James Adam, The Republic of Plato

φαύλη -- μιμητική. Cf. VI 496 A.

ἢ καὶ ἡ. See cr. n. “Inter ἤ et κα facile καὶ ἡ excidere potuit” (Schneider).

603B - 605C If we examine Poetry on its own merits, apart from the sisterart of Painting, we observe that Poetry imitates action. Now in action we often fluctuate between two impulses. When a great calamity befalls us, we are tempted to give way to grief, before the eyes of others; but Law bids us refrain, and try to cure the wound instead of hugging it. That which is best within us readily obeys: whereas the part that tempts us to dwell upon our sorrows is irrational, indolent, cowardly. Yet it is just this peevish, querulous side of human nature which most lends itself to imitation, and whose portrayal in dramatic art the vulgar most readily understand. Poetry is thus the counterpart of Painting; its products are low in point of truth, and it feeds our lower nature. We exclude the Poet from our city on both grounds.

μὴ τοίνυν κτλ. In 605 A Plato seems to think that his procedure in arguing from Painting to Poetry (597 E note) needs a word of explanation and defence. The following argument incidentally furnishes such a defence by deducing from an independent treatment of Poetry the conclusions to which we have already been led by τὸ εἰκὸς ἐκ τῆς γραφικῆς.