of a pair of contraries without the other, if one is to he a wise man; but to put both into practice is equally impossible, if one is to share in even a small measure of virtue; in fact, it is precisely for this reason that one should learn them,—in order to avoid ever doing or saying anything ludicrous, through ignorance, when one ought not; we will impose such mimicry on slaves and foreign hirelings, and no serious attention shall ever be paid to it, nor shall any free man or free woman be seen learning it, and there must always be some novel feature in their mimic shows.
ΑΘ. ὅσα μὲν οὖν περὶ γέλωτά ἐστιν παίγνια, ἃ δὴ κωμῳδίαν πάντες λέγομεν, οὕτως τῷ νόμῳ καὶ λόγῳ κείσθω· τῶν δὲ σπουδαίων, ὥς φασι, τῶν περὶ τραγῳδίαν ἡμῖν ποιητῶν, ἐάν ποτέ τινες αὐτῶν ἡμᾶς ἐλθόντες ἐπανερωτήσωσιν οὑτωσί πως· «ὦ ξένοι, πότερον φοιτῶμεν ὑμῖν εἰς τὴν πόλιν τε καὶ χώραν ἢ μή, καὶ τὴν ποίησιν φέρωμέν τε καὶ ἄγωμεν, ἢ πῶς ὑμῖν δέδοκται περὶ τὰ τοιαῦτα δρᾶν;» — τί οὖν ἂν πρὸς ταῦτα ὀρθῶς ἀποκριναίμεθα τοῖς θείοις ἀνδράσιν; ἐμοὶ μὲν γὰρ δοκεῖ τάδε· «ὦ ἄριστοι,» φάναι, «τῶν ξένων, ἡμεῖς ἐσμὲν τραγῳδίας αὐτοὶ ποιηταὶ κατὰ δύναμιν ὅτι καλλίστης ἅμα καὶ ἀρίστης· πᾶσα οὖν ἡμῖν ἡ πολιτεία συνέστηκε μίμησις τοῦ καλλίστου καὶ ἀρίστου βίου, ὃ δή φαμεν ἡμεῖς γε ὄντως εἶναι τραγῳδίαν τὴν ἀληθεστάτην. ποιηταὶ μὲν οὖν ὑμεῖς, ποιηταὶ δὲ καὶ ἡμεῖς ἐσμὲν τῶν αὐτῶν, ὑμῖν ἀντίτεχνοί τε καὶ ἀνταγωνισταὶ τοῦ καλλίστου δράματος, ὃ δὴ νόμος ἀληθὴς μόνος ἀποτελεῖν πέφυκεν, ὡς ἡ παρʼ ἡμῶν ἐστιν ἐλπίς· μὴ δὴ δόξητε ἡμᾶς ῥᾳδίως γε οὕτως ὑμᾶς ποτε παρʼ ἡμῖν ἐάσειν σκηνάς τε πήξαντας κατʼ ἀγορὰν καὶ καλλιφώνους ὑποκριτὰς εἰσαγαγομένους, μεῖζον φθεγγομένους ἡμῶν, ἐπιτρέψειν ὑμῖν δημηγορεῖν πρὸς παῖδάς τε καὶ γυναῖκας καὶ τὸν πάντα ὄχλον, τῶν αὐτῶν λέγοντας ἐπιτηδευμάτων πέρι μὴ τὰ αὐτὰ ἅπερ ἡμεῖς, ἀλλʼ ὡς τὸ πολὺ καὶ ἐναντία τὰ πλεῖστα. σχεδὸν γάρ τοι κἂν μαινοίμεθα τελέως ἡμεῖς τε καὶ ἅπασα ἡ πόλις, ἡτισοῦν ὑμῖν ἐπιτρέποι δρᾶν τὰ νῦν λεγόμενα, πρὶν κρῖναι τὰς ἀρχὰς εἴτε ῥητὰ καὶ ἐπιτήδεια πεποιήκατε λέγειν εἰς τὸ μέσον εἴτε μή. νῦν οὖν, ὦ παῖδες μαλακῶν Μουσῶν ἔκγονοι, ἐπιδείξαντες τοῖς ἄρχουσι πρῶτον τὰς ὑμετέρας παρὰ τὰς ἡμετέρας ᾠδάς, ἂν μὲν τὰ αὐτά γε ἢ καὶ βελτίω τὰ παρʼ ὑμῶν φαίνηται λεγόμενα, δώσομεν ὑμῖν χορόν, εἰ δὲ μή, ὦ φίλοι, οὐκ ἄν ποτε δυναίμεθα.» ταῦτʼ οὖν ἔστω περὶ πᾶσαν χορείαν καὶ μάθησιν τούτων πέρι συντεταγμένα νόμοις ἔθη, χωρὶς μὲν τὰ τῶν δούλων, χωρὶς δὲ τὰ τῶν δεσποτῶν, εἰ συνδοκεῖ.
ΚΛ. πῶς δʼ οὐ συνδοκεῖ νῦν γε οὕτως;
Ath. Let such, then, be the regulations for all those laughable amusements which we all call “comedy,” as laid down both by law and by argument. Now as to what are called our “serious” poets, the tragedians,—suppose that some of them were to approach us and put some such question as this,—“O Strangers, are we, or are we not, to pay visits to your city and country, and traffic in poetry? Or what have you decided to do about this?” What would be the right answer to make to these inspired persons regarding the matter? In my judgment, this should be the answer,—“Most excellent of Strangers, we ourselves, to the best of our ability, are the authors of a tragedy at once superlatively fair and good; at least, all our polity is framed as a representation of the fairest and best life, which is in reality, as we assert, the truest tragedy. Thus we are composers of the same things as yourselves, rivals of yours as artists and actors of the fairest drama, which, as our hope is, true law, and it alone, is by nature competent to complete. Do not imagine, then, that we will ever thus lightly allow you to set up your stage beside us in the marketplace, and give permission to those imported actors of yours, with their dulcet tones and their voices louder than ours, to harangue women and children and the whole populace, and to say not the same things as we say about the same institutions, but, on the contrary, things that are, for the most part, just the opposite. In truth, both we ourselves and the whole State would be absolutely mad, were it to allow you to do as I have said, before the magistrates had decided whether or not your compositions are deserving of utterance and suited for publication. So now, ye children and offspring of Muses mild, do ye first display your chants side by side with ours before the rulers; and if your utterances seem to be the same as ours or better, then we will grant you a chorus, but if not, my friends, we can never do so.” Let such, then, be the customs ordained to go with the laws regarding all choristry and the learning thereof—keeping distinct those for slaves and those for masters,—if you agree.
Clin. Of course we now agree to it.
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