Ausformulierung und Diskussionspunkte
Wie bringen wir Gyges zu Platos Staat?
Inhaltsverzeichnis
Arbeitsgruppe: Eugenik
Die Tische
People: SKORASTE, TRADER (Gyges), CARPENTER, SHOEMAKER, GUARD.
Skoraste leads Gyges into the first room of the castle, where he becomes a trader. She tells him to look for something to buy, because by acting in his role he would best get to know the other renters of the castle. So Gyges, now a trader, saunters by the market and then enters a carpenter’s shop on the edge of the street.
Scene 1
TRADER: Carpenter, I want to buy a nice table from you. Can you offer to me such? CARPENTER: In this castle we have no tables. I will have to make one for you. Till when do you need it? TRADER: By midday I would come and fetch it. However, tell me, is it true that you don’t use tables in this town? CARPENTER: It is true. What should we need tables for? However, straight away I will come along to the work, so that the table will be ready by midday. TRADER: Nevertheless, one needs tables! How should one dine, otherwise, in noble manner? CARPENTER: It misbecomes to overload tables with dishes and drinks in order to fill your belly with all kinds of lusciousness, and to afterwards throw away what is left. And then, got tired by the meal, one won’t be able to do his work. Moderate food only, from the hand to the mouth, strengthens body and soul. TRADER (angry): Do you want you to taunt me for the fact that I dine on tables, as if it would mean to lead an unrestrained life?! CARPENTER: Unrestrained, and much more badly still: injurious. And who is not healthy and with forces, is of no use. TRADER: Shame on you! You shall make five tables to me instead of one! We’ ll see how powerful you are with your moderate food! CARPENTER: I am a competent carpenter. You shall have your five tables.
The trader leaves the workshop. Skoraste tries to calm him and to explain, why tables are not allowed in the castle.
SKORASTE: When you come back by midday, try to be more polite. The carpenter only follows the rules. It is very nice of him that he is willing to make the tables for you. He is making an exception, because he knows that you are a trader and do not know the rules of this castle yet. TRADER: He offended me! SKORASTE: You offended him even more. If you like to live in this castle, you must follow the rules and be fair to the others. TRADER: I see. I will do my very best and behave better than before.
Scene 2: It is midday. The trader comes back into the workshop of the carpenter. The carpenter is totally exhausted, because he had never made tables before. He has finished four of it, and also chairs in addition. By the moment he is taking measure of the fifth one.
TRADER: Here I am again. And I see that your ability is proved. Three tables would already have persuaded me of it. CARPENTER gets up, breathes hard, coughs, falls and remains lying exhausted. TRADER: Zeus! Possibly, it’ s been too much for you although! I better go and get a doctor. CARPENTER (groans): I do not need a doctor. Yesterday already I felt quite ill bodily. However, now this weakness hinders me even in my work. If I do not come to forces on my own again, it is not a pity about me.
The trader looks helplessly to Skoraste, who is just incredulously shaking her head.
SKORASTE: Look what you have done! Now look how to get out of this. I will not move a finger to help you. Go and learn something!
ACTION OPTIONS:
I. The trader hurries to the shoemaker next door and asks him for advice how he should go forward.
II. The trader tries to find a doctor and to lead him to the carpenter.
Option I
TRADER: Shoemaker, I need your advice! SHOEMAKER: Always to services, my friend. Which shoe size do you have? TRADER: I want no shoes. Thus hear, the carpenter is ill! And he wants to let no doctor come! However, I say, he should be treated, because very badly his state looked to me. An envelope must be made to him. SHOEMAKER: If a carpenter is ill, he can probably like to swallow medicin from the doctor to get rid of the illness, or let himself clean from below, or also burning and reaping to get rid of them. But if the docotor would try to prescribe him a petty- minded life, order him to lay envelopes around the head and more of that kind, he says indeed soon enough, that he has no time to be ill, and it does not help him to live if he should always neglect his present business because of the illness. TRADER: Quite right, that was the way he spoke to me. SHOEMAKER: If he becomes healthy, he will live on in his business further, if however the body cannot endure it, he will die and be single of all business.
The trader is outraged about this speech. He leaves the workshop of the shoemaker and hurries on the street to search a doctor: (go on to option II) (Oder man entwirft hier ein anderes Ende. Skoraste holt den Händler ab und es geht weiter zum nächsten Raum.--Arif Aslan 20:22, 18. Mai 2009 (UTC))
Option II
The trader hurries on the street to search a doctor. Between the market stalls he finds a guard to whom he directs the word. TRADER: Tell me, guard where do I find a doctor? GUARD: What do you need a doctor for? Are you possibly ill? You seem to me very much confused and angry. TRADER: I have no time for explanations. It is urgent. Now, nevertheless, show me the way to the doctor! GUARD: It is probably better if I keep an eye on you. If you don’t come soon to your senses, I will stop you with my dagger from spreading restlessness and from donating evil (packs the trader on the upper arm). TRADER: (gets frightened, cries out in fear): Thus hear! I am of sound mind, all I need is a doctor for the carpenter! GUARD: What is with the carpenter? And what has a fool like you to do with him? TRADER: I have ordered tables from him. However, the work was too difficult to him, it seems. Now he lies on the ground of his workshop and struggles for air. GUARD: Tables? Has he really made tables for you? Your insanity has stuck on him! Now he is ill because he has made the tables. TRADER: Totally exhausted he is. GUARD: Thus it is the punishment of the gods for his offence. It will appear whether they award him. TRADER: Nevertheless, he needs quickly a doctor right now, so that he makes an envelope to him! Then he will become healthy again. GUARD (pushes the trader off himself): Be quiet! You sissy! Take your tables and shove off before I spear you! We have no use for weaklings like you in this castle!
The trader flees scaredly. He runs straight ahead and tries to get out of this room. Suddenly Skoraste reappears and shows him the way out.
SKORASTE: Well, my dear, the people here are not used to such behavior as yours. They all have a strict sense of justice and fairness. TRADER: What will happen to the carpenter now? SKORASTE: Don't worry about the carpenter. Let us go on to the next room. Have you ever been a soldier? TRADER: No, but I think I am able to fight. SKORASTE: We' ll see. Follow me over here (opens another door).
von Arif Aslan und Helga Sinn
Soldat und Richter: Dialog
Soldat und Richter im Gespräch (PDF)
Arbeitsgruppe: Kreativer Ausdruck
es gibt hiervon zwei versionen:
Version1
For the scenario:
After stepping through the door you find yourself at a strange place: A lot of people are walking around with bulky luggage. You can see some hugging, some are crying and some are only standing and waiting. A female voice is saying through speakers: "... next stops are ..." Now you realize where you are: It's a train station. You are grabbing after the ring and find out it's still there. "Will it work here?" you ask yourself. The only answer you can give to yourself is: "I don't know."
A hand is touching your shoulder and a friendly female voice asks: "Do you know what that guy looks like?" You shake your head and deny the question.
