Why is that?
Because even if He had made but two, a third would still appear behind them which both of them would have for their idea, and that would be the ideal bed and not the two others.
Very true, he said.
God knew this, and he desired to be the real maker of a real bed, not a particular maker of a particular bed, and therefore he created a bed which is essentially and by nature one only.
So we believe.
Shall we, then, speak of him as the natural author or maker of the bed?
Yes, he replied; inasmuch as by the natural process of creation he is the author of this and of all other things.
And what shall we say of the carpenter—is not he also the maker of the bed?
Yes.
But would you call the painter a creator and maker?
Certainly not.
Yet if he is not the maker, what is he in relation to the bed?
I think, he said, that we may fairly designate him as the imitator of that which the others make.
Good, I said; then you call him who is third in the descent from nature an imitator?
Certainly, he said.
And the tragic poet is an imitator, and, therefore, like all other imitators, he is thrice removed from the king and from the truth?
That appears to be so.
Then about the imitator we are agreed. And what about the painter? I would like to know whether he may be thought to imitate that which originally exists in nature, or only the creations of artists?
The latter.
As they are or as they appear? you have still to determine this.
What do you mean?
I mean, that you may look at a bed from different points of view, obliquely or directly or from any other point of view, and the bed will appear different, but there is no difference in reality. And the same of all things.
