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---Bend thyself in the polished car slightly to the left of them; -i.e. one of the two white stones, set up at each end of the course, which had been mentioned six lines before. and call to the right-hand horse
and goad him on, while your hand slackens his reins. And at the post let your left-hand horse swerve close, so that the nave of the well-wrought wheel may seem to come up to the edge of the stone, which yet avoid to touch.-
--Of Pramneian wine it was, and therein she grated cheese of goat’s milk with a grater of bronze; and thereby an onion as a relish for drink. -
-977) supports Aristotle’s view that the horn acted as a sheath to protect the line from being bitten through by the fish. are we to say it is for the fisherman’s or for the rhapsode’s art to decide what he means by this, and whether it is rightly or wrongly spoken?And she passed to the bottom like a plummet which, set on a horn -
--Hapless men, what bane is this afflicts you? Your heads and faces and limbs below are shrouded in night, and wailing is enkindled, and cheeks are wet with tears: of ghosts the porch is full, and the court full of them also, hastening hell-wards ’neath the gloom: and the sun is perished out of heaven, and an evil mist is spread abroad; -
--For as they were eager to pass over, a bird had crossed them, an eagle of lofty flight, pressing the host at the left hand, -
and bearing a blood-red monster of a snake, alive and still struggling; nor had it yet unlearnt the lust of battle. For bending back it smote its captor on the breast by the neck, and the bird in the bitterness of pain cast it away to the ground, and dropped it down in the midst of the throng;-
and then with a cry flew off on the wafting winds.-
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+Welcome, Ion. Where have you come from now, to pay us this visit? From your home in
No, no, Socrates; from
Do you mean to say that the Epidaurians honor the god with a contest of rhapsodes also?
Certainly, and of music Music
with the Greeks included poetry.
Why then, you were competing in some contest, were you? And how went your competition?
We carried off the first prize, Socrates.
Well done: so now, mind that we win too at the Panathenaea.
Why, so we shall, God willing.
I must say I have often envied you rhapsodes, Ion, for your art: for besides that it is fitting to your art that your person should be adorned and that you should look as handsome as possible, the necessity of being conversant with a number of good poets, and especially with Homer, the best and divinest poet of all, and of apprehending
What you say is true, Socrates: I at any rate have found this the most laborious part of my art; and I consider I speak about Homer better than anybody, for neither
That is good news, Ion; for obviously you will not grudge me an exhibition of them.
And indeed it is worth hearing, Socrates, how well I have embellished Homer; so that I think I deserve to be crowned with a golden crown by the Homeridae.
Yes, and I must find myself leisure some time to listen to you;
No, no, only in Homer; for that seems to me quite enough.
And is there anything on which Homer and Hesiod both say the same?
Yes, I think there are many such cases.
Then in those cases would you expound better what Homer says than what Hesiod says?
I should do it equally well in those cases, Socrates, where they say the same.
But what of those where they do not say the same? For example, about the seer’s art, on which both Homer and Hesiod say something.
Quite so.
Well then, would you, or one of the good seers, expound better what these two poets say, not only alike but differently, about the seer’s art?
One of the seers.
And if you were a seer, would you not, with an ability to expound what they say in agreement, know also how to expound the points on which they differ?
Of course.
Then how is it that you are skilled in Homer,
What you say is true, Socrates.
And what of the other poets? Do they not treat of the same things?
Yes; but, Socrates, not on Homer’s level.
What, in a worse way?
Far worse.
And Homer in a better?
Better indeed, I assure you.
Well now, Ion, dear soul; when several people are talking about number, and one of them speaks better than the rest, I suppose there is some one who will distinguish the good speaker?
I agree.
And will this some one be the same as he who can distinguish the bad speakers, or different?
The same, I suppose.
And he will be the man who has the art of numeration?
Yes.
And again, when several are talking about what kinds of foods are wholesome, and one of them speaks better than the rest, will it be for two different persons to distinguish the superiority of the best speaker and the inferiority of a worse one, or for the same?
Obviously, I should say, for the same.
Who is he? What is his name?
A doctor.
And so we may state, in general terms, that the same person will always distinguish, given the same subject and several persons talking about it,
That is so.
And the same man is found to be skilled in both?
Yes.
And you say that Homer and the other poets, among whom are Hesiod and Archilochus, all speak about the same things, only not similarly; but the one does it well, and the rest worse?
Yes, and what I say is true.
And since you distinguish the good speaker,
So it would seem.
Then, my excellent friend, we shall not be wrong in saying that our Ion is equally skilled in Homer and in the other poets, seeing that you yourself admit that the same man will be a competent judge of all who speak on the same things, and that practically all the poets treat of the same things.
Then what can be the reason, Socrates, why I pay no attention when somebody discusses any other poet, and am unable to offer any remark at all of any value,
That is not difficult to guess, my good friend; anyone can see that you are unable to speak on Homer with art and knowledge. For if you could do it with art, you could speak on all the other poets as well; since there is an art of poetry, I take it, as a whole, is there not?
Yes.
And when one has acquired any other art whatever as a whole, the same principle of inquiry holds through all the arts? Do you require some explanation from me, Ion, of what I mean by this?
Yes, upon my word, Socrates, I do; for I enjoy listening to you wise men.
I only wish you were right there, Ion: but surely it is you rhapsodes and actors, and the men whose poems you chant, who are wise; whereas I speak but the plain truth, as a simple layman might.
Yes.
And there are and have been many painters, good and bad?
Certainly.
Now have you ever found anybody who is skilled in pointing out the successes and failures among the works of Polygnotus
No, on my honor, I certainly have not.
Or again, in sculpture, have you ever found anyone who is skilled in expounding the successes of Daedalus
No, on my honor, I have not found such a man as that either.
But further, I expect you have also failed to find one in fluting or harping or minstrelsy or rhapsodizing who is skilled in expounding the art of
I cannot gainsay you on that, Socrates: but of one thing I am conscious in myself—that I excel all men in speaking on Homer and have plenty to say, and everyone else says that I do it well; but on the others I am not a good speaker. Yet now, observe what that means.
I do observe it, Ion, and I am going to point out to you
For this stone not only attracts iron rings, but also imparts to them a power whereby they in turn are able to do the very same thing as the stone,
For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise; he sipped the fruits of ambrosial lays, ever bringing away sweet song.
an invention of the Muses.
For the god, as it seems to me,
Yes, upon my word, I do: for you somehow touch my soul with your words, Socrates, and I believe it is by divine dispensation that good poets interpret to us these utterances of the gods.
And you rhapsodes, for your part, interpret the utterances of the poets?
Again your words are true.
And so you act as interpreters of interpreters?
Precisely.