"We are waiting now for about 30min. I thought these guys are always on time. I'll call him now.", she said. While she is taking out her mobile phone and looking for a number you interrupt her and ask "Where are we? What are we doing here?" - "Are you kidding? You are trying to get this story for about a year now. You prepare yourself for months."
You are questioning again: "What story? What I am preparing for? Who are you?" - "Hah! After all these years I still like your sense of humor." - She is smiling - "OK Theresa, my name is Chloe. I'm your assistant and photographer. We are friends for about 20 years now. You are here, because you are going to write an article about this war-music. You've already heard a lot of this kind of music, and after one year preparing for this trip, we are finally here. And now we are waiting for a guardian, which will show us the city and also will give us some informations about the music."
Theresa? War-music? City? Article? Guardian? You are totally confuzed. "Is everything OK?" Chloe asks. "Yes, yes! I'm only a little bit dizzy at the moment".
"Are you Therese and Chloe?" a dark male voice asks. You nod. "My name is Arek. I'm a guardian. Sorry for being late, there were some problems." - "What problems?" - "Nothing really interesting for you. The car is waiting outside. We have to hurry."
Arek seems to be a correct but strange man. He wears peculiar clothes. You and Chloe are following him to the car. Arek is helping you with your suitcases. After a few moments you are on the way to the centre of the city.
The city itself seems to be a very clean place. Every person you can see on the streets is well-dressed and peacefully. Arek begins to tell: "In our city the new-born babies were seperated from their parents and were sent to a boarding school, where they are going to be educated to respectful and proper citizens. A lot of our education system is based on education with music. There are two different kinds of music: Normal Music and War Music. I know you are here because you want to know more about our War Music, but more on this later, we are here. It's now three o'clock, I pick you up at six in front of the hotel."
You drop off the car and enter a hotel where Chloe does the Check-In. After getting you luggage to your room, you and Chloe leave the hotel and walk to city-marketplace.
Chloe: "That it is really strange that the seperat the babies from their parents. I think it's horrible. And I also don't understand why they are going to educate with the help of music. When I remember my high-school days music was fun and nothing to learn. Can you image learn biology with music?"
(CT) CHOICE_THERESA
- No I can't.
- Me too.
- Yes I think it is cool the get trained in biology with music.
- I don't think so.
You arrive at the marketplace. You can see bakeries, groceries and cafes. The people there are sitting, talking and drinking. Everything is pretty normal for your understanding, but you realize that it is much more well-behaved. Nobody is talking loud or screaming, and this on a marketplace. You walk around and see a lot of unknown and different foods and spices. After a while Chloe says: "We have to go back to hotel to meet Arek, it's almost six."
Arek is waiting. He says: "Did you have a nice day? I hope so. Now we are going to a musicstore, where you can inform a little bit about our ordinary music."
You enter a music store. It seems to be pretty normal, the only thing you are confuzed about is, that there is only one section: Music. You take some of the LPs, go to a desk and listen to them for a while. You are totally bored. Every song sounds the same.
Chloe comes to you and says: "This is the cool music? I can't believe. We have to talk to Arek."
You go to Arek and ask him: "This is not the War-Music, or?" - "No, War-Music isn't for a wide audience. Only the best and bravest are allowed to hear this music. There is a test you have to pass a test before."
(CT)
- OK. Only the best and bravest. This has to be a very hard test. So there will be no chance for me
- Arek: So it is.
- After this you leave the musicstore and go back to the apartment where you go to bed and awake in the real world.
- Arek: So it is.
- I want to make this test.
- Arek: I'll will see if there is a chance to do this. But I can't promise.
Arek: "You are now allowed to take one LP with you."
(CT)
- The Stones - Be calmful
- The Bugs - Be happy
- The Birds - Be pretty
After leaving the store you talk to Chloe. "I think this test is really hard. I have to get more informations on this." Chloe answers: "I think we should go back to marketplace. Maybe there is someone who can help us."
(CT)
- No, I think I shouldn't cheat on this test
- You go back to the hotel, the test is on the other day and you fail. They send you back home where you write an article about what had happend on you journey.
- Ok, I hope we find someone
Back on the marketplace you try find out something about the test, but noone knows something about it. After a while a little girl, she is about 12 years old, comes straight to you and says: "Go to the backyard, there is someone waiting for you." - "What?" Then she disappears. "Should we go there?" you ask Chloe. "We should give it a try."
In the backyard a man with a trenchcoat is a waiting. There is nothing special in the backyard, only some garbage cans and rats. The man comes to you and says: "You want to know more about the guardian-test?"
"Yes. What do you know?" - "Don't hurry, before I give something to you, what do you have for me?" You look in your bag and the only thing you find there is a Mars-chocloate-bar, which you offer him. He tries it, and scream: "This is crap! Bring me some bread!"
You remember that there is a bakery on the marketplace.
In the bakery is an old and friendly looking man with a white beard. "I want to buy bread." - "You are not from here. I can hear that. And so I have no bread for you. Sorry." You reply: "I really need bread, what do you want for that." - "What do you do? What can you offer me?" There is nothing in you bag anymore.
(CT)
- Leave the bakery and try to pass the test on yourself.
- You go back to the hotel, the test is on the other day and you fail. They send you back home where you write an article about what had happend on you journey.
- "Please, please I really need."
- "No begging. Go away!" - You go back to the hotel, the test is on the other day and you fail. They send you back home where you write an article about what had happend on you journey.
- Answer: "I'm writing for a magazin. I've travelled a lot so I can tell you about countries from far away."
- "That sounds interessting! Tell me more." You tell him about your journeys, the people you've met there and the places you've seen over the years. He listens to you, he laughs with you. After a while he says: "Oh thank you, I really loved your story. So take this bread." The bread is fresh and warm and it smells delicous. A warm "Thank you!" is all you say to him, when you leave the bakery and go back to the backyard.
The man is waiting in the backyard, you give him the bread. "Oh, it is really fresh. That's good." - "Ok, I gave you bread, so how do I pass the test?"
"No so fast he answered. Why do you want to pass the test?"
(CT)
- I want to be a guardian.
- "Guardins are awful people. Go away." You go back to the hotel, ....
- I want it for a friend of mine.
- "You are a liar. Go away." You go back to the hotel, ...
- I want to cheat, because I want to hear tis War-music so I can write an article about it.
- "I can see you are speaking the truth. I like that. It is good when poeple don't lie to each other. Take this is piece of paper, all the answers are on it. Use it wisely."
You go back to the hotel and learn the answers of the cheat-paper.
The next day Arek brings you to "Final Hall". The building is of white stone and has a lot of strange signs on it. The "Final Hall" has only one big room with a lot of tables and chairs. There is also a stage on the left side of the room. "You sit there" Arek says and his finger points a chair in the middle of the room. After about 30min the room is totally crowded with a lot of people. There a about 100 men standing and watching while a paper test is going to be handed out. You know the answers, so this thest is easy ;-)
After the test Arek says: "You'll get your result very very soon." After 5 min a man comes to you and say: "You've passed." Then he goes away. "There is a concert which takes place in the hall. You are allowed to hear it. So wait here."
