παντάπασι μὲν οὖν. ὁ δὴ μιμητικὸς ποιητὴς δῆλον ὅτι οὐ πρὸς τὸ τοιοῦτον τῆς ψυχῆς πέφυκέ τε καὶ ἡ σοφία αὐτοῦ τούτῳ ἀρέσκειν πέπηγεν, εἰ μέλλει εὐδοκιμήσειν ἐν τοῖς πολλοῖς, ἀλλὰ πρὸς τὸ ἀγανακτητικόν τε καὶ ποικίλον ἦθος διὰ τὸ εὐμίμητον εἶναι. δῆλον. οὐκοῦν δικαίως ἂν αὐτοῦ ἤδη ἐπιλαμβανοίμεθα, καὶ τιθεῖμεν ἀντίστροφον αὐτὸν τῷ ζωγράφῳ· καὶ γὰρ τῷ φαῦλα ποιεῖν πρὸς ἀλήθειαν ἔοικεν αὐτῷ, καὶ τῷ πρὸς ἕτερον τοιοῦτον ὁμιλεῖν τῆς ψυχῆς ἀλλὰ μὴ πρὸς τὸ βέλτιστον, καὶ ταύτῃ ὡμοίωται. καὶ οὕτως ἤδη ἂν ἐν δίκῃ οὐ παραδεχοίμεθα εἰς μέλλουσαν εὐνομεῖσθαι πόλιν, ὅτι τοῦτο ἐγείρει τῆς ψυχῆς καὶ τρέφει καὶ ἰσχυρὸν ποιῶν ἀπόλλυσι τὸ λογιστικόν, ὥσπερ ἐν πόλει ὅταν τις μοχθηροὺς ἐγκρατεῖς ποιῶν παραδιδῷ τὴν πόλιν, τοὺς δὲ χαριεστέρους φθείρῃ· ταὐτὸν καὶ τὸν μιμητικὸν ποιητὴν φήσομεν κακὴν πολιτείαν ἰδίᾳ ἑκάστου τῇ ψυχῇ ἐμποιεῖν, τῷ ἀνοήτῳ αὐτῆς χαριζόμενον καὶ οὔτε τὰ μείζω οὔτε τὰ ἐλάττω διαγιγνώσκοντι, ἀλλὰ τὰ αὐτὰ τοτὲ μὲν μεγάλα ἡγουμένῳ, τοτὲ δὲ σμικρά, εἴδωλα εἰδωλοποιοῦντα, τοῦ δὲ ἀληθοῦς πόρρω πάνυ ἀφεστῶτα. πάνυ μὲν οὖν. οὐ μέντοι πω τό γε μέγιστον κατηγορήκαμεν αὐτῆς. τὸ γὰρ καὶ τοὺς ἐπιεικεῖς ἱκανὴν εἶναι λωβᾶσθαι, ἐκτὸς πάνυ τινῶν ὀλίγων, πάνδεινόν που. τί δʼ οὐ μέλλει, εἴπερ γε δρᾷ αὐτό; ἀκούων σκόπει. οἱ γάρ που βέλτιστοι ἡμῶν ἀκροώμενοι Ὁμήρου ἢ ἄλλου τινὸς τῶν τραγῳδοποιῶν μιμουμένου τινὰ τῶν ἡρώων ἐν πένθει ὄντα καὶ μακρὰν ῥῆσιν ἀποτείνοντα ἐν τοῖς ὀδυρμοῖς ἢ καὶ ᾄδοντάς τε καὶ κοπτομένους, οἶσθʼ ὅτι χαίρομέν τε καὶ ἐνδόντες ἡμᾶς αὐτοὺς ἑπόμεθα συμπάσχοντες καὶ σπουδάζοντες ἐπαινοῦμεν ὡς ἀγαθὸν ποιητήν, ὃς ἂν ἡμᾶς ὅτι μάλιστα οὕτω διαθῇ. οἶδα· πῶς δʼ οὔ; ὅταν δὲ οἰκεῖόν τινι ἡμῶν κῆδος γένηται, ἐννοεῖς αὖ ὅτι ἐπὶ τῷ ἐναντίῳ καλλωπιζόμεθα, ἂν δυνώμεθα ἡσυχίαν ἄγειν καὶ καρτερεῖν, ὡς τοῦτο μὲν ἀνδρὸς ὄν, ἐκεῖνο δὲ γυναικός, ὃ τότε ἐπῃνοῦμεν. ἐννοῶ, ἔφη. ἦ καλῶς οὖν, ἦν δʼ ἐγώ, οὗτος ὁ ἔπαινος ἔχει, τὸ ὁρῶντα τοιοῦτον ἄνδρα, οἷον ἑαυτόν τις μὴ ἀξιοῖ εἶναι ἀλλʼ αἰσχύνοιτο ἄν, μὴ βδελύττεσθαι ἀλλὰ χαίρειν τε καὶ ἐπαινεῖν; οὐ μὰ τὸν Δίʼ, ἔφη, οὐκ εὐλόγῳ ἔοικεν.