Stop now and tell me, Ion, without reserve what I may choose to ask you: when you give a good recitation and specially thrill your audience, either with the lay of Odysseus
How vivid to me, Socrates, is this part of your proof! For I will tell you without reserve: when I relate a tale of woe, my eyes are filled with tears; and when it is of fear or awe, my hair stands on end with terror, and my heart leaps. +
Well now, are we to say, Ion, that such a person is in his senses at that moment,—when in all the adornment of elegant attire and golden crowns he weeps at sacrifice or festival, having been despoiled of none of his finery; or shows fear as he stands before more than twenty thousand friendly people, none of whom is stripping or injuring him?
No, on my word, not at all, Socrates, to tell the strict truth.
And are you aware that you rhapsodes produce these same effects on most of the spectators also? +
Yes, very fully aware: for I look down upon them from the platform and see them at such moments crying and turning awestruck eyes upon me and yielding to the amazement of my tale. For I have to pay the closest attention to them; since, if I set them crying, I shall laugh myself because of the money I take, but if they laugh, I myself shall cry because of the money I lose.
And are you aware that your spectator is the last of the rings which I spoke of as receiving from each other the power transmitted from the Heraclean lodestone? possessed,
but it is much the same thing, for he is held. And from these first rings—the poets—are suspended various others, which are thus inspired, some by Orpheus and others by Musaeus
Well spoken, I grant you, Socrates; but still I shall be surprised if you can speak well enough to convince me that I am possessed and mad when I praise Homer. Nor can I think you would believe it of me yourself, if you heard me speaking about him.
I declare I am quite willing to hear you, but not until
I assure you, Socrates, on all without a single exception.
Not, of course, including those things of which you have in fact no knowledge, but which Homer tells.
And what sort of things are they, which Homer tells, but of which I have no knowledge?
Why, does not Homer speak a good deal about arts, in a good many places? For instance, about chariot-driving: if I can recall the lines, I will quote them to you.
No, I will recite them, for I can remember.
Tell me then what Nestor says to his son Antilochus, advising him to be careful about the turning-post in the horse-race in honor of Patroclus.
+
+
+
Enough. Now, Ion, will a doctor or a charioteer be the better judge
A charioteer, of course.
Because he has this art, or for some other reason?
No, because it is his art.
And to every art has been apportioned by God a power of knowing a particular business? For I take it that what we know by the art of piloting we cannot also know by that of medicine.
No, to be sure.
And what we know by medicine, we cannot by carpentry also?
No, indeed.
And this rule holds for all the arts, that what we know by one of them we cannot know by another? But before you answer that, just tell me this: do you agree that one art is of one sort, and another of another?
Yes.
Do you argue this as I do, and call one art different from another when one is a knowledge of one kind of thing, and another a knowledge of another kind?
Yes.
Since, I suppose, if it were a knowledge of the same things—how could we say that one was different from another, when both could give us the same knowledge? Just as I know that there are five of these fingers, and you equally know the same fact about them; and if I should ask you whether both you and I know this same fact by the same art of numeration, or by different arts, you would reply, I presume, that it was by the same?
Yes.
Then tell me now, what I was just going to ask you, whether you think this rule holds for all the arts—that by the same art we must know the same things, and by a different art things that are not the same; but if the art is other, the things we know by it must be different also.
I think it is so, Socrates.
Then he who has not a particular art will be incapable of knowing aright the words or works of that art?
True.
Then will you or a charioteer be the better judge of whether Homer speaks well or not in the lines that you quoted?
A charioteer.
Because, I suppose, you are a rhapsode and not a charioteer.
Yes.
And the rhapsode’s art is different from the charioteer’s?
Yes.
Then if it is different, it is also a knowledge of different things.
Yes.
Now, what of the passage where Homer tells how Hecamede,
+
+ Pramneian wine,
except that it was thick and nutritious
(
For the doctor’s.
Well now, when Homer says:
+
977) supports Aristotle’s view that the horn acted as a sheath to protect the line from being bitten through by the fish. are we to say it is for the fisherman’s or for the rhapsode’s art to decide what he means by this, and whether it is rightly or wrongly spoken?
Clearly, Socrates, for the fisherman’s art.
Then please observe: suppose you were questioning me and should ask: Since therefore, Socrates, you find it is for these several arts to appraise the passages of Homer that belong to each, be so good as to make out those also that are for the seer and the seer’s art, and show me the sort of passages that come under his ability to distinguish whether they are well or ill done
; observe how easily and truly I shall answer you. For he has many passages, both in the
+
+
+
++For as they were eager to pass over, a bird had crossed them, an eagle of lofty flight, pressing the host at the left hand, and bearing a blood-red monster of a snake, alive and still struggling; nor had it yet unlearnt the lust of battle. For bending back it smote its captor on the breast by the neck, and the bird in the bitterness of pain cast it away to the ground, and dropped it down in the midst of the throng; and then with a cry flew off on the wafting winds.
And you speak the truth, Socrates.
And so do you, Ion, in saying that. Now you must do as I did, and in return for my picking out and the
What I say, Socrates, is—all passages.
Surely you do not say all,
Ion! Can you be so forgetful? And yet forgetfulness would ill become a rhapsode.
Why, how am I forgetting?
Do you not remember that you said that the art of the rhapsode was different from that of the charioteer?
I remember.
And you also admitted that, being different, it would know different things?
Yes.
Then by your own account the rhapsode’s art cannot know everything, nor the rhapsode either.
Let us say, everything except those instances, Socrates.
By those instances
you imply the subjects of practically all the other arts. Well, as he does not know all of them, which kinds will he know?
Those things, I imagine, that it befits a man to say, and the sort of thing that a woman should say; the sort for a slave and the sort for a freeman; and the sort for a subject or for a ruler.
Do you mean that the rhapsode will know better than the pilot what sort of thing a ruler of a storm-tossed vessel at sea should say?
No, the pilot knows better in that case. +
Well, will the rhapsode know better than the doctor what sort of thing a ruler of a sick man should say?
Not in that case either.
But he will know the sort for a slave, you say?
Yes.
For instance, if the slave is a cowherd, you say the rhapsode will know what the other should say to pacify his cows when they get fierce, but the cowherd will not?
That is not so.
Well, the sort of thing that a woman ought to say—a spinning-woman—about the working of wool? +
No.
But he will know what a man should say, when he is a general exhorting his men?
Yes, that sort of thing the rhapsode will know.
Well, but is the art of the rhapsode the art of the general?
I, at any rate, should know what a general ought to say.
Yes, since I daresay you are good at generalship also, Ion. For in fact, if you happened to have skill in horsemanship as well as in the lyre, you would know when horses were well or ill managed: By which art is it, Ion, that you know that horses are being well managed, by your skill as a horseman, or as a player of the lyre?
what would your answer be?
I should say, by my skill as a horseman.