The concert starts with a big bang. A lot of people are here. You hear the something you never heard before. You don't know what to say, you don't know what to feel about this kind of music. After the concert Chloe is waiting outside the hall. She asks: "How was it?" - "I don't know, ..."
Arek also waits: "There is another test for you. Go back to hotel. I will give you later a call." You and Chloe go back to the hotel, when you step into your room, you find yourself back in the castle.
Version2
SKORASTE: After stepping through this door you will be an artist. You are on some kind of journey for new musical input. Mix your tradition with other traditions. Multiculturism, that's modern, isn't ist? Do you know the power of art? It's a mighty instrument, you have to handle it with care. Go, learn something.
trainstation is west of marketplace
A lot of people are walking around with bulky luggage. You can see some hugging, some are crying and some are only standing and waiting. A female voice is saying through speakers: "Welcome to Adeimantonia." It's a train station. Seems like you are reading a magazine. The article in front of your eyes says:
„ (…) in the moment a lot of people would sell their soul to hear the music that the soldiers of Adeimantonia hear. The recent reports about the succes and the bravery of these soldiers leave our military-strategists' mouths and eyes wide open. But after the recent press-release of the Adeimantonian leader not only military strategists are interested in the issue: > The key to our soldiers succes lies in the music we let them listen to. Music and art communicate directely with a humans soul, what could be a better education? At first we make them brave and loyal, then we make them willing to kill and die, if necessary. It's just a question of the groove.. < With regard to the achievments of the Adeimantonian army and it's people in general, a study of Adeimantonian music could not only be a key to the human being itself for psychologists and philosophers but also a font of input and inspiration for musicians (…)“
>east
marketplace is north of music-store, south of bakery and west of concert hall vestibule.
Music store
It looks like a usual music-store, the only thing you are confuzed about is, that there is only one section: Music. You see some LP's: The Stones - Be calmful The Bugs - Be happy The Birds - Be pretty
listen to stones „you notice that the song uses the doric scale. The rythm is constant and not very fast. You never here two instruments at the same time. You understand parts of the lyrics: > be succesful but don't be greedy / you have to do what you're born for then you won't get frantic <“
listen to bugs „> Once i was a sad man. Tried to be a sailor or a baker or a soldier. Now i am a happy man. Try to be the best in my job. The job that i was born for. What else do i need? < It uses the doric scale, the rythm is quite calmed down. It's music to sit, relax and shake your head a little bit“
listen to birds „An instrumental LP. Written in doric scale and played on one single string-instrument only with a lot of iterations. Not very fast. The text on the back of the LP says that the music tries to depict the good, true and beautiful itself“
(nachdem alle gehört wurden): SHOPASSISTANT: „Can i help you?“
1)Maybe. I think this music is pretty boring. Don't you have something more … exciting? 2)Yes. Where do i find the music the soldiers listen to? 3)(ev.:) „ No, thanks“
1 SHOPASSISTANT: „You want to excite yourself? You are not from here i assume. Of course we don't keep exciting music in this shop. I mean .. everybody can enter here. What should we do with excited and confused couturiers and cooks and shop assistants. Maybe the music for soldiers and guardians is exciting, but it's logical that you can't listen to it as a normal human. Sorry“
2 SHOPASSISTANT: I understand. You are not from here. Of course we don't keep this music in this shop. We would have a mass of frantic couturiers and cooks and shop assistants in our state, who are to confused to do their job. How could a normal citizen handle and use this powerful emotions? You foreigners have strange ideas...
The Shopassistant leaves... Someone aproximates you and talkes quietly, looking around from time to time: „My name is Frank. I listened to your conversation. In the conert-hall near to the marketplace is a concert today. Only for soldiers and guardians. Good stuff. You need a guardian identity-card to enter. Maybe i can procure one for you. Interested?“
1)No thank you. I think it's true: We shouldn't underestimate the influence of sounds and pictures on the soul. Rude and agressive music in public concerts? Counterstrike for 12 year olds? It's a mistake. I am not a born soldier, this music won't be good for me. 2)Ok. Why not. What do you want for the identity-card?
1: The man leaves. You hear Skorastes voice: „Congratulations. You are almost like one of us. We believe that everybody has one task that he is born for and he can do best. If one tries to be someone else than he actually is or tries to be good at two, three or more tasks his soul will be split. He will be desparate and confused. Moreover it is not efficient in regard of division of labour. Art is a mirror of the soul. Music must not be a mixture of different emotions, of many sounds and scales, instruments and rythms. We believe in the power of imitation. A person who listens to music of multiple dispositions will have a soul of multiple dispositions. Moreover, a piece of Art wich depicts the frantic and the indecision will make it's consumers frantic and indecisive. Maybe they want to quit their job and lose their feeling of responsibility for society...“
2:Frank: „Just get me some bread. Then you come here again. See you!“
bakery „a simple, small bakery. One man behind the counter sells white-bread and whole-grain-bread but no cakes or other sugary things.“ Baker: „What do you want?“
1)one white-bread please 2)one whole-grain-bread please
Baker: „Thats 6,50“
1)Could you help a poor man? I'm starving! I don't have money. Give me the bread for free, please! God bless you.. 2)I'm a foreigner. I don't have money with me. How else could i pay you?
Baker: 1) „You look well-fed, your hair isn't greasy and your clothes are tidy. Why do you lie to me? I should instantely tell a guardian, but.... You are a fereigner, aren't you? Interesting. Maybe you can do something for me. What is your profession?“ 2)“Well ... maybe. What can you offer me? What is your profession?
1)I'm an artist. Singer and Actor. A little bit of dancer also... 2)(lie) I'm a soldier. You have to give me your bread for free. Otherwise i have to kill you
Baker: 1)„How interesting. An artist from a foreign culture. I'm almost excited but anxious at the same time... So what! My couriosity is too big. Perform something for me and i will give you bread!“ 2)“That's obviously false. Only brave and decent people can be soldiers. You look a little bit anchorless and excessive. But your attend to imitate and play act is exciting. And scary at the same time... I think you are something like an artist. Would you perform something for me? Then i will give you bread.“
1)These people seem to be very careful with art different from their own. Especially when it's haunting and provokes strong emotions. I will play a song for him like the ones i heard in the music-store. That wont confuse him much. 2)Seems like people are quite conservative here. Let's provoke a little bit. I think it will be refreshing for him. I will play this anarchy-song by this band … what were they called? „trousers-team“ ? Something like that... 3)Ok, i've heard the boring music, I heard him speak... These people need something new and exciting! I will show him an epic one-man-performance about love, hate and betrayal as he has never seen before.
