Or, if the poet everywhere appears and never conceals himself, then again the imitation is dropped, and his poetry becomes simple narration.
The priest came, having his daughter's ransom in his hands, supplicating the Achaeans, and above all the kings;' and then if, instead of speaking in the person of Chryses, he had continued in his own person, the words would have been, not imitation, but simple narration.
In saying this, I intended to imply that we must come to an understanding about the mimetic art,--whether the poets, in narrating their stories, are to be allowed by us to imitate, and if so, whether in whole or in part, and if the latter, in what parts; or should all imitation be prohibited?
Then the same person will hardly be able to play a serious part in life, and at the same time to be an imitator and imitate many other parts as well; for even when two species of imitation are nearly allied, the same persons cannot succeed in both, as, for example, the writers of tragedy and comedy--did you not just now call them imitations?
If then we adhere to our original notion and bear in mind that our guardians, setting aside every other business, are to dedicate themselves wholly to the maintenance of freedom in the State, making this their craft, and engaging in no work which does not bear on this end, they ought not to practise or imitate anything else; if they imitate at all, they should imitate from youth upward only those characters which are suitable to their profession-- the courageous, temperate, holy, free, and the like; but they should not depict or be skilful at imitating any kind of illiberality or baseness, lest from imitation they should come to be what they imitate.
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.
Neither are comic and tragic actors the same; yet all these things are but imitations.
And human nature, Adeimantus, appears to have been coined into yet smaller pieces, and to be as incapable of imitating many things well, as of performing well the actions of which the imitations are copies.
The dozen or so books that Lebensztejn has published since Zigzag only confirm the diversity of his interests and singularity of his intellectual position--whether in his impressive work on the philosophy of imitation
and the link between neoclassicism and romanticism, L'Art de la tache: Introduction la Nouvelle Methode d'Alexander Cozens (Editions du Limon, 1990), or in his reflections on music, based on a madrigal by Monteverdi, in lmiter sans fin le chant de I'aimable Angelette (Editions du Limon, 1987).