And if again you were distinguishing the good lyre-players, you would admit that you distinguished by your skill in the lyre, and not by your skill as a horseman.
Yes.
And when you judge of military matters, do you judge as having skill in generalship, or as a good rhapsode?
To my mind, there is no difference.
What, no difference, do you say? Do you mean that the art of the rhapsode and the general is one, not two?
It is one, to my mind.
So that anyone who is a good rhapsode is also, in fact, a good general?
Certainly, Socrates.
And again, anyone who happens to be a good general is also a good rhapsode.
No there I do not agree.
But still you agree that anyone who is a good rhapsode
To be sure.
And you are the best rhapsode in
Far the best, Socrates.
Are you also, Ion, the best general in
Be sure of it, Socrates and that I owe to my study of Homer.
Then how, in Heaven’s name, can it be, Ion, that you, who are both the best general and the best rhapsode in
It is because my city,
My excellent Ion, you are acquainted with Apollodorus
What might he be?
A man whom the Athenians have often chosen as their general, though a foreigner;
You are a perfect Proteus in the way you take on every kind of shape, twisting about this way and that, until at last you elude my grasp in the guise of a general, so as to avoid displaying your skill
The difference is great, Socrates; for it is far nobler to be called divine. +
Then you may count on this nobler title in our minds, Ion, of being a divine and not an artistic praiser of Homer.
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-εὕρημά τι Μοισᾶν.ἐν τούτῳ γὰρ δὴ μάλιστά μοι δοκεῖ ὁ θεὸς ἐνδείξασθαι ἡμῖν, ἵνα μὴ διστάζωμεν, ὅτι οὐκ ἀνθρώπινά ἐστιν τὰ καλὰ ταῦτα ποιήματα οὐδὲ ἀνθρώπων, ἀλλὰ θεῖα καὶ θεῶν, οἱ δὲ ποιηταὶ οὐδὲν ἀλλʼ ἢ ἑρμηνῆς εἰσιν τῶν θεῶν, κατεχόμενοι ἐξ ὅτου ἂν ἕκαστος κατέχηται. ταῦτα ἐνδεικνύμενος ὁ θεὸς ἐξεπίτηδες διὰ τοῦ φαυλοτάτου -
--- κλινθῆναι δέ, φησί, καὶ αὐτὸς ἐυξέστῳ ἐνὶ δίφρῳ -
--ἦκʼ ἐπʼ ἀριστερὰ τοῖιν· ἀτὰρ τὸν δεξιὸν ἵππον -κένσαι ὁμοκλήσας, εἶξαί τέ οἱ ἡνία χερσίν. -ἐν νύσσῃ δέ τοι ἵππος ἀριστερὸς ἐγχριμφθήτω, -ὡς ἄν τοι πλήμνη γε δοάσσεται ἄκρον ἱκέσθαι -κύκλου ποιητοῖο· λίθου δʼ ἀλέασθαι ἐπαυρεῖν. -
--οἴνῳ πραμνείῳ, φησίν, ἐπὶ δʼ αἴγειον κνῆ τυρὸν -κνήστι χαλκείῃ· παρὰ δὲ κρόμυον ποτῷ ὄψον· -
--ἡ δὲ μολυβδαίνῃ ἰκέλη ἐς βυσσὸν ἵκανεν, -ἥ τε κατʼ ἀγραύλοιο βοὸς κέρας ἐμμεμαυῖα -ἔρχεται ὠμηστῇσι μετʼ ἰχθύσι πῆμα φέρουσα· -
ἐπειδὴ --
τοίνυν, ὦ Σώκρατες, τούτων τῶν τεχνῶν ἐν Ὁμήρῳ εὑρίσκεις ἃ προσήκει ἑκάστῃ διακρίνειν, ἴθι μοι ἔξευρε καὶ τὰ τοῦ μάντεώς τε καὶ μαντικῆς, ποῖά ἐστιν ἃ προσήκει αὐτῷ οἵῳ τʼ εἶναι διαγιγνώσκειν, εἴτε εὖ εἴτε κακῶς πεποίηται— σκέψαι ὡς ῥᾳδίως τε καὶ ἀληθῆ ἐγώ σοι ἀποκρινοῦμαι. πολλαχοῦ μὲν γὰρ καὶ ἐν Ὀδυσσείᾳ λέγει, οἷον καὶ ἃ ὁ τῶν Μελαμποδιδῶν λέγει μάντις πρὸς τοὺς μνηστῆρας, Θεοκλύμενος— -
--δαιμόνιοι, τί κακὸν τόδε πάσχετε; νυκτὶ μὲν ὑμέων -εἰλύαται κεφαλαί τε πρόσωπά τε νέρθε τε γυῖα, -οἰμωγὴ δὲ δέδηε, δεδάκρυνται δὲ παρειαί· -εἰδώλων τε πλέον πρόθυρον, πλείη δὲ καὶ αὐλὴ -ἱεμένων ἔρεβόσδε ὑπὸ ζόφον· ἠέλιος δὲ -
-πολλαχοῦ δὲ καὶ ἐν Ἰλιάδι, οἷον καὶ ἐπὶ τειχομαχίᾳ· λέγει γὰρ καὶ ἐνταῦθα --οὐρανοῦ ἐξαπόλωλε, κακὴ δʼ ἐπιδέδρομεν ἀχλύς· -
--ὄρνις γάρ σφιν ἐπῆλθε περησέμεναι μεμαῶσιν, -αἰετὸς ὑψιπέτης, ἐπʼ ἀριστερὰ λαὸν ἐέργων, -
--φοινήεντα δράκοντα φέρων ὀνύχεσσι πέλωρον, -ζῷον, ἔτʼ ἀσπαίροντα· καὶ οὔπω λήθετο χάρμης. -κόψε γὰρ αὐτὸν ἔχοντα κατὰ στῆθος παρὰ δειρὴν -ἰδνωθεὶς ὀπίσω, ὁ δʼ ἀπὸ ἕθεν ἧκε χαμᾶζε -ἀλγήσας ὀδύνῃσι, μέσῳ δʼ ἐνὶ κάββαλʼ ὁμίλῳ· -
-ταῦτα φήσω καὶ τὰ τοιαῦτα τῷ μάντει προσήκειν καὶ σκοπεῖν καὶ κρίνειν.αὐτὸς δὲ κλάγξας πέτετο πνοιῇς ἀνέμοιο. -
ποτέρᾳ δὴ τέχνῃ, ὦ Ἴων, γιγνώσκεις τοὺς εὖ ἱππαζομένους ἵππους; ᾗ ἱππεὺς εἶ ἢ ᾗ κιθαριστής;τί ἄν μοι ἀπεκρίνω;
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+τὸν Ἴωνα χαίρειν. πόθεν τὰ νῦν ἡμῖν ἐπιδεδήμηκας; ἢ οἴκοθεν ἐξ Ἐφέσου;
οὐδαμῶς, ὦ Σώκρατες, ἀλλʼ ἐξ Ἐπιδαύρου ἐκ τῶν Ἀσκληπιείων.
