The Republic: Book III

In the second book of The Republic, Plato speaks of the Guardians. The Guardians, Plato explains, will be trained to protect the Republic. Having established this, he turns his attention to how the Guardians should be trained and what should be a part of their training. This discussion forms a major part of Book III.

Literature:

First, he speaks of literature concerning gods and heroes. In Book II, Socrates had concluded that most existing literature on the topic was unsuitable because their portrayal of gods and heroes might encourage certain forms of moral weakness. He now moves on to the subject of the cultivation of bravery. In order to do so, certain things cannot be written about: 

• The horrors of afterlife, which are, in his opinion, false.
• The fear of death.
• Laments by famous men and gods because a good man is not shaken by loss.
• Gods or heroes indulging in violent laughter, because such laughter invites violent reactions.
• Names that arouse fear. ‘Rivers of Wailing and Gloom’, for instance.
• Depictions of over indulgence in the pleasures of eating, drinking and sex. Because this goes against the rule of self control.
• Characters being mercenary.
• Gods and heroes being evil. Such accounts, Socrates asserts, are false and citizens or the Guardians in training should not be exposed to such lies.

In Book II, Socrates had already mentioned that falsehood does not exist in the realm of the divine. In Book III he says that falsehood will not be tolerated in the republic. If anyone has take recourse to falsehood, it will be the Guardians, that too, only for the well-being of the community. Any other person found guilty of lying will be severely punished.
Having concluded this discussion, Socrates now turns his attention to literature concerning human beings. But here arises a problem. The rules that he lays down about the literature on gods and heroes cannot be applied to literature on men. This is because, unless justice is defined (The Republic begins with a discussion on justice), it is not possible to say what should not be said about human life. This discussion, therefore, has to be put aside. Socrates now concerns himself with the formal requirements.
It is in this discussion that Plato uses, the term 'mimesis', translated as 'representation' or 'imitation'. Poetry, says Socrates, narrates the past, the present and the future. It does so by using three methods: 

• Narration: When the poet speaks in his own voice. An example of this would be lyric poetry.
• Representation: When the poet speaks in the voice of another. Drama would fall under this category.
• Narration and Representation: Epic is an example.

When the poet speaks in the voice of another, he is 'representing' that character. But one man cannot possibly assimilate in himself, the characteristics of another person. Also, one man must be trained in one skill. The Guardians, for instance, should be trained only as the protectors of the community and the city. Therefore, poets should not represent men at work, nor should they represent men or women who are insane or of bad character. Neither is the portrayal of women in love or of women during labour permissible. A good man should express himself using the first method mentioned. As the discussion draws to a close, Plato says that the poet who can transform himself into different characters and can represent all kinds of things will be treated with respect, but the it will be said to him "that he and his kind have no place in our city, their presence being forbidden by our code, and send him elsewhere, after anointing him with myrrh and crowning him with fillets of wool." The state will employ its own poets who will follow the instructions set down for them.

Music:
From literature, Plato turns his attention to music. Songs consists of three elements: words, rhythm and mode. A song should be composed following the instruction set down for what kind of words poetry might include. Relaxing modes, like the Ionian, should be discarded because idleness cannot be encouraged in Guardians. The chosen rhythm should fit a life of courage and discipline. Most of this section is spoken by Glaucon, but he fails to name the suitable rhythms. For this, Socrates must seek the assistance of the fifth century musician Damon.

Socrates says that good art depends on good character. The object of education is to teach us to love what is beautiful.

Physical Education:

Socrates says that bodily excellence does not improve the soul, but excellence of the soul improves the body. Guardians, unlike athletes, must be wakeful and have a strong constitution, suitable for harsh conditions. Obsession with one’s health is criticized by Socrates. He also criticizes law and medicine on the grounds that they are required only when there is a malady in the body or in action. If his prescribed training is undertaken by the young, law and medicine will no longer be necessary. He also points out that exclusive cultivation of the body makes one harsh, while exclusive cultivation of music makes on too soft. The two elements must be present in perfect harmony in the Guardian

To conclude, a Guardian must always remember that his loyalty lies with the community and should stick to this view, even under the influence of pain or under the influence of pleasure. The Guardian must undergo severe trial from his early years and triumph in order to gain his position. Socrates then goes on to say that he will try and convince the Guardians first, and then the citizens that the education imparted to them was in a dream. They are the children of the earth, and it is their duty to protect their mother. He also makes a distinction between the rulers, the auxiliaries and the rest of the citizens.