“By all means.” “And is it not obvious that the nature of the mimetic poet is not related to this better part of the soul and his cunning is not framed to please it, if he is to win favor with the multitude, but is devoted to the fretful and complicated type of character because it is easy to imitate?” “It is obvious.” “This consideration, then, makes it right for us to proceed to lay hold of him and set him down as the counterpart of the painter; for he resembles him in that his creations are inferior in respect of reality; and the fact that his appeal is to the inferior part of the soul and not to the best part is another point of resemblance. And so we may at last say that we should be justified in not admitting him into a well-ordered state, because he stimulates and fosters this element in the soul, and by strengthening it tends to destroy the rational part, just as when in a state one puts bad men in power and turns the city over to them and ruins the better sort. Precisely in the same manner we shall say that the mimetic poet sets up in each individual soul a vicious constitution by fashioning phantoms far removed from reality, and by currying favor with the senseless element that cannot distinguish the greater from the less, but calls the same thing now one, now the other.” “By all means.” “But we have not yet brought our chief accusation against it. Its power to corrupt, with rare exceptions, even the better sort is surely the chief cause for alarm.” “How could it be otherwise, if it really does that?” “ Listen and reflect. I think you know that the very best of us, when we hear Homer or some other of the makers of tragedy imitating one of the heroes who is in grief, and is delivering a long tirade in his lamentations or chanting and beating his breast, feel pleasure, and abandon ourselves and accompany the representation with sympathy and eagerness, and we praise as an excellent poet the one who most strongly affects us in this way.” “I do know it, of course.” “But when in our own lives some affliction comes to us, you are also aware that we plume ourselves upon the opposite, on our ability to remain calm and endure, in the belief that this is the conduct of a man, and what we were praising in the theatre that of a woman.” “I do note that.” “Do you think, then,” said I, “that this praise is rightfully bestowed when, contemplating a character that we would not accept but would be ashamed of in ourselves, we do not abominate it but take pleasure and approve?” “No, by Zeus,” he said, “it does not seem reasonable.”