μῶν καὶ ῥαψῳδῶν ἀγῶνα τιθέασιν τῷ θεῷ οἱ Ἐπιδαύριοι;
πάνυ γε, καὶ τῆς ἄλλης γε μουσικῆς.
τί οὖν; ἠγωνίζου τι ἡμῖν; καὶ πῶς τι ἠγωνίσω;
τὰ πρῶτα τῶν ἄθλων ἠνεγκάμεθα, ὦ Σώκρατες.
εὖ λέγεις· ἄγε δὴ ὅπως καὶ τὰ Παναθήναια νικήσομεν.
ἀλλʼ ἔσται ταῦτα, ἐὰν θεὸς ἐθέλῃ.
καὶ μὴν πολλάκις γε ἐζήλωσα ὑμᾶς τοὺς ῥαψῳδούς, ὦ Ἴων, τῆς τέχνης· τὸ γὰρ ἅμα μὲν τὸ σῶμα κεκοσμῆσθαι ἀεὶ πρέπον ὑμῶν εἶναι τῇ τέχνῃ καὶ ὡς καλλίστοις φαίνεσθαι, ἅμα δὲ ἀναγκαῖον εἶναι ἔν τε ἄλλοις ποιηταῖς διατρίβειν πολλοῖς καὶ ἀγαθοῖς καὶ δὴ καὶ μάλιστα ἐν Ὁμήρῳ, τῷ ἀρίστῳ καὶ θειοτάτῳ τῶν ποιητῶν, καὶ τὴν τούτου διάνοιαν
ἀληθῆ λέγεις, ὦ Σώκρατες· ἐμοὶ γοῦν τοῦτο πλεῖστον ἔργον παρέσχεν τῆς τέχνης, καὶ οἶμαι κάλλιστα ἀνθρώπων λέγειν περὶ Ὁμήρου, ὡς οὔτε Μητρόδωρος ὁ
εὖ λέγεις, ὦ Ἴων· δῆλον γὰρ ὅτι οὐ φθονήσεις μοι ἐπιδεῖξαι.
καὶ μὴν ἄξιόν γε ἀκοῦσαι, ὦ Σώκρατες, ὡς εὖ κεκόσμηκα τὸν Ὅμηρον· ὥστε οἶμαι ὑπὸ Ὁμηριδῶν ἄξιος εἶναι χρυσῷ στεφάνῳ στεφανωθῆναι.
καὶ μὴν ἐγὼ ἔτι ποιήσομαι σχολὴν ἀκροάσασθαί
οὐδαμῶς, ἀλλὰ περὶ Ὁμήρου μόνον· ἱκανὸν γάρ μοι δοκεῖ εἶναι.
ἔστι δὲ περὶ ὅτου Ὅμηρός τε καὶ Ἡσίοδος ταὐτὰ λέγετον;
οἶμαι ἔγωγε καὶ πολλά.
πότερον οὖν περὶ τούτων κάλλιον ἂν ἐξηγήσαιο ἃ Ὅμηρος λέγει ἢ ἃ Ἡσίοδος;
ὁμοίως ἂν περί γε τούτων, ὦ
τί δὲ ὧν πέρι μὴ ταὐτὰ λέγουσιν; οἷον περὶ μαντικῆς λέγει τι Ὅμηρός τε καὶ Ἡσίοδος.
πάνυ γε.
τί οὖν; ὅσα τε ὁμοίως καὶ ὅσα διαφόρως περὶ μαντικῆς λέγετον τὼ ποιητὰ τούτω, πότερον σὺ κάλλιον ἂν ἐξηγήσαιο ἢ τῶν μάντεών τις τῶν ἀγαθῶν;
τῶν μάντεων.
εἰ δὲ σὺ ἦσθα μάντις, οὐκ, εἴπερ περὶ τῶν ὁμοίως λεγομένων οἷός τʼ ἦσθα ἐξηγήσασθαι, καὶ περὶ τῶν διαφόρως λεγομένων ἠπίστω ἂν ἐξηγεῖσθαι;
δῆλον ὅτι.
τί οὖν ποτε περὶ μὲν Ὁμήρου δεινὸς εἶ, περὶ δὲ Ἡσιόδου οὔ, οὐδὲ τῶν ἄλλων ποιητῶν; ἢ Ὅμηρος περὶ ἄλλων τινῶν λέγει ἢ ὧνπερ σύμπαντες οἱ ἄλλοι ποιηταί; οὐ περὶ πολέμου τε τὰ πολλὰ διελήλυθεν καὶ περὶ ὁμιλιῶν πρὸς ἀλλήλους ἀνθρώπων ἀγαθῶν τε καὶ κακῶν καὶ ἰδιωτῶν καὶ δημιουργῶν, καὶ περὶ θεῶν πρὸς ἀλλήλους καὶ πρὸς ἀνθρώπους ὁμιλούντων, ὡς ὁμιλοῦσι, καὶ περὶ τῶν οὐρανίων παθημάτων καὶ περὶ τῶν ἐν Ἅιδου, καὶ γενέσεις καὶ θεῶν
ἀληθῆ λέγεις, ὦ Σώκρατες.
τί δὲ οἱ ἄλλοι ποιηταί; οὐ περὶ τῶν αὐτῶν τούτων;
ναί, ἀλλʼ, ὦ Σώκρατες, οὐχ ὁμοίως πεποιήκασι καὶ Ὅμηρος.
τί μήν; κάκιον;
πολύ γε.
Ὅμηρος δὲ ἄμεινον;
ἄμεινον μέντοι νὴ Δία.
οὐκοῦν, ὦ φίλη κεφαλὴ Ἴων, ὅταν περὶ ἀριθμοῦ πολλῶν λεγόντων εἷς τις ἄριστα λέγῃ, γνώσεται δήπου τις
φημί.
πότερον οὖν ὁ αὐτὸς ὅσπερ καὶ τοὺς κακῶς λέγοντας, ἢ ἄλλος;
ὁ αὐτὸς δήπου.
οὐκοῦν ὁ τὴν ἀριθμητικὴν τέχνην ἔχων οὗτός ἐστιν;
ναί.
τί δʼ; ὅταν πολλῶν λεγόντων περὶ ὑγιεινῶν σιτίων ὁποῖά ἐστιν, εἷς τις ἄριστα λέγῃ, πότερον ἕτερος μέν τις τὸν ἄριστα λέγοντα γνώσεται ὅτι ἄριστα λέγει, ἕτερος δὲ τὸν κάκιον ὅτι κάκιον, ἢ ὁ αὐτός;
δῆλον δήπου, ὁ αὐτός.
