It continues:
"But shall we be right in getting rid of them? Reflect: our principle is that the good man will not consider death terrible to any other good man who is his comrade."

Yes, Socrates plays with the idea of censoring lines of Homer. However, it is for the sake of bringing up the best possible men, not even all men but only their 'disciples.' It's certainly not about erasing Homer from all of history. He only wishes not to teach his students the parts of Homer which have the great hero Achilles whining or which wax poetic with denoscriptions of death being cold and horrible, since those might dishearten the young and impressionable youths from being heroic themselves. He includes these passages with the 'weepings and wailings of famous men' which undoubtedly is meant to include the dramatic, effeminate tragedies of the theater.

You must also hold in suspension the idea that Socrates may be making a ridiculous argument meant to be rebutted, in order for the truth to shine through to the reader. I suspect Nietzsche tried to write in a similar manner, but again, Socrates bests him.

If Socratic ignorance is to know nothing, can it also be said that justice is to not know? Of course, one should not apply epistemology to jurisprudence, and one of the lessons in The Republic seems to be that justice knows, whereas we do not.
It is a question similar to Pindar, who also attacked Homer, even more severely. This is worth pointing out since it shows us that any opposition to Homer is not based in logic alone, it may be a matter of Agon. And of course, one should not forget that Nietzsche was the one who attacked Homer's artistic sense, an unforgivable crime.
The opposition of not knowing and the absolute knowing of justice is the source of Socratic irony. And why the dialogues are a type of play, neither tragedy nor comedy but a genre all their own. And it is the eternal, titanic quality which horrifies the more base poets, that which surpasses time is an eternal enemy to those who can only see the immediate.

The answer is in Seneca's two states: the greater state that includes gods and men "measured by the sun", and the lesser state of citizens, family, mere accident of birth. Politics is essentially the mediation and elevation of the two states, service and inheritance. But it cannot be only this. There is not only being, not only a subject and an object, there must also be division and reconciliation, a constant struggle The problem is not rationality, it is a specific type of reason which tends to make rationality absolute. Why does this happen? The answer may be found in the dissolution of poesie, or the combination of poetic communication and machina, the essence of meter in poetry. Here each element raises the other to a higher sense of exactness and order. "Poetry has a logic of its own, as severe as that of science."

"To bring back the peace of all peace, which is higher than all reason, and unite ourselves with nature in an infinite one – this is the aim of all our striving." This is not anti-rational or anti-reason, but a more-than-reason, a reason which is neither aimed towards valuisation nor the definitive but an absolute language and experience. Poetry too can be definitive, a coarse lie or trick, as we see in Ion.

"Lohengrin Arrives on a Boat Drawn by a Swan", Vintage Illustration, Artist Unknown (Mary Evans Picture Library)

"What is belief? How is a belief born? All belief assumes that something is true.

The extremest form of Nihilism would mean that all belief—all assumption of truth—is false: because no real world is at hand. It were therefore: only an appearance seen in perspective, whose origin must be found in us (seeing that we are constantly in need of a narrower, a shortened, and simplified world).

This should be realized, that the extent to which we can, in our heart of hearts, acknowledge appearance, and the necessity of falsehood, without going to rack and ruin, is the measure of strength.

In this respect, Nihilism, in that it is the negation of a real world and of Being, might be a divine view of the world."

- Friedrich Nietzsche, Will to Power

Nietzsche here acknowledges the divinity of the Titans and the sacrality of art. To live outside the realm of perfect and definitive truth, to operate within appearances, to live courageously in the world of Becoming—this is the great Titanic power which he elsewhere calls 'Dionysian.' It is the source of the divine madness of great men, who are really master artists of life itself.

"I cannot wash away your negativities and sins with water, nor can I remove your pain and suffering by my hand, nor can I transfer my realizations to you."

"The only way I can help you is through giving teaching, and you should strive to liberate yourself."

- Buddha Shakymuni

"The One is the negation of negations. Every creature contains negation: on denies that it is the other. [...] but God contains the denial of denials."

Meister Eckhart

"For Mishima, art is not the opposite of reality. Art for him is a different kind of reality. Mishima represents an apotheosis of the Nietzschean idea that life can be justified only as an aesthetic phenomenon. His act of aesthetic terrorism was not a failed coup d’état but a triumphant coup de théâtre, a spectacular piece of performance art that was simultaneously a radical anti-artistic gesture. Mishima believed that he had taken the idea of life as art to its extreme point, beyond which no one could go any further."

- Andrew Rankin, Mishima Aesthetic Terrorist: An Intellectual Portrait

"Now I know... the major cause of your illness: you have forgotten your true nature... and it is because you do not know the end and purpose of things that you think the criminal have power and happiness. And because you have forgotten the means by which the world is governed you believe these ups and downs of Fortune happen haphazardly... In your true belief you about the worlds government - that it is subject to divine reason and not the haphazards of chance - there lies our greatest hope of rekindling your health." - Lady Wisdom to the Ill Boethius.

Baron Ungern-Sternberg's pistol