ναί, ἦν δʼ ἐγώ, εἰ ἐκείνῃ γʼ αὐτὸ σκοποίης. πῇ; εἰ ἐνθυμοῖο ὅτι τὸ βίᾳ κατεχόμενον τότε ἐν ταῖς οἰκείαις συμφοραῖς καὶ πεπεινηκὸς τοῦ δακρῦσαί τε καὶ ἀποδύρασθαι ἱκανῶς καὶ ἀποπλησθῆναι, φύσει ὂν τοιοῦτον οἷον τούτων ἐπιθυμεῖν, τότʼ ἐστὶν τοῦτο τὸ ὑπὸ τῶν ποιητῶν πιμπλάμενον καὶ χαῖρον· τὸ δὲ φύσει βέλτιστον ἡμῶν, ἅτε οὐχ ἱκανῶς πεπαιδευμένον λόγῳ οὐδὲ ἔθει, ἀνίησιν τὴν φυλακὴν τοῦ θρηνώδους τούτου, ἅτε ἀλλότρια πάθη θεωροῦν καὶ ἑαυτῷ οὐδὲν αἰσχρὸν ὂν εἰ ἄλλος ἀνὴρ ἀγαθὸς φάσκων εἶναι ἀκαίρως πενθεῖ, τοῦτον ἐπαινεῖν καὶ ἐλεεῖν, ἀλλʼ ἐκεῖνο κερδαίνειν ἡγεῖται, τὴν ἡδονήν, καὶ οὐκ ἂν δέξαιτο αὐτῆς στερηθῆναι καταφρονήσας ὅλου τοῦ ποιήματος. λογίζεσθαι γὰρ οἶμαι ὀλίγοις τισὶν μέτεστιν ὅτι ἀπολαύειν ἀνάγκη ἀπὸ τῶν ἀλλοτρίων εἰς τὰ οἰκεῖα· θρέψαντα γὰρ ἐν ἐκείνοις ἰσχυρὸν τὸ ἐλεινὸν οὐ ῥᾴδιον ἐν τοῖς αὑτοῦ πάθεσι κατέχειν. ἀληθέστατα, ἔφη. ἆρʼ οὖν οὐχ ὁ αὐτὸς λόγος καὶ περὶ τοῦ γελοίου; ὅτι, ἃν αὐτὸς αἰσχύνοιο γελωτοποιῶν, ἐν μιμήσει δὲ κωμῳδικῇ ἢ καὶ ἰδίᾳ ἀκούων σφόδρα χαρῇς καὶ μὴ μισῇς ὡς πονηρά, ταὐτὸν ποιεῖς ὅπερ ἐν τοῖς ἐλέοις; ὃ γὰρ τῷ λόγῳ αὖ κατεῖχες ἐν σαυτῷ βουλόμενον γελωτοποιεῖν, φοβούμενος δόξαν βωμολοχίας, τότʼ αὖ ἀνιεῖς, καὶ ἐκεῖ νεανικὸν ποιήσας ἔλαθες πολλάκις ἐν τοῖς οἰκείοις ἐξενεχθεὶς ὥστε κωμῳδοποιὸς γενέσθαι. καὶ μάλα, ἔφη. καὶ περὶ ἀφροδισίων δὴ καὶ θυμοῦ καὶ περὶ πάντων τῶν ἐπιθυμητικῶν τε καὶ λυπηρῶν καὶ ἡδέων ἐν τῇ ψυχῇ, ἃ δή φαμεν πάσῃ πράξει ἡμῖν ἕπεσθαι, ὅτι τοιαῦτα ἡμᾶς ἡ ποιητικὴ μίμησις ἐργάζεται· τρέφει γὰρ ταῦτα ἄρδουσα, δέον αὐχμεῖν, καὶ ἄρχοντα ἡμῖν καθίστησιν, δέον ἄρχεσθαι αὐτὰ ἵνα βελτίους τε καὶ εὐδαιμονέστεροι ἀντὶ χειρόνων καὶ ἀθλιωτέρων γιγνώμεθα. οὐκ ἔχω ἄλλως φάναι, ἦ δʼ ὅς. οὐκοῦν, εἶπον, ὦ Γλαύκων, ὅταν Ὁμήρου ἐπαινέταις ἐντύχῃς λέγουσιν ὡς τὴν Ἑλλάδα πεπαίδευκεν οὗτος ὁ ποιητὴς καὶ πρὸς διοίκησίν τε καὶ παιδείαν τῶν ἀνθρωπίνων πραγμάτων ἄξιος ἀναλαβόντι μανθάνειν τε καὶ κατὰ τοῦτον τὸν ποιητὴν πάντα τὸν αὑτοῦ βίον κατασκευασάμενον ζῆν, φιλεῖν μὲν χρὴ καὶ ἀσπάζεσθαι ὡς ὄντας βελτίστους εἰς ὅσον δύνανται, καὶ συγχωρεῖν Ὅμηρον ποιητικώτατον εἶναι καὶ πρῶτον τῶν τραγῳδοποιῶν, εἰδέναι δὲ ὅτι ὅσον μόνον ὕμνους θεοῖς καὶ ἐγκώμια τοῖς ἀγαθοῖς ποιήσεως παραδεκτέον εἰς πόλιν·