τίς οὗτος; τί ὄνομα αὐτῷ;
ἰατρός.
οὐκοῦν ἐν κεφαλαίῳ λέγομεν ὡς ὁ αὐτὸς γνώσεται ἀεί, περὶ τῶν αὐτῶν πολλῶν λεγόντων,
οὕτως.
οὐκοῦν ὁ αὐτὸς γίγνεται δεινὸς περὶ ἀμφοτέρων;
ναί.
οὐκοῦν σὺ φῂς καὶ Ὅμηρον καὶ τοὺς ἄλλους ποιητάς, ἐν οἷς καὶ Ἡσίοδος καὶ Ἀρχίλοχός ἐστιν, περί γε τῶν αὐτῶν λέγειν, ἀλλʼ οὐχ ὁμοίως, ἀλλὰ τὸν μὲν εὖ γε, τοὺς δὲ χεῖρον;
καὶ ἀληθῆ λέγω.
οὐκοῦν, εἴπερ τὸν εὖ λέγοντα γιγνώσκεις,
ἔοικέν γε.
οὐκοῦν, ὦ βέλτιστε, ὁμοίως τὸν Ἴωνα λέγοντες περὶ Ὁμήρου τε δεινὸν εἶναι καὶ περὶ τῶν ἄλλων ποιητῶν οὐχ ἁμαρτησόμεθα, ἐπειδή γε αὐτὸς ὁμολογῇ τὸν αὐτὸν ἔσεσθαι κριτὴν ἱκανὸν πάντων ὅσοι ἂν περὶ τῶν αὐτῶν λέγωσι, τοὺς δὲ ποιητὰς σχεδὸν ἅπαντας τὰ αὐτὰ ποιεῖν.
τί οὖν ποτε τὸ αἴτιον, ὦ Σώκρατες, ὅτι ἐγώ, ὅταν μέν τις περὶ ἄλλου του ποιητοῦ διαλέγηται, οὔτε προσέχω
οὐ χαλεπὸν τοῦτό γε εἰκάσαι, ὦ ἑταῖρε, ἀλλὰ παντὶ δῆλον ὅτι τέχνῃ καὶ ἐπιστήμῃ περὶ Ὁμήρου λέγειν ἀδύνατος εἶ· εἰ γὰρ τέχνῃ οἷός τε ἦσθα, καὶ περὶ τῶν ἄλλων ποιητῶν ἁπάντων λέγειν οἷός τʼ ἂν ἦσθα· ποιητικὴ γάρ πού ἐστιν τὸ ὅλον. ἢ οὔ;
ναί.
οὐκοῦν ἐπειδὰν λάβῃ τις καὶ ἄλλην τέχνην ἡντινοῦν ὅλην, ὁ αὐτὸς τρόπος τῆς σκέψεως ἔσται περὶ ἁπασῶν τῶν τεχνῶν; πῶς τοῦτο λέγω, δέῃ τί μου ἀκοῦσαι, ὦ Ἴων;
ναὶ μὰ τὸν Δία, ὦ Σώκρατες, ἔγωγε· χαίρω γὰρ ἀκούων ὑμῶν τῶν σοφῶν.
βουλοίμην ἄν σε ἀληθῆ λέγειν, ὦ Ἴων· ἀλλὰ σοφοὶ μέν πού ἐστε ὑμεῖς οἱ ῥαψῳδοὶ καὶ ὑποκριταὶ καὶ ὧν ὑμεῖς ᾁδετε τὰ ποιήματα, ἐγὼ δὲ οὐδὲν ἄλλο ἢ τἀληθῆ λέγω,
ναί.
οὐκοῦν καὶ γραφῆς πολλοὶ καὶ εἰσὶ καὶ γεγόνασιν ἀγαθοὶ καὶ φαῦλοι;
πάνυ γε.
ἤδη οὖν τινα εἶδες ὅστις περὶ μὲν Πολυγνώτου τοῦ Ἀγλαοφῶντος δεινός ἐστιν ἀποφαίνειν ἃ εὖ τε γράφει καὶ ἃ μή, περὶ δὲ τῶν ἄλλων γραφέων
οὐ μὰ τὸν Δία, οὐ δῆτα.
τί δέ; ἐν ἀνδριαντοποιίᾳ ἤδη τινʼ εἶδες ὅστις περὶ μὲν Δαιδάλου τοῦ Μητίονος
οὐ μὰ τὸν Δία, οὐδὲ τοῦτον ἑώρακα.
ἀλλὰ μήν, ὥς γʼ ἐγὼ οἶμαι, οὐδʼ ἐν αὐλήσει γε οὐδὲ ἐν κιθαρίσει οὐδὲ ἐν κιθαρῳδίᾳ οὐδὲ ἐν ῥαψῳδίᾳ οὐδεπώποτʼ εἶδες ἄνδρα ὅστις περὶ μὲν Ὀλύμπου δεινός ἐστιν ἐξηγεῖσθαι ἢ περὶ Θαμύρου ἢ περὶ ῥαψῳδοῦ ἀπορεῖ καὶ οὐκ ἔχει συμβαλέσθαι ἅ τε εὖ ῥαψῳδεῖ καὶ ἃ μή.
οὐκ ἔχω σοι περὶ τούτου ἀντιλέγειν, ὦ Σώκρατες· ἀλλʼ ἐκεῖνο ἐμαυτῷ σύνοιδα, ὅτι περὶ Ὁμήρου κάλλιστʼ ἀνθρώπων λέγω καὶ εὐπορῶ καὶ οἱ ἄλλοι πάντες μέ φασιν εὖ λέγειν, περὶ δὲ τῶν ἄλλων οὔ. καίτοι ὅρα τοῦτο τί ἔστιν.
καὶ ὁρῶ, ὦ Ἴων, καὶ ἔρχομαί γέ σοι ἀποφανούμενος
πάντες γὰρ οἵ τε τῶν ἐπῶν ποιηταὶ οἱ ἀγαθοὶ οὐκ ἐκ τέχνης ἀλλʼ ἔνθεοι ὄντες καὶ κατεχόμενοι πάντα ταῦτα τὰ καλὰ λέγουσι ποιήματα, καὶ οἱ μελοποιοὶ οἱ ἀγαθοὶ ὡσαύτως, ὥσπερ οἱ κορυβαντιῶντες εὕρημά τι Μοισᾶν.
