 In book III Socrates expands the argument considerably. The concern now is squarely with poetry that encourages virtue in the souls of the young. Courage and moderation are the first two virtues considered here; the psychological and ethical effects of poetry are now scrutinized. The entire portrait of Hades must go, since it is neither true nor beneficial for auditors who must become fearless in the face of death. Death is not the worst thing there is, and all depictions of famous or (allegedly) good men wailing and lamenting their misfortunes must go (or at least, be confined to unimportant women and to bad men; 387e9–388a3). The poets must not imitate (see 388c3 for the term) gods or men suffering any extremes of emotion, including hilarity, for the strong souls are not overpowered by any emotion, let along any bodily desire. Nor do they suffer from spiritual conflict (391c). The rejection of the “tragic” world view becomes explicit: neither poets nor prose writers should be allowed to say that “many happy men are unjust, and many wretched ones just, and that doing injustice is profitable if one gets away with it, but justice is someone else’s good and one’s own loss.” Anybody pronouncing on any of these topics—poetically or not—must say the opposite (392a13–b6). In expanding the scope of the relevant discourse so broadly, Socrates in effect lays down requirements for all persuasive discourse—for what he elsewhere calls “rhetoric”—and makes poetry a subsection thereof.