Earlier in their pursuit of a perfect State, Socrates and Adeimantus were discussing the subjects of poetry and what to prohibit in their State. “Enough of the subjects of poetry:” Socrates moved on, “let us now speak of the style; and when this has been considered, both matter and manner will have been completely treated.” After reading this you may raise multiple questions: “Style? Like, fashion?” “Matter and manner of what?” “Treated how?”
In practically the same mindset, Adeimantus says, “I do not understand what you mean.” So Socrates goes on to explain. “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?” Adeimantus replies, “Certainly.” “And narration may be either simple narration, or imitation, or a union of the two?” Here is where Adeimantus gets stuck: “That again, I do not quite understand.” Socrates goes into depth, trying to clarify for Adeimantus.
“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, 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 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,’
the poet is speaking in his own person; he never leads us to suppose that he is any one else. But in what follows he takes the person of Chryses, and then he does all that he can to make us believe that the speaker is not Homer, but the aged priest himself. And in this double form he has cast the entire narrative of the events which occurred at Troy and in Ithaca and throughout the Odyssey.”
Adeimantus affirms this, and Socrates continues, “And a narrative it remains both in the speeches which the poet recites from time to time and in the intermediate passages? But when the poet speaks in the person of another, may we not say that he assimilates his style to that of the person who, as he informs you, is going to speak?” Adeimantus again agrees, and the explanation goes on, “And this assimilation of himself to another, either by the use of voice or gesture, is the imitation of the person whose character he assumes?” After more teaching, Socrates wraps up with this: “You have conceived my meaning perfectly; and if I mistake not, what you failed to apprehend before is now made clear to you, that poetry and mythology are, in some cases, wholly imitative- instances of this are supplied by tragedy and comedy; there is likewise the opposite style, in which the my poet is the only speaker- of this the dithyramb affords the best example; and the combination of both is found in epic, and in several other styles of poetry. Do I take you with me?” and, now with a full understanding, Adeimantus says, “Yes, I see now what you meant.”