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Str. It is decided, then, that we will as quickly as possible divide the image-making art and go down into it, and if the sophist stands his ground against us at first, we will seize him by the orders of reason, our king, then deliver him up to the king and display his capture. But if he tries to take cover in any of the various sections of the imitative art, we must follow him, always dividing the section into which he has retreated, until he is caught. For assuredly neither he nor any other creature will ever boast of having escaped from pursuers who are able to follow up the pursuit in detail and everywhere in this methodical way.
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Theaet. You are right. That is what we must do.
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Str. To return, then, to our previous method of division, I think I see this time also two classes of imitation, but I do not yet seem to be able to make out in which of them the form we are seeking is to be found.
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Theaet. Please first make the division and tell us what two classes you mean.
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Str. I see the likeness-making art as one part of imitation. This is met with, as a rule, whenever anyone produces the imitation by following the proportions of the original in length, breadth, and depth, and giving, besides, the appropriate colors to each part.
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Theaet. Yes, but do not all imitators try to do this?
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Str. Not those who produce some large work of sculpture or painting. For if they reproduced the true proportions of beautiful forms, the upper parts, you know, would seem smaller and the lower parts larger than they ought, because we see the former from a distance, the latter from near at hand.
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Theaet. Certainly.
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Str. So the artists abandon the truth and give their figures not the actual proportions but those which seem to be beautiful, do they not?
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Theaet. Certainly.
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Str. That, then, which is other, but like, we may fairly call a likeness, may we not?
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Theaet. Yes.
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Str. And the part of imitation which is concerned with such things, is to be called, as we called it before, likeness-making?