Plato's View of Education in the Republic:.
The dialogue on theological principles picks up where it left off in the previous book, Book II. With Adeimantus and Glaucon as auditors, Plato recommences his attack on libelous poetry and fiction as unsuitable for the early education of the guardians of the State. He examines several poetic descriptions of courage (the overcoming of fear of death) and of the underworld, and the philosopher then demonstrates his willingness to bowdlerize even Homer's inimitable lines when they do not serve his purposes. .
In the end, the only acceptable subjects for poetry and literature are strictly didactic ¹they teach the guardians four cardinal virtues: wisdom, justice, courage, and temperance. Neither men nor gods may be depicted acting in an ambiguous, morally undesirable, manner. Having dispensed with subject, Plato moves logically to its complement: style. .
After a brief misunderstanding, Plato and Adeimantus deduce three fundamental styles of narration: single voice (or narrative), mimetic, and a mix of the two. From these, Plato chooses an unbalanced mix of narrative and very little imitation, which he admits is most closely seen in Homer's poetics. .
What follows is a rather erudite discussion of music ¹words, melody, and rhythm. The philosopher expresses his approval for the Dorian and Phrygian harmonies, for they embody, "the strain of courage, and the strain of temperance." He rejects complicated rhythms; and, much as expected, Plato endorses a musical style that is simplistic and fortifying, and that would move the guardians toward virtuous behavior. Soon after, Plato extends these aesthetic criteria to all State arts, not only literature and music. .
The second part of the guardian's education, physical training, is broached when the philosophers have finished their outline of music. Physical education, Plato asserts, should be governed by the same rigorous temperance as music.