(optionen spielen ganz am schluss noch eine rolle)
→ 1: You play a simple harmless song about the beauty of the state and the society and the pleasures of work. The baker says: „Well, thats quite the same as our songs. I thought maybe i would hear something more … thrilling. But probably that would have confused me. Probably it's better this way. (he sighs) Here, take the bread“
→ 2: You perform „the house“ by „trousers team“, it goes something like this: „no state, no god, no work … my house is the world!“ The baker listens carefully. „I've never heard something before! No state? No work? What a strange idea. But somehow exciting. I have to think about this... Take this bread, Thank you!“
→ 3: You perform a whole play just by yourself. You play the love-crazy couple and the frantic envier. In the end the unjust wins. The lovers kill themselves and the mother of the woman goes insane. The baker is totally stunned. You are not sure if he is scared or overwhelmed. He says: „You played the lover and the hater, the just and the unjust. Your soul must be split and desperate when you imitate all these contrary emotions. And how can the unjust win? This is not possible. My soul feels a little split too now!. I'm not sure anymore what is right and what is wrong. I think i need some psychotherapy .... But what if this is just a means of society for keeping people calm? … „ He continues talking to himself. Maybe you should take the bread from the counter and leave...
>take bread
music-store
Frank: „Ok, buddy. I have your identity-card. Do you have something for my stomach?“
>give bread to frank
„Ok. Here's your card. The concert starts soon. You know where the concert hall is? It should be no problem for you to enter with this card. Goodbye“
>take identity card >s >e
concert hall vestibule. West of concert hall (durch tür verbunden) „A medium-sized concert hall; Simple architecture, quite modern, in a good condition.“ entry (door) [ich weiß leider nicht wie man das macht mit den türen, der schlüssel wäre, wenn man die identity card hat und mit dem türsteher gesprochen hat]
People stand in small groups, talking and waiting for the concert to begin. They are all guardians and soldiers. They gleam in an illustrious aura. Noone is drunk or excessive. Everyone looks self-confident and correct. You walk upright and keep your head up for not attracting attention. You have the id-card hanging around your neck.
>open door
(wenn id-card im inventar) Doorman: „Let me have a look at your identity-card … ok. Go inside.“ → tür offen
(wenn id-card nicht im inventar) Doorman: „I beg your pardon. Can i see your guardian-identity-card?“
1)„I don't have one“ 2)„I forgot my id-card at home“
1: Doorman: „Sorry, only for guardians today. Not suitable for citizens“ 2: Doorman „Sorry, no card, no entry. Too dangerous“
concert-hall is east of concert hall vestibule. The room is high, the walls are black. There are no seating-accommodations. A big stage is across from the door. Beside the door is a bar.
It seems like people transmute when they enter. They are a little louder and look more sprightly. They seem to show emotions now. They look quite the same as a usual concert-audience. The only differce is that noone is smoking and drinking. You hear your neighbour say that the concert starts in five minutes.
Concert (Szenario? Start wenn fünf minuten vergangen und spieler in concert-hall; oder so...)
Big clouds of smoke are coming from the stage accompanied by a loud bass-mumble. The audience starts to yell and clap hands.
Suddenly, the lights above the stage flash and the first song starts. It's sounds a bit like heavy metal. Loud and fast. The singer is wearing some kind of ancient armour with a sword. Standing upright in front of the audience looking decided and grave into the distance. It looks a bit ridicolous to you.
He sings something like this:
„Every one of us has heard the call,
of the true, the good, the beautiful. Proud and standing tall
The power within us has brought us here
(…)
Battles are fought by those with the courage to believe
They are won by those who find courage in their soul“
The next song is called „Heart of Gold“
„Build by a fire in the ground my heart of gold is hard as steel. Stand and fight Live by your heart Always one more try Im not afraid to die Stand and fight Born with a heart of gold“
Some more songs like this follow. As in the ordinary music, the rythm is also very constant but faster. There are no real changes of sound and atmosphere. Everything seems to be written in an phrygian scale
It's quite impressive to watch the scenery. The band is playing and everybody is dancing like in an ecstasy. Some have their eyes closed and look as if they were sucking energy out of the speakers. From time to time they start to scream in agression and jump around. Like well-drilled animals who are allowed to be wild animals again for a little time.
After the last song the singer is announcing something: „My respect goes out to those of you who are allowed to fight today. Keep our message in your heart. Prefer death instead of slavery. Fight our enemies and protect us. Don't be megalomaniac and greedy, keep our state as big as possible but always be moderate. Thank you, you were the best audience we've ever had!“
The people calm down. They transmutate into the beings they were before. Decent and calm. Everybody is leaving.
Concert-hall vestibule
Optionen von Bäcker-Szene:
1: You see the baker from the marketplace. Seems like he is on his way home. He recognizes you and realises you are coming out of the concert hall. „Oh, it's you. Hello buddy. That was a guardians-concert today, don't tell me that you listened to it...“
hier sollten noch folgende optionen ausgearbeitet werden:
- der bäcker beschwert sich, dass er keine aufregende musik hören darf, während die spielerin auf dem guardian-concert war (wenn in der bäckerei option 1 gewählt wurde) + kommentar skoraste
- der bäcker steht am vorplatz der konzerthalle auf einem podest und hält eine rede über revolution und umsturz des staates (wenn option zwei gewählt wurde) +kommentar skoraste ("sieh nur was du angerichtet hast"), das subversive potential der kunst
- der bäcker ist aufgelöst und verwirrt. er läuft herum und murmelt, dass er nicht mehr weiß, was richtig und falsch ist und das alles wieder so sein soll wie vorher + kommentar skoraste
- Die Art der Musikauswahl scheint mir im Widerspruch zu Platon zu stehen, was aber wiederum einen interessanten Kontrast ergibt. Seichte, nicht wirklich interessante Musik klingt mehr nach unserem musikalischen Mainstream. Es wäre interessant, sich dazu gesellschaftskritische Untersuchungen anzuhören (was bedeutet das Konzept der Musik als "angenehmes Hintergrundgeräusch" für ihre Rolle in der kapitalistischen Gesellschaft etc.). Platon hat sich das meinem Eindruck nach eher so vorgestellt, daß das ganze Volk mit charakterfestigender Musik aufgezogen wird, die Wächter sowieso und bei den Bürgern kanns auch nicht schaden. Eher sind es (Platon sagt das im Zusammenhang mit der Dichtung, aber es dürfte bei der Musik so ähnlich sein) die "schädlichen" Erzählungen, die nur im Geheimen und nur den geprüften Charakteren zugänglich gemacht werden. Wir könnten eine Kunstpolitik a la Platon mit einem solchen Konzept kontrastieren. Außerdem stellt sich hier natürlich die Frage, wie das mit dem Privileg auf Lüge zusammenzudenken ist. --H.A.L. 08:40, 30. Apr. 2009 (UTC)
- Natürlich soll jede Musik charakterfestigend sein, was sich aber glaube ich darauf beschränkt, gewisse messages auszuschließen ("i hate myself and want to die"). Was als charakterfestigende Message durchgeht wird in Musik für Krieger und Musik für den Frieden unterschieden. Es gibt nur zwei Tonleitern, deshalb 'klingt alles ziemlich gleich'. Unsere Überlegung war, dass jede interessante Musik irgendwelche Affekte auslösen muss, bei der Friedensmusik darf dass, so wie ich es verstanden habe, nicht passieren. Alle starken Affekte sind schädlich. Sie muss gemäßigt sein, deshlalb die Paralelle zu unserem Radio. Affekte auslösen kann nur die Kriegermusik, deshlab ist sie die eigentlich interessante (jakobk)
- Ja, aber der Punkt ist, daß beide Musiken öffentlich sind. Ich sehe bei Platon keinen Grund, die aufrüttelnde Musik zu zensieren. Ich habe ihn immer so gelesen, daß es für die Bürger nicht so essentiell ist wie für die Wächter, zur Tapferkeit erzogen zu werden, aber erstens nutzt es ihnen persönlich, zweitens schadet es ja dem Staat nicht, drittens steigen ja manchmal Bürgerkinder auf, und dann ist es besser, sie sind gleich gut erzogen, und vielleicht stärkt eine einheitlichere Mentalität ja auch das Zusammengehörigkeitsgefühl. Und was die Wächter betrifft, so möchte Platon nicht nur, daß sie von den einen Musiken ferngehalten, sondern auch, daß sie von den anderen konditioniert werden. Bei uns dagegen hört man nur die Hintergrundmusik. Gut, Widerspruch ist dafür wohl ein zu harter Ausdruck. --H.A.L. 14:23, 13. Mai 2009 (UTC)
Arbeitsgruppe: Frauen- und Eigentumsteilung
- Benutzer:Alex Plank/Überlegungen zur Eigentumsverteilung (PSI)
- Global Mindset V2 (PSI)#Mühl-Material - Links zur Mühl-Kommune
- Benutzer:Stb/Scenario_English - Englische Version (feedback erwünscht!)