“Oh yes,” said I, “if you would consider it in this way.” “In what way?” “If you would reflect that the part of the soul that in the former case, in our own misfortunes, was forcibly restrained, and that has hungered for tears and a good cry and satisfaction, because it is its nature to desire these things, is the element in us that the poets satisfy and delight, and that the best element in our nature, since it has never been properly educated by reason or even by habit, then relaxes its guard over the plaintive part, inasmuch as this is contemplating the woes of others and it is no shame to it to praise and pity another who, claiming to be a good man, abandons himself to excess in his grief; but it thinks this vicarious pleasure is so much clear gain, and would not consent to forfeit it by disdaining the poem altogether. That is, I think, because few are capable of reflecting that what we enjoy in others will inevitably react upon ourselves. For after feeding fat the emotion of pity there, it is not easy to restrain it in our own sufferings.” “Most true,” he said. “Does not the same principle apply to the laughable, namely, that if in comic representations, or for that matter in private talk, you take intense pleasure in buffooneries that you would blush to practise yourself, and do not detest them as base, you are doing the same thing as in the case of the pathetic? For here again what your reason, for fear of the reputation of buffoonery, restrained in yourself when it fain would play the clown, you release in turn, and so, fostering its youthful impudence, let yourself go so far that often ere you are aware you become yourself a comedian in private.” “Yes, indeed,” he said. “And so in regard to the emotions of sex and anger, and all the appetites and pains and pleasures of the soul which we say accompany all our actions, the effect of poetic imitation is the same. For it waters and fosters these feelings when what we ought to do is to dry them up, and it establishes them as our rulers when they ought to be ruled, to the end that we may be better and happier men instead of worse and more miserable.” “I cannot deny it,” said he. “Then, Glaucon,” said I, “when you meet encomiasts of Homer who tell us that this poet has been the educator of Hellas, and that for the conduct and refinement of human life he is worthy of our study and devotion, and that we should order our entire lives by the guidance of this poet, we must love and salute them as doing the best they can, and concede to them that Homer is the most poetic of poets and the first of tragedians, but we must know the truth, that we can admit no poetry into our city save only hymns to the gods and the praises of good men.”
