Type for all narratives respecting men.
We have thus prescribed the model to which all poets must accommodate their narratives respecting Gods and Heroes. We ought now to set out a similar model for their narratives respecting men. But this is impossible, until our present investigation is brought to a close: because one of the worst misrepresentations which the poets give of human affairs, is, when they say that there are many men unjust, yet happy — just, yet still miserable:— that successful injustice is profitable, and that justice is a benefit to other persons, but a loss to the agent. We affirm that this is a misrepresentation; but we cannot assume it as such at present, since the present enquiry is intended to prove that it is so.[64]
[64] Plato, Republic, iii. p. 392 C.
Style of narratives. The poet must not practise variety of imitation: he must not speak in the name of bad characters.
From the substance of these stories we pass to the style and manner. The poet will recount either in his own person, by simple narrative: or he will assume the characters and speak in the names of others, thus making his composition imitative. He will imitate every diversity of character, good and bad, wise and foolish. This however cannot be tolerated in our city. We can permit no imitation except that of the reasonable and virtuous man. Every man in our city exercises one simple function: we have no double-faced or many-faced citizens. We shall respectfully dismiss the poet who captivates us by variety of characters, and shall be satisfied with the dry recital of simple stories useful in their tendency, expressing the feeling of the reasonable man and no other.[65]
[65] Plato, Republic, iii. pp. 396-398.
Rhythm and Melody regulated. None but simple and grave music allowed: only the Dorian and Phrygian moods, with the lyre and harp.
We must farther regulate the style of the Odes and Songs, consistent with what has been already laid down. Having prescribed what the sense of the words must be, we must now give directions about melody and rhythm. We shall permit nothing but simple music, calculated less to please the ear, than to inspire grave, dignified, and resolute sentiment. We shall not allow either the wailing Lydian, or the soft and convivial Ionic mood: but only the Phrygian and Dorian moods. Nor shall we tolerate either the fife, or complicated stringed instruments: nothing except the lyre and harp, with the panspipe for rural abodes.[66] The rhythm or measure must also be simple, suitable to the movements of a calm and moderate man. Both good rhythm, graceful and elegant speaking, and excellence of sense, flow from good and virtuous dispositions, tending to inspire the same dispositions in others:[67] just as bad rhythm, ungraceful and indecorous demeanour, defective proportion, &c., are companions of bad speech and bad dispositions. Contrasts of this kind pervade not only speech and song, but also every branch of visible art: painting, architecture, weaving, embroidery, pottery, and even the natural bodies of animals and plants. In all of them we distinguish grace and beauty, the accompaniments of a good and sober disposition — from ungracefulness and deformity, visible signs of the contrary disposition. Now our youthful Guardians, if they are ever to become qualified for their functions, must be trained to recognise and copy such grace and beauty.[68] For this purpose our poets, painters, architects, and artisans, must be prohibited from embodying in their works any ungraceful or unseemly type. None will be tolerated as artists, except such as can detect and embody the type of the beautiful. Our youth will thus insensibly contract exclusive familiarity, both through the eye and through the ear, with beauty in its various manifestations: so that their minds will be brought into harmonious preparation for the subsequent influence of beautiful discourse.[69]
[66] Plato, Republic, iii. pp. 398-399.
[67] Plato, Republic, iii. p. 400 A.