[C] 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.
[D] 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?
And narration may be either simple narration, or imitation, or a union of the two?
That again, he said, I do not quite understand.
Analysis of the dramatic element in Epic poetry. I fear that I must be a ridiculous teacher when I have so much difficulty in making myself apprehended. Like a bad speaker, therefore, I will not take the whole of the subject, [E]but will break a piece off in illustration of my meaning. You know the first lines of the Iliad, in which the poet says that [393]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,’