1. Szene
Ein junger Mann verschafft sich illegaler Weise Zugang in Platons Staat und erblickt, als er durch die Straßen irrt, ein junges Mädchen, deren Schönheit ihn sofort in ihren Bann zieht. Er folgt ihr.
Sie verschwindet in einer Türe. Vorsichtig tritt er an die Türe und lugt durch einen Spalt. Es offenbart sich ihm der Anblick einer Schar nackter Frauen und Männer, die der Leibesertüchtigung frönen. Eine starke Männerhand fasst ihn an der Schulter. Es ist ein Wächter.
Wächter: Kann ich dir helfen mein Junge?
Handlungsoptionen:
- Junge: „Verzeiht, ich bin nur etwas verwirrt, ich habe noch nie so etwas gesehen. Frauen und Männer die so selbstverständlich gemeinsam Gymnastik treiben. Könnt ihr mir erklären was es damit auf sich hat?“
- Junge: „Ich schaue nur, nichts weiter.“ (sprachs, und läuft davon)
- Junge: „Ich würde gerne den Turnsaal betreten, allein ihr steht mir im Weg.“
Weiterführung:
- Wächter: „Wisst ihr denn nicht, dass dies eine den Wächtern vorbehaltene Einrichtung ist? Solltet keiner sein, was ich nun annehmen muss, so will ich euch raten zu verschwinden, bevor ich mich vergesse. Und überhaupt, wieso seid Ihr nicht bei der Arbeit. Zeigt mir euren Ausweis.“
Junge: „Ich muss ihn wohl zuhause gelassen haben. Lasst mich ihn schnell holen, guter Mann.“ - Der Junge bemüht sich schnell aus dem Blickfeld des Wächters zu verschwinden. - Der Junge verschwindet hinter einer Hausecke.
- Wächter: „Da ich euch nicht kenne, wisst Ihr wohl, dass es meine Pflicht ist, eure Identität zu prüfen. So zeigt mir bitte euren Ausweis.“
Junge: „Ich muss ihn wohl zuhause gelassen haben. Lasst mich ihn schnell holen, guter Mann.“ - Der Junge bemüht sich schnell aus dem Blickfeld des Wächters zu verschwinden.
2. Szene
Der Junge hält sich in einiger Entfernung versteckt und wartet darauf, dass das Mädchen die Turnhalle wieder verlässt. Die Sonne ist bereits untergegangen, als sie schließlich aus der Halle kommt. Er folgt ihr abermals.
Sie betritt ein großes, einstöckiges Gebäude. Vorsichtig tritt der Junge an eines der Fenster, die allesamt durch Gitter geschützt sind. Seine Hände tasten sich durch die Dunkelheit an die kalten Gitterstäbe und er gewinnt Einblick ins Innere des Gebäudes.
Drinnen sitzt das Mädchen inmitten einer Menge von Menschen, Männer und Frauen, alle in Lumpen gehüllt, auf dem nackten Boden sitzend und speisend. Sie trinken Wasser und essen Fleisch, ohne ein Wort zu sprechen, bevor sie sich alle schließlich, an derselben Stelle, an der sie vorher noch aßen, hinlegen und einschlafen. Auch der Jüngling wird von seiner Müdigkeit übermannt und schläft unter dem Fenster ein.
Das Knarren, der sich öffnenden Türe weckt ihn schließlich aus seinem Schlaf. Es ist das Mädchen, das aus der Türe tritt und in Richtung der Stadtmauern aufbricht. Es ist noch mitten in der Nacht. Eine Kerze leuchtet ihr den Weg. Der Junge folgt ihr dicht um sich nicht in der Dunkelheit zu verlieren.
Vor einem hohen Wachturm bleibt sie stehen und öffnet eine Türe, hinter der sich die steilen Stufen nach oben in den Turm befinden. Sie steigt hinauf, ohne die Tür abzuschließen; vorsichtig schlüpft der Junge hindurch und steigt die Treppen hinauf.
Er findet das Mädchen oben im Turm an der Mauer lehnend wieder. Sie schluchzt leise in sich hinein.
Er nähert sich ihr behutsam. Als er schon direkt vor ihr steht und sie ihn immer noch nicht bemerkt hat, fasst er seinen Mut zusammen und spricht zu ihr.