εἰ δὲ τὴν ἡδυσμένην Μοῦσαν παραδέξῃ ἐν μέλεσιν ἢ ἔπεσιν, ἡδονή σοι καὶ λύπη ἐν τῇ πόλει βασιλεύσετον ἀντὶ νόμου τε καὶ τοῦ κοινῇ ἀεὶ δόξαντος εἶναι βελτίστου λόγου. ἀληθέστατα, ἔφη. ταῦτα δή, ἔφην, ἀπολελογήσθω ἡμῖν ἀναμνησθεῖσιν περὶ ποιήσεως, ὅτι εἰκότως ἄρα τότε αὐτὴν ἐκ τῆς πόλεως ἀπεστέλλομεν τοιαύτην οὖσαν· ὁ γὰρ λόγος ἡμᾶς ᾕρει. προσείπωμεν δὲ αὐτῇ, μὴ καί τινα σκληρότητα ἡμῶν καὶ ἀγροικίαν καταγνῷ, ὅτι παλαιὰ μέν τις διαφορὰ φιλοσοφίᾳ τε καὶ ποιητικῇ· καὶ γὰρ ἡ λακέρυζα πρὸς δεσπόταν κύων ἐκείνη κραυγάζουσα καὶ μέγας ἐν ἀφρόνων κενεαγορίαισι καὶ ὁ τῶν διασόφων ὄχλος κρατῶν καὶ οἱ λεπτῶς μεριμνῶντες, ὅτι ἄρα πένονται, καὶ ἄλλα μυρία σημεῖα παλαιᾶς ἐναντιώσεως τούτων. ὅμως δὲ εἰρήσθω ὅτι ἡμεῖς γε, εἴ τινα ἔχοι λόγον εἰπεῖν ἡ πρὸς ἡδονὴν ποιητικὴ καὶ ἡ μίμησις, ὡς χρὴ αὐτὴν εἶναι ἐν πόλει εὐνομουμένῃ, ἅσμενοι ἂν καταδεχοίμεθα, ὡς σύνισμέν γε ἡμῖν αὐτοῖς κηλουμένοις ὑπʼ αὐτῆς· ἀλλὰ γὰρ τὸ δοκοῦν ἀληθὲς οὐχ ὅσιον προδιδόναι. ἦ γάρ, ὦ φίλε, οὐ κηλῇ ὑπʼ αὐτῆς καὶ σύ, καὶ μάλιστα ὅταν διʼ Ὁμήρου θεωρῇς αὐτήν; πολύ γε. οὐκοῦν δικαία ἐστὶν οὕτω κατιέναι, ἀπολογησαμένη ἐν μέλει ἤ τινι ἄλλῳ μέτρῳ; πάνυ μὲν οὖν. δοῖμεν δέ γέ που ἂν καὶ τοῖς προστάταις αὐτῆς, ὅσοι μὴ ποιητικοί, φιλοποιηταὶ δέ, ἄνευ μέτρου λόγον ὑπὲρ αὐτῆς εἰπεῖν, ὡς οὐ μόνον ἡδεῖα ἀλλὰ καὶ ὠφελίμη πρὸς τὰς πολιτείας καὶ τὸν βίον τὸν ἀνθρώπινόν ἐστιν· καὶ εὐμενῶς ἀκουσόμεθα. κερδανοῦμεν γάρ που ἐὰν μὴ μόνον ἡδεῖα φανῇ ἀλλὰ καὶ ὠφελίμη. πῶς δʼ οὐ μέλλομεν, ἔφη, κερδαίνειν;
“For if you grant admission to the honeyed muse in lyric or epic, pleasure and pain will be lords of your city instead of law and that which shall from time to time have approved itself to the general reason as the best.” “Most true,” he said. “Let us, then, conclude our return to the topic of poetry and our apology, and affirm that we really had good grounds then for dismissing her from our city, since such was her character. For reason constrained us. And let us further say to her, lest she condemn us for harshness and rusticity, that there is from of old a quarrel between philosophy and poetry. For such expressions as the yelping hound barking at her master and mighty in the idle babble of fools, and the mob that masters those who are too wise for their own good, and the subtle thinkers who reason that after all they are poor, and countless others are tokens of this ancient enmity. But nevertheless let it be declared that, if the mimetic and dulcet poetry can show any reason for her existence in a well-governed state, we would gladly admit her, since we ourselves are very conscious of her spell. But all the same it would be impious to betray what we believe to be the truth. Is not that so, friend? Do not you yourself feel her magic and especially when Homer is her interpreter?” “Greatly.” “Then may she not justly return from this exile after she has pleaded her defence, whether in lyric or other measure?” “By all means.” “And we would allow her advocates who are not poets but lovers of poetry to plead her cause in prose without metre, and show that she is not only delightful but beneficial to orderly government and all the life of man. And we shall listen benevolently, for it will be clear gain for us if it can be shown that she bestows not only pleasure but benefit.” “How could we help being the gainers?” said he.
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