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[595b] still more plainly apparent now that we have distinguished the several parts1 of the soul.” “What do you mean?” “Why, between ourselves2—for you will not betray me to the tragic poets and all other imitators—that kind of art seems to be a corruption3 of the mind of all listeners who do not possess, as an antidote4 a knowledge of its real nature.” “What is your idea in saying this?” he said. “I must speak out,” I said, “though a certain love and reverence for Homer5 that has possessed me from a boy would stay me from speaking.

1 Lit. “species.” Cf. 435 B ff., 445 C, 580 D, 588 B ff., Phaedr. 271 D, Unity of Plato's Thought, p. 42.

2 Cf. Gorg. 462 B, Protag. 309 A, 339 E.

3 Cf. 605 C, Meno 91 C, Laws 890 B.

4 φάρμακον: this passage is the source of Plutarch's view of literature in education; see Quomodo adolescens poetas audire debeat 15 C.

5 Isoc. ii. 48-49 is perhaps imitating this. For Homer as a source of tragedy cf. also 598 D, 605 C-D, 607 A, 602 B, Theaet. 152 E, schol. Trendelenburg, pp. 75 ff.; Dryden, Discourse on Epic Poetry: “The origin of the stage was from the epic poem . . . those episodes of Homer which were proper for the state the poets amplifies each into an action,” etc. Cf. Aristot.Poet. 1448 b 35 f., Diog. Laert. iv. 40, and 393 A ff.

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