ἐν τούτῳ γὰρ δὴ μάλιστά μοι δοκεῖ ὁ θεὸς ἐνδείξασθαι ἡμῖν, ἵνα μὴ διστάζωμεν, ὅτι οὐκ ἀνθρώπινά ἐστιν τὰ καλὰ ταῦτα ποιήματα οὐδὲ ἀνθρώπων, ἀλλὰ θεῖα καὶ θεῶν, οἱ δὲ ποιηταὶ οὐδὲν ἀλλʼ ἢ ἑρμηνῆς εἰσιν τῶν θεῶν, κατεχόμενοι ἐξ ὅτου ἂν ἕκαστος κατέχηται. ταῦτα ἐνδεικνύμενος ὁ θεὸς ἐξεπίτηδες διὰ τοῦ φαυλοτάτου
ναὶ μὰ τὸν Δία, ἔμοιγε· ἅπτει γάρ πώς μου τοῖς λόγοις τῆς ψυχῆς, ὦ Σώκρατες, καί μοι δοκοῦσι θείᾳ μοίρᾳ ἡμῖν παρὰ τῶν θεῶν ταῦτα οἱ ἀγαθοὶ ποιηταὶ ἑρμηνεύειν.
οὐκοῦν ὑμεῖς αὖ οἱ ῥαψῳδοὶ τὰ τῶν ποιητῶν ἑρμηνεύετε;
καὶ τοῦτο ἀληθὲς λέγεις.
οὐκοῦν ἑρμηνέων ἑρμηνῆς γίγνεσθε;
παντάπασί γε.
ἔχε δή μοι τόδε εἰπέ, ὦ Ἴων, καὶ μὴ ἀποκρύψῃ ὅτι ἄν σε ἔρωμαι· ὅταν εὖ εἴπῃς ἔπη καὶ ἐκπλήξῃς μάλιστα τοὺς θεωμένους, ἢ τὸν Ὀδυσσέα ὅταν ἐπὶ τὸν οὐδὸν ἐφαλλόμενον ᾁδῃς, ἐκφανῆ γιγνόμενον τοῖς μνηστῆρσι καὶ ἐκχέοντα τοὺς ὀιστοὺς πρὸ τῶν ποδῶν, ἢ Ἀχιλλέα ἐπὶ τὸν Ἕκτορα ὁρμῶντα, ἢ καὶ τῶν περὶ Ἀνδρομάχην ἐλεινῶν τι ἢ περὶ Ἑκάβην ἢ περὶ Πρίαμον, τότε πότερον ἔμφρων εἶ ἢ ἔξω
ὡς ἐναργές μοι τοῦτο, ὦ Σώκρατες, τὸ τεκμήριον εἶπες· οὐ γάρ σε ἀποκρυψάμενος ἐρῶ. ἐγὼ γὰρ ὅταν ἐλεινόν τι λέγω, δακρύων ἐμπίμπλανταί μου οἱ ὀφθαλμοί· ὅταν τε φοβερὸν ἢ δεινόν, ὀρθαὶ αἱ τρίχες ἵστανται ὑπὸ φόβου καὶ ἡ καρδία πηδᾷ. +
τί οὖν; φῶμεν, ὦ Ἴων, ἔμφρονα εἶναι τότε τοῦτον τὸν ἄνθρωπον, ὃς ἂν κεκοσμημένος ἐσθῆτι ποικίλῃ καὶ χρυσοῖσι στεφάνοις κλάῃ τʼ ἐν θυσίαις καὶ ἑορταῖς, μηδὲν ἀπολωλεκὼς τούτων, ἢ φοβῆται πλέον ἢ ἐν δισμυρίοις ἀνθρώποις ἑστηκὼς φιλίοις, μηδενὸς ἀποδύοντος μηδὲ ἀδικοῦντος;
οὐ μὰ τὸν Δία, οὐ πάνυ, ὦ Σώκρατες, ὥς γε τἀληθὲς εἰρῆσθαι.
οἶσθα οὖν ὅτι καὶ τῶν θεατῶν τοὺς πολλοὺς ταὐτὰ ταῦτα ὑμεῖς ἐργάζεσθε; +
καὶ μάλα καλῶς οἶδα· καθορῶ γὰρ ἑκάστοτε αὐτοὺς ἄνωθεν ἀπὸ τοῦ βήματος κλάοντάς τε καὶ δεινὸν ἐμβλέποντας καὶ συνθαμβοῦντας τοῖς λεγομένοις. δεῖ γάρ με καὶ σφόδρʼ αὐτοῖς τὸν νοῦν προσέχειν· ὡς ἐὰν μὲν κλάοντας αὐτοὺς καθίσω, αὐτὸς γελάσομαι ἀργύριον λαμβάνων, ἐὰν δὲ γελῶντας, αὐτὸς κλαύσομαι ἀργύριον ἀπολλύς.
οἶσθα οὖν ὅτι οὗτός ἐστιν ὁ θεατὴς τῶν δακτυλίων ὁ ἔσχατος, ὧν ἐγὼ ἔλεγον ὑπὸ τῆς Ἡρακλειώτιδος λίθου ἀπʼ ἀλλήλων τὴν δύναμιν λαμβάνειν; ὁ δὲ μέσος σὺ ὁ
σὺ μὲν εὖ λέγεις, ὦ Σώκρατες· θαυμάζοιμι μεντἂν εἰ οὕτως εὖ εἴποις, ὥστε με ἀναπεῖσαι ὡς ἐγὼ κατεχόμενος καὶ μαινόμενος Ὅμηρον ἐπαινῶ. οἶμαι δὲ οὐδʼ ἂν σοὶ δόξαιμι, εἴ μου ἀκούσαις λέγοντος περὶ Ὁμήρου.
καὶ μὴν ἐθέλω γε ἀκοῦσαι, οὐ μέντοι πρότερον
εὖ ἴσθι, ὦ Σώκρατες, περὶ οὐδενὸς ὅτου οὔ.
οὐ δήπου καὶ περὶ τούτων ὧν σὺ μὲν τυγχάνεις οὐκ εἰδώς, Ὅμηρος δὲ λέγει.
καὶ ταῦτα ποῖά ἐστιν ἃ Ὅμηρος μὲν λέγει, ἐγὼ δὲ οὐκ οἶδα;
οὐ καὶ περὶ τεχνῶν μέντοι λέγει πολλαχοῦ Ὅμηρος καὶ πολλά; οἷον καὶ περὶ ἡνιοχείας—ἐὰν μνησθῶ τὰ ἔπη, ἐγώ σοι φράσω.
ἀλλʼ ἐγὼ ἐρῶ· ἐγὼ γὰρ μέμνημαι.
εἰπὲ δή μοι ἃ λέγει Νέστωρ Ἀντιλόχῳ τῷ ὑεῖ, παραινῶν εὐλαβηθῆναι περὶ τὴν καμπὴν ἐν τῇ ἱπποδρομίᾳ τῇ ἐπὶ Πατρόκλῳ.
