might take Troy and have a safe return if Agamemnon would only give him
back his daughter; and the other Greeks assented, but Agamemnon was wroth,
and so on--The whole then becomes descriptive, and the poet is the only
speaker left; or, if you omit the narrative, the whole becomes dialogue.
These are the three styles--which of them is to be admitted into our State?
'Do you ask whether tragedy and comedy are to be admitted?' Yes, but also
something more--Is it not doubtful whether our guardians are to be
imitators at all? Or rather, has not the question been already answered,
for we have decided that one man cannot in his life play many parts, any
more than he can act both tragedy and comedy, or be rhapsodist and actor at
once? Human nature is coined into very small pieces, and as our guardians
have their own business already, which is the care of freedom, they will
have enough to do without imitating. If they imitate they should imitate,
not any meanness or baseness, but the good only; for the mask which the
actor wears is apt to become his face. We cannot allow men to play the
parts of women, quarrelling, weeping, scolding, or boasting against the
gods,--least of all when making love or in labour. They must not represent
slaves, or bullies, or cowards, drunkards, or madmen, or blacksmiths, or
neighing horses, or bellowing bulls, or sounding rivers, or a raging sea.
A good or wise man will be willing to perform good and wise actions, but he
will be ashamed to play an inferior part which he has never practised; and
he will prefer to employ the descriptive style with as little imitation as
possible. The man who has no self-respect, on the contrary, will imitate
anybody and anything; sounds of nature and cries of animals alike; his
whole performance will be imitation of gesture and voice. Now in the
descriptive style there are few changes, but in the dramatic there are a
great many. Poets and musicians use either, or a compound of both, and
this compound is very attractive to youth and their teachers as well as to
the vulgar. But our State in which one man plays one part only is not
adapted for complexity. And when one of these polyphonous pantomimic