Junge: „Verzeih mir, es bricht mir das Herz ein so junges Leben so in Trauer aufgelöst zu sehen. Was bedrückt dich?“
Mädchen (erschrocken): „Wer seid Ihr Fremder? Was erlaubt Ihr Euch mir hier aufzulauern? Ihr wisst, dass es mich nur ein Wort kostet und Ihr werdet festgenommen.“
Junge: „Bitte, ich führe nichts Böses im Sinne. Ihr habt recht, ich bin fremd, ein Reisender, aber gebietet es Euch die Sitte nicht, mir Reisendem mit Sanftmut zu begegnen?“
Mädchen: „Dies bedeutet nicht weniger, als dass ich meine Pflichten vernachlässigen muss. Wer glaubt Ihr zu sein, dies von mir verlangen zu können?“
Junge: „Es steht Euch frei jederzeit Alarm zu schlagen, doch ich bitte Euch, sprecht mit mir, lasst mir Euch helfen, Ihr könnt mich immer noch später ausliefern.“
Mädchen (nach kurzem Zögern): „Was soll mir das nutzen? Wie könntet Ihr mir helfen? Niemand kann mir zurückgeben, was ich verloren habe... aber ja... ich bin immer allein und kann mit niemandem reden... die anderen Wächter, die mit mir leben, sind so kalt und zurückhaltend… niemand von denen würde mich verstehen...“
Junge: „So sprecht! Erzählt mir, was euch quält. Was habt Ihr auch zu verlieren, ich bin nur ein Eindringling in eurer Welt. Ihr seht, ich bin kaum älter als Ihr und doch will ich tun was in meiner Macht steht, um Eure Trauer zu lindern.“
Mädchen: „Also, seht. Ich bin jetzt 19 Jahre alt. Mein Leben war sehr unbeschwerlich und ruhig, oder zumindest war dies, was ich dachte. Ich fühlte mich von meinen Freunden geliebt und – ich war davon ganz überzeugt – mir fehlte nichts. Aber dann, am Tag meines sechzehnten Geburtstages, ist ein Bote der Regierung zu mir gekommen, um mir mitzuteilen, ich sollte Mutter werden. Zunächst war ich – ehrlich gesagt – sehr gespannt. Ich wusste natürlich nicht im Geringsten was ich zu erwarten hatte.
Junge: Deinen Mann hast du ja vorher gekannt, oder?
Mädchen: Ich habe ihn nie wirklich kennen gelernt. Es geschah alles in Eile, in einer Nacht und wenig später, stellte ich fest, dass ein Kind begonnen hatte in mir heranzuwachsen. Mit einem Male änderte sich mein Leben, es war mir Freud und Leid zugleich. Mit einem Mal aber stand mir eine Frage im Kopf, die ich mir nie vorher gestellt hatte, und ließ mir keine Ruhe mehr: Wer war meine Mutter? Ich war zugleich Mutter und Waisenkind: Was würde mit meinem Kind geschehen?
Junge: Das kann ich nicht verstehen: Kennst du denn deine Mutter nicht?
Mädchen: Niemand hier kennt seine Mutter. Wir wurden alle von Ammen aufgezogen. Und so auch mein Kind. Als ich es gebar, wurde es mir sofort entrissen. Ich war erschöpft, entmutigt, verletzt, fühlte mich beraubt. Nach nur wenigen Tagen wurde ich wieder zum Dienst geschickt. Seitdem finde ich keinen Trost. Nacht für Nacht sitze ich in diesem Turm und weine, bis mein Wachdienst zu Ende ist, und ich zumindest wieder für einen weiteren Tag die Kraft aufbringe, mein Leben weiterzuführen. Seit drei Jahren lebe ich so und niemand weiß davon, du bist die erste Person, der ich mich anvertrauen kann.
Junge (hält kurz inne, schließt sie dann in die Arme): Du Ärmste, was für ein schreckliches Schicksal. In meiner Heimat wäre es undenkbar einer Mutter so etwas anzutun. Komm, Flieh mit mir von diesem unsäglichen Ort.
Er nimmt sie an der Hand und sie eilen die Treppe hinunter. Es tagt bereits.
Handlungsoptionen:
Hier sollte sich wieder ein Punkt ergeben, an dem der Spieler die Möglichkeit hat den Handlungsverlauf zu bestimmen. Mögliche Szenarien wären etwa, dass der Jüngling sich eine zeitlang im Staat verbirgt, während sie die gemeinsame Flucht und so die Realität im platonischen Staat kennen lernt, oder aber dass das Mädchen sich zunächst weigert mit ihm zu fliehen, ihm trotzdem aber nicht abgeneigt ist, wodurch sich Dialoge ergeben, in denen die Lebenssituation einer Wächterin erörtert wird, worin der Jüngling aus der Fremde immer als individualistischer Gegenpol auftritt.
Ein solch klassisches Romanzenszenario ist natürlich schon per se recht verbraucht, aber als Möglichkeit die Frauen- und Warengemeinschaft darzustellen erscheint es doch geeignet.
(Stephan Berger und Giuseppe Ganarini)
- Eine Spannende Geschichte, aber eine Anmerkung muss ich mir erlauben: Ihr scheint eine recht klare moralische Position gegenüber Platons Idee des Wächterlebens einzunehmen. Wenn man fies wäre, könnte man sagen, ihr habt in eurer Geschichte das westliche Ideal der Kleinfamilie verabsolutiert. Eine Abweichung in Richtung kommunenartiger Familien erscheint hier als Gewalttätigkeit gegenüber der menschlichen Natur. Natürlich ist der Mensch ein Wesen, dass intensive Brutpflege betreibt, trotzdem würde ich auch die Möglichkeit in Betracht ziehen, dass Platons Idee funktioniert und tatsächlich die ganze Gemeinschaft "Mutter" für ein Kind sein kann. (jakobk)
Arbeitsgruppe: Qualitätsmanagement bei Wächtern
Fragment
AGATHON, GYGES, SKORESTA
Gyges: Hello Agathon. Skoresta told me that you are a sort of spokesperson for the government of this state. Can I ask you some Questions?
Agathon: I am glad to meet you, Gyges. Please do not hesitate to ask, but be aware that we do not have a government in the usual sense. Our leaders are not appointed by a popular assembly and there are no regular election campaigns and constitutional bodies. Our elders are carefully selected from the guardians. We start observing the behavior of boys and girls at a very early stage and we make sure that only the most intelligent candidates with a flawless character are given the opportunity to join the ruling elite. We do not, therefore, need the periodical fair of vanities that is characteristic of many democracies.
Gyges: I see. So this is why your education is so severe and why your kids are not allowed to listen to pop music and to flirt with each other. As far as I can see you keep showing them success stories in athletics and all sort of competitve games. Don't you think that they are missing something this way?
Skoresta: What kind of entertainment do you have in mind? It seems to me that they can easily do without morbid films like "Pulp Fiction" or "Reservoir Dogs". And if you look at the daily news I do not seen any necessity form them to know every details of Natascha Kampusch been locked away in a cellar or some choir boy accusing a cardinal for abusing them. What they should learn is how to become a well-integrated member of society and since young kids are very susceptible to what they are told they should be made familiar with good and beautiful things.
Agathon: Skoresta is right and our whole system of education is arranged accordingly. We have to come to terms with the fact that most people prefer to hear intersting and entertaining things and that they are extremely weary to question their own prejudices. There are cliches about princesses, teachers and nurses and more often than not newspapers and TV just affirm these prototypes. As far as the state is concerned politicians should look good and promise some goodies. They should not be involved in obvious curruption and not appear elitist. No one is really interested in a politicians character and his arguments. It is for this reason that we avoid the usual jamboree of election and have a system, carefully designed to find men of character to be guardians of the state.