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ἀρκεῖ. ταῦτα δή, ὦ Ἴων, τὰ ἔπη εἴτε
Ἡνίοχος δήπου.
πότερον ὅτι τέχνην ταύτην ἔχει ἢ κατʼ ἄλλο τι;
οὔκ, ἀλλʼ ὅτι τέχνην.
οὐκοῦν ἑκάστῃ τῶν τεχνῶν ἀποδέδοταί τι ὑπὸ τοῦ θεοῦ ἔργον οἵᾳ τε εἶναι γιγνώσκειν; οὐ γάρ που ἃ κυβερνητικῇ γιγνώσκομεν, γνωσόμεθα καὶ ἰατρικῇ.
οὐ δῆτα.
οὐδέ γε ἃ ἰατρικῇ, ταῦτα καὶ τεκτονικῇ.
οὐκοῦν οὕτω καὶ κατὰ πασῶν τῶν τεχνῶν, ἃ τῇ ἑτέρᾳ τέχνῃ γιγνώσκομεν, οὐ γνωσόμεθα τῇ ἑτέρᾳ; τόδε δέ μοι πρότερον τούτου ἀπόκριναι· τὴν μὲν ἑτέραν φῂς εἶναί τινα τέχνην, τὴν δʼ ἑτέραν;
ναί.
ἆρα ὥσπερ ἐγὼ τεκμαιρόμενος, ὅταν ἡ μὲν ἑτέρων πραγμάτων ᾖ ἐπιστήμη, ἡ δʼ ἑτέρων, οὕτω καλῶ τὴν μὲν ἄλλην, τὴν δὲ ἄλλην
ναί.
εἰ γάρ που τῶν αὐτῶν πραγμάτων ἐπιστήμη εἴη τις, τί ἂν τὴν μὲν ἑτέραν φαῖμεν εἶναι, τὴν δʼ ἑτέραν, ὁπότε γε ταὐτὰ εἴη εἰδέναι ἀπʼ ἀμφοτέρων; ὥσπερ ἐγώ τε γιγνώσκω ὅτι πέντε εἰσὶν οὗτοι οἱ δάκτυλοι, καὶ σύ, ὥσπερ ἐγώ, περὶ τούτων ταὐτὰ γιγνώσκεις· καὶ εἴ σε ἐγὼ ἐροίμην εἰ τῇ αὐτῇ τέχνῃ γιγνώσκομεν τῇ ἀριθμητικῇ τὰ αὐτὰ ἐγώ τε καὶ σὺ ἢ ἄλλῃ, φαίης ἂν δήπου τῇ αὐτῇ.
ναί.
ὃ τοίνυν ἄρτι ἔμελλον ἐρήσεσθαί σε, νυνὶ εἰπέ, εἰ κατὰ πασῶν τῶν τεχνῶν οὕτω σοι δοκεῖ, τῇ μὲν αὐτῇ τέχνῃ τὰ αὐτὰ ἀναγκαῖον εἶναι γιγνώσκειν, τῇ δʼ ἑτέρᾳ μὴ τὰ αὐτά, ἀλλʼ εἴπερ ἄλλη ἐστίν, ἀναγκαῖον καὶ ἕτερα γιγνώσκειν.
οὕτω μοι δοκεῖ, ὦ Σώκρατες.
οὐκοῦν ὅστις ἂν μὴ ἔχῃ τινὰ τέχνην, ταύτης τῆς τέχνης τὰ λεγόμενα ἢ πραττόμενα καλῶς γιγνώσκειν οὐχ οἷός τʼ ἔσται;
πότερον οὖν περὶ τῶν ἐπῶν ὧν εἶπες, εἴτε καλῶς λέγει Ὅμηρος εἴτε μή, σὺ κάλλιον γνώσῃ ἢ ἡνίοχος;
Ἡνίοχος.
Ῥαψῳδὸς γάρ που εἶ ἀλλʼ οὐχ ἡνίοχος.
ναί.
ἡ δὲ ῥαψῳδικὴ τέχνη ἑτέρα ἐστὶ τῆς ἡνιοχικῆς;
ναί.
εἰ ἄρα ἑτέρα, περὶ ἑτέρων καὶ ἐπιστήμη πραγμάτων ἐστίν.
ναί.
τί δὲ δὴ ὅταν Ὅμηρος λέγῃ ὡς τετρωμένῳ τῷ Μαχάονι Ἑκαμήδη ἡ Νέστορος παλλακὴ κυκεῶνα πίνειν
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Ἰατρικῆς.
τί δέ, ὅταν λέγῃ Ὅμηρος—
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δῆλον δή, ὦ Σώκρατες, ὅτι ἁλιευτικῆς.
σκέψαι δή, σοῦ ἐρομένου, εἰ ἔροιό με· ἐπειδὴ
— σκέψαι ὡς ῥᾳδίως τε καὶ ἀληθῆ ἐγώ σοι ἀποκρινοῦμαι. πολλαχοῦ μὲν γὰρ καὶ ἐν Ὀδυσσείᾳ λέγει, οἷον καὶ ἃ ὁ τῶν Μελαμποδιδῶν λέγει μάντις πρὸς τοὺς μνηστῆρας, Θεοκλύμενος—
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ἀληθῆ γε σὺ λέγων, ὦ Σώκρατες.
καὶ σύ γε, ὦ Ἴων, ἀληθῆ ταῦτα λέγεις. ἴθι δὴ καὶ σὺ ἐμοί, ὥσπερ ἐγὼ σοὶ ἐξέλεξα καὶ ἐξ Ὀδυσσείας καὶ ἐξ Ἰλιάδος ὁποῖα τοῦ μάντεώς ἐστι καὶ ὁποῖα τοῦ ἰατροῦ καὶ
ἐγὼ μέν φημι, ὦ Σώκρατες, ἅπαντα.
οὐ σύ γε φῄς, ὦ Ἴων, ἅπαντα· ἢ οὕτως ἐπιλήσμων εἶ; καίτοι οὐκ ἂν πρέποι γε ἐπιλήσμονα εἶναι ῥαψῳδὸν ἄνδρα.
τί δὲ δὴ ἐπιλανθάνομαι;
οὐ μέμνησαι ὅτι ἔφησθα τὴν ῥαψῳδικὴν τέχνην ἑτέραν εἶναι τῆς ἡνιοχικῆς;
μέμνημαι.
οὐκοῦν καὶ ἑτέραν οὖσαν ἕτερα γνώσεσθαι ὡμολόγεις;
ναί.
οὐκ ἄρα πάντα γε γνώσεται ἡ ῥαψῳδικὴ κατὰ τὸν σὸν λόγον οὐδὲ ὁ ῥαψῳδός.
