book 10

The speaker believes that the city is founded correctly, particularly due to their stance on poetry. They refuse to accept imitative poetry, viewing it as a destructive influence on the mind unless accompanied by true knowledge. While the speaker respects Homer for his influence on great tragedians, they insist that truth transcends affection for poets. This leads to a discussion on the nature of imitation in the arts, where imitative art, such as painting, creates representations of things but lacks the true essence of those things. The argument suggests that there are three kinds of 'couches': the ideal form created by a god, the one made by a craftsman, and the imitative one by an artist. Since the artist's works are two removes from the truth, they do not yield authentic representations but merely appearances, indicating that poets, as storytellers, lack genuine knowledge of the subjects they portray.

Furthermore, the essence of tragedy lies in its ability to evoke emotions, leading spectators to empathize with characters rather than improving their moral state. The speaker questions whether poets truly possess knowledge of their subjects, as mastery of the true essence is essential in the arts, while poets create based on appearance, not reality. Consequently, poets should not influence governance or education due to their imitative nature and lack of real knowledge.

Imitative poetry further affects the irrational and emotional parts of the soul rather than the rational aspect that seeks truth. It cultivates emotions such as pity and pleasure during characters' suffering, potentially corrupting the listeners' virtue. The narrative warns that exposure to such poetry feeds individuals' irrational desires, diverting them from rational decision-making. Moreover, the conversation suggests that true goodness cannot be imitated, asserting that only genuine actions create real influence in society. Justice is deemed essential for the soul and is aligned with rational thought, while imitation weakens character and virtue. Artists should be limited to producing works that uphold truth and virtue, such as hymns to the gods or ethical reflections.

In conclusion, the speaker emphasizes that the allure of poetry must not overshadow its potential dangers in a well-governed society. The pursuit of knowledge and understanding is advocated over succumbing to the seductive nature of poetic imitation. Ultimately, there is a call to acknowledge the immortal nature of the soul and its quest for truth and virtue beyond mere appearances.