you have implied the principle for which we have been all along
contending.

I grant the truth of your inference.

That such things are or are not to be said about men is a question
which we cannot determine until we have discovered what justice is, and
how naturally advantageous to the possessor, whether he seems to be
just or not.

Most true, he said.

Enough of the subjects of poetry: let us now speak of the style; and
when this has been considered, both matter and manner will have been
completely treated.

I do not understand what you mean, said Adeimantus.

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?

Certainly, he replied.

And narration may be either simple narration, or imitation, or a union
of the two?

That again, he said, I do not quite understand.

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.

Yes.

And a narrative it remains both in the speeches which the poet recites
from time to time and in the intermediate passages?

Quite true.

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?

Certainly.

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?