πλήν γε ἴσως τὰ τοιαῦτα, ὦ Σώκρατες. +
τὰ τοιαῦτα δὲ λέγεις πλὴν τὰ τῶν ἄλλων τεχνῶν σχεδόν τι· ἀλλὰ ποῖα δὴ γνώσεται, ἐπειδὴ οὐχ ἅπαντα;
ἃ πρέπει, οἶμαι ἔγωγε, ἀνδρὶ εἰπεῖν καὶ ὁποῖα γυναικί, καὶ ὁποῖα δούλῳ καὶ ὁποῖα ἐλευθέρῳ, καὶ ὁποῖα ἀρχομένῳ καὶ ὁποῖα ἄρχοντι.
ἆρα ὁποῖα ἄρχοντι, λέγεις, ἐν θαλάττῃ χειμαζομένου πλοίου πρέπει εἰπεῖν, ὁ ῥαψῳδὸς γνώσεται κάλλιον ἢ ὁ κυβερνήτης;
οὔκ, ἀλλὰ ὁ κυβερνήτης τοῦτό γε. +
ἀλλʼ ὁποῖα ἄρχοντι κάμνοντος πρέπει εἰπεῖν, ὁ ῥαψῳδὸς γνώσεται κάλλιον ἢ ὁ ἰατρός;
οὐδὲ τοῦτο.
ἀλλʼ οἷα δούλῳ πρέπει, λέγεις;
ναί.
οἷον βουκόλῳ λέγεις δούλῳ ἃ πρέπει εἰπεῖν ἀγριαινουσῶν βοῶν παραμυθουμένῳ, ὁ ῥαψῳδὸς γνώσεται ἀλλʼ οὐχ ὁ βουκόλος;
οὐ δῆτα.
ἀλλʼ οἷα γυναικὶ πρέποντά ἐστιν εἰπεῖν ταλασιουργῷ περὶ ἐρίων
οὔ.
ἀλλʼ οἷα ἀνδρὶ πρέπει εἰπεῖν γνώσεται στρατηγῷ στρατιώταις παραινοῦντι;
ναί, τὰ τοιαῦτα γνώσεται ὁ ῥαψῳδός.
τί δέ; ἡ ῥαψῳδικὴ τέχνη στρατηγική ἐστιν;
Γνοίην γοῦν ἂν ἔγωγε οἷα στρατηγὸν πρέπει εἰπεῖν.
ἴσως γὰρ εἶ καὶ στρατηγικός, ὦ Ἴων. καὶ γὰρ εἰ ἐτύγχανες ἱππικὸς ὢν ἅμα καὶ κιθαριστικός, ἔγνως ἂν ἵππους ποτέρᾳ δὴ τέχνῃ, ὦ Ἴων, γιγνώσκεις τοὺς εὖ ἱππαζομένους ἵππους; ᾗ ἱππεὺς εἶ ἢ ᾗ κιθαριστής;
τί ἄν μοι ἀπεκρίνω;
ἧι ἱππεύς, ἔγωγʼ ἄν.
οὐκοῦν εἰ καὶ τοὺς εὖ κιθαρίζοντας διεγίγνωσκες, ὡμολόγεις ἄν, ᾗ κιθαριστὴς εἶ, ταύτῃ διαγιγνώσκειν, ἀλλʼ οὐχ ᾗ ἱππεύς.
ναί.
ἐπειδὴ δὲ τὰ στρατιωτικὰ γιγνώσκεις, πότερον ᾗ στρατηγικὸς εἶ γιγνώσκεις ἢ ᾗ ῥαψῳδὸς ἀγαθός;
οὐδὲν ἔμοιγε δοκεῖ διαφέρειν.
πῶς; οὐδὲν λέγεις διαφέρειν; μίαν λέγεις τέχνην εἶναι τὴν ῥαψῳδικὴν καὶ τὴν στρατηγικὴν ἢ δύο;
μία ἔμοιγε δοκεῖ.
ὅστις ἄρα ἀγαθὸς ῥαψῳδός ἐστιν, οὗτος καὶ ἀγαθὸς στρατηγὸς τυγχάνει ὤν;
μάλιστα, ὦ Σώκρατες.
οὐκοῦν καὶ ὅστις ἀγαθὸς στρατηγὸς τυγχάνει ὤν, ἀγαθὸς καὶ ῥαψῳδός ἐστιν.
οὐκ αὖ μοι δοκεῖ τοῦτο.
ἀλλʼ ἐκεῖνο μὴν δοκεῖ σοι, ὅστις γε ἀγαθὸς
πάνυ γε.
οὐκοῦν σὺ τῶν Ἑλλήνων ἄριστος ῥαψῳδὸς εἶ;
πολύ γε, ὦ Σώκρατες.
ἦ καὶ στρατηγός, ὦ Ἴων, τῶν Ἑλλήνων ἄριστος εἶ;
εὖ ἴσθι, ὦ Σώκρατες· καὶ ταῦτά γε ἐκ τῶν Ὁμήρου μαθών.
τί δή ποτʼ οὖν πρὸς τῶν θεῶν, ὦ Ἴων, ἀμφότερα ἄριστος ὢν τῶν Ἑλλήνων, καὶ στρατηγὸς καὶ ῥαψῳδός, ῥαψῳδεῖς μὲν περιιὼν τοῖς Ἕλλησι, στρατηγεῖς δʼ οὔ; ἢ
ἡ μὲν γὰρ ἡμετέρα, ὦ Σώκρατες, πόλις ἄρχεται ὑπὸ ὑμῶν καὶ στρατηγεῖται καὶ οὐδὲν δεῖται στρατηγοῦ, ἡ δὲ ὑμετέρα καὶ ἡ Λακεδαιμονίων οὐκ ἄν με ἕλοιτο στρατηγόν· αὐτοὶ γὰρ οἴεσθε ἱκανοὶ εἶναι.
ὦ βέλτιστε Ἴων, Ἀπολλόδωρον οὐ γιγνώσκεις τὸν Κυζικηνόν;
ποῖον τοῦτον;
ὃν Ἀθηναῖοι πολλάκις ἑαυτῶν στρατηγὸν ᾕρηνται
ἀλλʼ ἀτεχνῶς ὥσπερ ὁ Πρωτεὺς παντοδαπὸς γίγνῃ στρεφόμενος ἄνω καὶ κάτω, ἕως τελευτῶν διαφυγών με στρατηγὸς ἀνεφάνης,
πολὺ διαφέρει, ὦ Σώκρατες· πολὺ γὰρ κάλλιον τὸ θεῖον νομίζεσθαι.
τοῦτο τοίνυν τὸ κάλλιον ὑπάρχει σοι παρʼ ἡμῖν, ὦ Ἴων, θεῖον εἶναι καὶ μὴ τεχνικὸν περὶ Ὁμήρου ἐπαινέτην.