Greek Texts & Translations

By Heaven, Stranger, if ever this took place in a city, it would be a most unseemly thing, 814capart from the mischief of it.

Shall we, then, lay down this law,—that up to the point stated women must not neglect military training, but all citizens, men and women alike, must pay attention to it?

I, for one, agree.

As regards wrestling, some points have been explained; ^note but we have not explained what is, in my opinion, the most important point, nor is it easy to express it in words without the help of a practical illustration. 814dThis point, then, we shall decide about ^note when word accompanied by deed can clearly demonstrate this fact, among the others mentioned,—that wrestling of this kind is of all motions by far the most nearly allied to military fighting; and also that it is not the latter that should be learned for the sake of the former, but, on the contrary, it is the former that should be practiced for the sake of the latter. ^note

There, at any rate, you are right.

For the present let this suffice as an account of the functions of the wrestling-school. Motion 814eof the whole body, other than wrestling, has for its main division what may be rightly termed dancing ^note; and we ought to consider it as consisting of two kinds,—the one representing the solemn movement of beautiful bodies, the other the ignoble movement of ugly bodies; and of these again there are two subdivisions. Of the noble kind there is, on the one hand, the motion of fighting, and that of fair bodies and brave souls engaged in violent effort; and, on the other hand, there is the motion of a temperate soul living in a state of prosperity and moderate pleasures; and this latter kind of dancing one will call, in accordance with its nature, “pacific.” The warlike division, 815abeing distinct from the pacific, one may rightly term “pyrrhiche” ^note; it represents modes of eluding all kinds of blows and shots by swervings and duckings and side-leaps upward or crouching; and also the opposite kinds of motion, which lead to active postures of offence, when it strives to represent the movements involved in shooting with bows or darts, and blows of every description. In all these cases the action and the tension of the sinews are correct when there is a representation of fair bodies and souls 815bin which most of the limbs of the body are extended straight: this kind of representation is right, but the opposite kind we pronounce to be wrong. In pacific dancing, the point we must consider in every case is whether the performer in his dances keeps always rightly, or improperly, to the noble kind of dancing, in the way that befits law-abiding men. So, in the first place, we must draw a line between questionable dancing and dancing that is above question. 815cAll the dancing that is of a Bacchic kind and cultivated by those who indulge in drunken imitations of Pans, Sileni and Satyrs (as they call them), when performing certain rites of expiation and initiation,—all this class of dancing cannot easily be defined either as pacific or as warlike, or as of any one distinct kind. The most correct way of defining it seems to me to be this— 815dto separate it off both from pacific and from warlike dancing, and to pronounce that this kind of dancing is unfitted for our citizens: and having thus disposed of it and dismissed it, we will now return to the warlike and pacific kinds which do beyond question belong to us. That of the unwarlike Muse, in which men pay honor to the gods and the children of the gods by dances, will consist, broadly speaking, of all dancing performed under a sense of prosperity: of this we may make two subdivisions— 815ethe one being of a more joyful description, and proper to men who have escaped out of toils and perils into a state of bliss,—and the other connected rather with the preservation and increase of pre-existent blessings, and exhibiting, accordingly, joyousness of a less ardent kind. Under these conditions every man moves his body more violently when his joys are greater, less violently when they are smaller; also, he moves it less violently when he is more sedate and better trained in courage, 816abut when he is cowardly and untrained in temperance, he indulges in greater and more violent changes of motion; and in general, no one who is using his voice, whether in song or in speech, is able to keep his body wholly at rest. Hence, when the representation of things spoken by means of gestures arose, it produced the whole art of dancing. In all these instances, one man of us moves in tune with his theme, another out of tune. 816bMany of the names bestowed in ancient times are deserving of notice and of praise for their excellence and descriptiveness: one such is the name given to the dances of men who are in a prosperous state and indulge in pleasures of a moderate kind: how true and how musical was the name so rationally bestowed on those dances by the man (whoever he was) who first called them all “Emmeleiai,” ^note and established two species of fair dances—the warlike, termed “pyrrhiche,”