present?

Parrh. Decidedly.

Soc. Furthermore, as through some chink or crevice, there pierces
through the countenance of a man, through the very posture of his body
as he stands or moves, a glimpse of his nobility and freedom, or again
of something in him low and grovelling--the calm of self-restraint, and
wisdom, or the swagger of insolence and vulgarity?

You are right (he answered).

Soc. Then these too may be imitated?

No doubt (he said).

Soc. And which is the pleasanter type of face to look at, do you
think--one on which is imprinted the characteristics of a beautiful,
good, and lovable disposition, or one which bears the impress of what is
ugly, and bad, and hateful? (8)

(8) For this theory cp. Ruskin, "Mod. P." ii. 94 foll. and indeed
passim.

Parrh. Doubtless, Socrates, there is a vast distinction between the two.

At another time he entered the workshop of the sculptor Cleiton, (9) and
in course of conversation with him said:

(9) An unknown artist. Coraes conj. {Kleona}. Cf. Plin. xxxiv. 19;
Paus. v. 17, vi. 3. He excelled in portrait statues. See Jowett,
"Plato," iv.; "Laws," p. 123.

You have a gallery of handsome people here, (10) Cleiton, runners, and
wrestlers, and boxers, and pancratiasts--that I see and know; but how
do you give the magic touch of life to your creations, which most of all
allures the soul of the beholder through his sense of vision?

(10) Reading after L. Dind. {kaloi ous}, or if vulg. {alloious},
translate "You have a variety of types, Cleiton, not all of one
mould, but runners," etc.; al. "I see quite well how you give the
diversity of form to your runners," etc.

As Cleiton stood perplexed, and did not answer at once, Socrates added:
Is it by closely imitating the forms of living beings that you succeed
in giving that touch of life to your statues?

No doubt (he answered).

Soc. It is, is it not, by faithfully copying the various muscular
contractions of the body in obedience to the play of gesture and poise,
the wrinklings of flesh and the sprawl of limbs, the tensions and
the relaxations, that you succeed in making your statues like real
beings--make them "breathe" as people say?

Cleit. Without a doubt.

Soc. And does not the faithful imitation of the various affections of
the body when engaged in any action impart a particular pleasure to the
beholder?

Cleit. I should say so.

Soc. Then the threatenings in the eyes of warr