shamed of
this sort of imitation: he will be most ready to play the part of the
good man when he is acting firmly and wisely; in a less degree when he
is overtaken by illness or love or drink, or has met with any other
disaster. But when he comes to a character which is unworthy of him,
he will not make a study of that; he will disdain such a person, and
will assume his likeness, if at all, for a moment only when he is
performing some good action; at other times he will be ashamed to play
a part which he has never practised, nor will he like to fashion and
frame himself after the baser models; he feels the employment of such
an art, unless in jest, to be beneath him, and his mind revolts at it.

So I should expect, he replied.

Then he will adopt a mode of narration such as we have illustrated out
of Homer, that is to say, his style will be both imitative and
narrative; but there will be very little of the former, and a great
deal of the latter. Do you agree?

Certainly, he said; that is the model which such a speaker must
necessarily take.

But there is another sort of character who will narrate anything, and,
the worse lie is, the more unscrupulous he will be; nothing will be too
bad for him: and he will be ready to imitate anything, not as a joke,
but in right good earnest, and before a large company. As I was just
now saying, he will attempt to represent the roll of thunder, the noise
of wind and hall, or the creaking of wheels, and pulleys, and the
various sounds of flutes; pipes, trumpets, and all sorts of
instruments: he will bark like a dog, bleat like a sheep, or crow like
a cock; his entire art will consist in imitation of voice and gesture,
and there will be very little narration.

That, he said, will be his mode of speaking.

These, then, are the two kinds of style?

Yes.

And you would agree with me in saying that one of them is simple and
has but slight changes; and if the harmony and rhythm are also chosen
for their simplicity, the result is that the speaker, if he speaks
correctly, is always pretty much the same in style, and he will keep
within the limits of a single harmony (for the changes are not great),
and in like manner he will make use of nearly the same rhythm?

That is quite true, he said.

Whereas the other requires all sorts of harmonies and all sorts of
rhythms, if the music and the style are to correspond, because the
style has all sorts of changes.

That is also perfec