e truth they never reach? The poet is like a painter who,
as we have already observed, will make a likeness of a cobbler though
he understands nothing of cobbling; and his picture is good enough for
those who know no more than he does, and judge only by colours and
figures.

Quite so.

In like manner the poet with his words and phrases may be said to lay
on the colours of the several arts, himself understanding their nature
only enough to imitate them; and other people, who are as ignorant as
he is, and judge only from his words, imagine that if he speaks of
cobbling, or of military tactics, or of anything else, in metre and
harmony and rhythm, he speaks very well--such is the sweet influence
which melody and rhythm by nature have. And I think that you must have
observed again and again what a poor appearance the tales of poets make
when stripped of the colours which music puts upon them, and recited in
simple prose.

Yes, he said.

They are like faces which were never really beautiful, but only
blooming; and now the bloom of youth has passed away from them?

Exactly.

Here is another point: The imitator or maker of the image knows
nothing of true existence; he knows appearances only. Am I not right?

Yes.

Then let us have a clear understanding, and not be satisfied with half
an explanation.

Proceed.

Of the painter we say that he will paint reins, and he will paint a bit?

Yes.

And the worker in leather and brass will make them?

Certainly.

But does the painter know the right form of the bit and reins? Nay,
hardly even the workers in brass and leather who make them; only the
horseman who knows how to use them--he knows their right form.

Most true.

And may we not say the same of all things?

What?

That there are three arts which are concerned with all things: one
which uses, another which makes, a third which imitates them?

Yes.

And the excellence or beauty or truth of every structure, animate or
inanimate, and of every action of man, is relative to the use for which
nature or the artist has intended them.

True.

Then the user of them must have the greatest experience of them, and he
must indicate to the maker the good or bad qualities which develop
themselves in use; for example, the flute-player will tell the
flute-maker which of his flutes is satisfactory to the performer; he
will tell him how he ought to make them, and the other will attend to
his instructions?

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