Gyges: We have just had a similar experience in the country where I come from. As long as the economy was running smoothly everyone was spending money, buying expensive houses and cars on credit. Even though economists had been warning for a long time nobody was listening to the voice of moderation. As a consequence a crash was unavoidable and everybody suffered. It is the task of well-informed governments to intervene before things get out of control. How do you prepare your statesmen to be up to this job?
Skoresta: Greed seems to be a fairly common human trait. I can understand that craftsmen demand a fair price for their products that cost them a definite amount of time and effort. But now, with all those experts in selfdevelopment, self confidence, mindpower and public achievement, offering training sessions and personal catering, a different situation has developed. One has to pay to acquire civic competence like running for office or definding oneself befor a court. This amounts to a preservation of the status quo because those in charge can more easily afford to train to remain in charge.
Agathon: We are very much aware of this situation. Our guardians are not allowed to have personal property, which is a safe way to avoid corruption and flattery. Some have objected that this puts our elite at a disadvantage because their members have to renounce the comfort of owning their own stuff. Our answer is that the most important thing is for the state as a whole to be set up in an adequate way. Its aim is not to guarantee the well-being of a particular group of people but rather to provide a framework for all citicens to cooperate to advance the common good. Wise men and women, it is true, are usually not very keen to volunteer for this kind of office. But we have to demand that they put the state's advantage above their own.
Gyges: And how do you pick the candidates? I understand that they should be consolidated persons, dependable and attentive to the needs of their fellow citizens - but how does this translate into an actual process of selection? There are dependable mafia bosses and very attentive hedge fund managers. You have been telling me that the aim of education is to make young people familiar with the beautiful and decent life, with the query for truth. But this sounds pretty much like a cliche. Our enemies in Asia cannot understand how a young boy can profit from the caring love of his mentor and hold themselves to be well educated nevertheless. What kind of test do you apply to find the best available statesmen?
Agathon: Well, we start with the observation that most citizens have a lot of sometimes conflicting interests. They are striving for different aims that change according to changing circumstances. It is not common to stop and ask what's behind this whole bunch of activities. There are, on the other hand, persons that look out for truth. They want to know what is behind mere appearances and inquire about truth (beauty, justice) in itself and not just about true sentences or beautiful things. Our education is designed to develop these extraordinary abilities. Once we succeed in teaching these qualities to a person we elevate her to the ruling circle.
Hier endet das Fragment vorläufig. Ich habe absichtlich nicht weitergeschrieben, weil sich nun die wichtigen philosophischen Weichenstellungen ergeben. Da wollte ich nicht vorgreifen. Ich habe das Problem versuchsweise platonfreundlich exponiert und würde mich interessieren, wie ihr die Fortsetzung seht. --anna 14:29, 5. Mai 2009 (UTC)
Ganz spannend und finde ich die Frage, die bei, Global Mindset V2 eingebracht wurde: „Was ist das für eine "Tugend", die nichts mit Deinen Handlungen zu tun hat, oder daher entsteht, dass Du gar nicht anders handeln kannst? Da fehlt doch etwas." Das sollte man die Beteiligten an diesem Dialog vielleicht diskutieren lassen (jakobk)
Schlussgespräch mit Skoraste
(Ich habe teilweise die Antworten von Skoraste direkt aus der Politeia übernommen.)
Spieler: SKORASTE; GYGES
SKORASTE: Ich habe dir nun vier Räume dieses Schlosses gezeigt. Jedes Mal hast du unsere Lebensweise durch andere Augen gesehen. Sag, wie ist dein Eindruck?
GYGES: Ich habe noch nie zuvor solche Sitten erlebt. Ich verstehe nicht, wie es möglich ist, so zu leben. Es gibt vieles, auf das ihr hier verzichtet.
SKORASTE: Wie du gesehen hast, verzichten wir auf übermäßigen Luxus. Wir tun das, um unseren Geist gegen ungerechte Gedanken zu schützen.
GYGES: Ist es denn übermäßig oder schlecht, auf Tischen gemütlich und festlich zu speisen?
SKORASTE: Das kann man schon bei Homer lernen. Im Feld lässt er, wie du weißt, bei den Mahlzeiten die Helden nie mit Fischen bewirten – wobei sie doch am Hellespont lagern – noch auch mit gekochtem Fleisch, sondern nur mit abgebratenem, was für die Soldaten am leichtesten zu beschaffen ist. Denn fast überall können sie sich leichter des Feuers bedienen als das Kochgeschirr mittragen. Aber auch Gewürz erwähnt Homer niemals; und dies wissen doch auch die Athleten, dass auf all das verzichten muss, wer einen gesunden Körper haben will.
GYGES: Ist es verkehrt, seine Kinder selbst aufzuziehen?
SKORASTE: In der Gemeinschaft der Bürger und Bürgerinnen erkannten wir das größte Gut für einen Staat. Wenn weder ein Vater weiß, wer sein Sohn ist, noch der Sohn seinen Vater kennt, kann da irgendeiner einen anderen als verwandt oder aber als fremd ansprechen?
GYGES: Nein, natürlich nicht.
SKORASTE: Deshalb kann er in jedem Menschen, den er trifft, einen Bruder, eine Schwester, einen Vater oder eine Mutter, einen Sohn oder eine Tochter oder deren Enkel und Vorfahren anzutreffen glauben und sie alle als zu sich gehörig empfinden. Durch diese Gemeinschaft von Mein und Nichtmein stiften wir die innigste Gemeinschaft in Leid und Freud. Auf diese Weise hält der Staat zusammen wie ein einziger Körper.
GYGES: Warum erhalten Kranke keine ausreichende Pflege?
SKORASTE: Wir folgen dem Beispiel des Asklepios. Er lehrte die Heilkunst für die Menschen, deren Leib von Natur aus und infolge der Lebensweise gesund war, die aber an einer bestimmten Krankheit litten. Mit Heilmitteln und Operationen vertrieb er die Krankheit und trug ihnen dann ihre gewohnte Lebensweise auf, um nicht das Leben des Staates zu stören. Aber er versuchte nicht, durch Diätbehandlung innerlich ganz sieche Körper bald etwas zu schröpfen, bald wieder zu füllen und dadurch den Menschen ein langes, aber elendes Leben zu geben, ja noch Nachkommen zu zeugen, die ihnen, wie anzunehmen ist, ähnlich würden; sondern wer in dem ihm bestimmten Leben nicht zu leben vermochte, den glaubte er nicht heilen zu müssen, weil er weder für sich selbst noch für den Staat einen Nutzen bedeutete.
GYGES: Was ist falsch daran, neuartige Musik zu spielen?
SKORASTE: Unsere Bürger dürfen nicht an Bildern der Schlechtigkeit erzogen werden. Die Erziehung durch Musik ist so überaus wichtig, weil Rhythmus und Harmonie am tiefsten in die Seele eindringen, sie am stärksten ergreifen und ihr edle Haltung verleihen. Solch edle Haltung erzeugen sie, wenn man richtig erzogen wird, wenn nicht, dann die entgegengesetzte.
Ionische und lydische Tonarten, die schlaff sind, eignen sich für Trinkgelage und sind für kriegerische Männer nicht zu gebrauchen. Ebenso gefährlich für die Erziehung sind die myxolydischen und syntonolydische Tonarten, die zu Klagen und Jammern anregen. Deshalb gibt es nur die Lyra und die Kithara in diesem Schloss. Mit ihnen kann man die dorische und die phrygische Tonart spielen, die aufrüttelnde und die milde, die den Ausdruck der Männer in Unglück und Glück, der besonnenen wie der tapferen, am besten wiedergibt.
OPTIONEN
1. GYGES: Ich sehe wohl, dass ihr euch etwas dabei gedacht habt, doch finde ich keinen Gefallen an so einem Dasein. Es gibt keine Unterhaltung, nur Eintönigkeit. Hier kann man keinen Spaß haben! Lieber verzichte ich auf ein sicheres Quartier, als mich hier zu Tode zu langweilen. Ich ziehe es vor, mein altes Leben wiederaufzunehmen.
2. GYGES: Ich sehe, hinter all diesen Gesetzen und Regelungen steckt reichlich Überlegung. Doch wollt ihr Gerechtigkeit damit erreichen oder bloß einen friedfertigen Umgang? Denn wahrlich gerecht ist nur der, welcher sich frei dazu entscheidet, gerecht zu sein. Das habe ich aus dieser Führung gelernt: Hier bleiben will ich nicht, aber zurück in mein altes Leben will ich ebenso wenig.
3. GYGES: Ich sehe, ihr habt an alles gedacht. Niemand hier würde jemals auch nur etwas Ungerechtes denken. Ich kann mir nichts Besseres vorstellen, als für immer hierzubleiben. Sag mir nur, welche Arbeit ich verrichten soll, und ich werde fortan ein treuer Mieter sein.
DIE FOLGEN DER ENTSCHEIDUNG
1. Skoraste begleitet dich zum Ausgang. In einem heftigen Streit geht ihr auseinander. Du nimmst die U- Bahn und fährst zurück in das Hauptquartier deiner Diebesbande. Du perfektionierst deine Diebeskünste und wirst fortan eine erfolgreiche Karriere als Dieb erleben. Alles, was man stehlen kann, wirst du auch besitzen können. Aber eben auch nur das, was man stehlen kann.
2. Skoraste und Notalp verabschieden sich von dir. Skoraste geleitet dich zum Ausgang und du verlässt das Zauberschloss. Vor dir ist wieder die U- Bahn- Station. Von der Ferne siehst du einen aus deiner Diebesbande. Mit einem geschickten Manöver stiehlt er einem kleinen Mädchen, das damit beschäftigt ist, sein Eis zu schlecken, sein wertvolles Armband. Nach erfolgreicher Aktion sieht er sich um, ob ihn jemand gesehen hat. Sein Blick fällt auf dich.
3. Skoraste beglückwünscht dich zu deinem Entschluss und führt dich zu Notalp. Dieser setzt dich als Wächter ein. Du bekommst eine Kampfausbildung und wirst in dem Staat großes Ansehen genießen. Dein Diebesgut musst du allerdings aufgeben, denn du hast kein Anrecht auf privaten Besitz. Als Willkommensgeschenk zum Einzug überreicht dir Notalp ein in wertvolles Seidenpapier gewickeltes Päckchen. Du öffnest es voller Freude. Es ist ein Buch: Die Politeia!
...auf englisch (die Übersetzung ist ziemlich wörtlich und deshalb mit Sicherheit an vielen Stellen schlichtweg falsch. Aber ich habe mir Mühe gegeben):
SKORASTE: Now I have shown you four rooms of this castle. Every time you have seen our life-style from a different point of view. Let me know, how is your impression?
GYGES: I have never before experienced such customs. I do not understand how it is possible to live in that way. There is a lot which you renounce.
SKORASTE: As you have seen, we renounce excessive luxury. We do so in order to protect our mind against unfair thoughts.
GYGES: Is it excessive then or bad to dine on tables comfortably and festively?
SKORASTE: One can learn this already by reading Homer. In the field he stores the heroes not with fishes – despite their being in the Hellespont –but with cooked meat, which is most lightly to be procured for the soldiers. Since almost everywhere they can easier help themselves of the fire than with the carrying of the the cooking dishes. But also spice Homer never mentions; and the athletes also, nevertheless, know that he who wants to have a healthy body must renounce all this.
GYGES: Is it wrong to draw up his children independently?
SKORASTE: The community of the citizens we recognised as the biggest property for a state. If neither a father knows who is his son, nor the son knows his father, can he respond then of any one others than relatedly or, however, than strange?
GYGES: No, of course not.
SKORASTE: Therefore, he can believe to find in every person whom he meets, a brother, a sister, a father or a mother, a son or a daughter or their grandson and forefather, and feel them all as severely to himself. By this community of mine and notmine we donate the most tender community in grief and joy. In this manner the state holds together like one single body.
GYGES: Why do sick people not receive sufficient care?
SKORASTE: We follow the example of Asklepios. He taught the remedial art for the people whose body from nature and as a result of the life-style was healthy and who suffered, however, from a certain illness. With remedies and operations he expelled the illness and then applied to them her usual life-style, so they would not disturb the life of the state. But he did not try to bleed internally infirm bodies by diet treatment and to soon fill them again and to give thereby a long, but wretched life to these people, to generate descendants still who would become similar to them, as is to be expected; but who was not able to live his life, he simply did not use to heal, because he meant a use neither for himself nor for the state.
GYGES: And what is wrong in playing alternative sorts of music?
SKORASTE: Our citizens may not be educated in pictures of the wickedness [???]. The education by music is so exceedingly important because rhythm and harmony penetrate most deeply into the soul, they strongest seize and lend her noble position. They generate such noble position if one is properly educated, if not, then the opposite occurs. The ionic and lydian keys which are floppy are suited for carousal and are not to be used for warlike men and warriors. As dangerously for the education are myxolydian and syntonolydian keys which stimulate to complaints and moaning. Therefore, allowed are only the Lyra and the Kithara in this castle. With them one can play the Doric and the Phrygian key, the rousing one and the mildly, which reflects best of all the expression of the men, sensible like courageous, during misfortune and luck.
OPTIONS
1. GYGES: I see. There might have been some thinking behind these rules, however, I do not like such an existence. There is no entertainment, only monotony. Here one cannot have fun! I prefer to resume my old life instead of having a safe but boring accommodation here in this castle.
2. GYGES: I see, behind all these laws and regulations there is much consideration. However, do you want to reach really justice in this way, or only an uncomplicated way of living? Since really fair is only that who decides freely to be fair. I have learnt this from this guidance: I do not want to stay here, but I do not want to go back into my old life neither.
3. GYGES: I see, you have thought of everything. Nobody here would ever even think unfairly. I can fancy nothing better than to stay here for good. Just tell me which work I should do, and I will be from now on a loyal tenant in this castle.
--Sinn 13:44, 24. Mai 2009 (UTC)
