ΑΘ. Οὐκοῦν ἡδονῇ κρίνοιτ’ ἂν μόνον ἐκεῖνο ὀρθῶς, ὃ μήτε τινὰ ὠφελίαν μήτε ἀλήθειαν μήτε ὁμοιότητα ἀπεργαζόμενον παρέχεται, μηδ’ αὖ γε βλάβην, ἀλλ’ αὐτοῦ τούτου μόνου ἕνεκα γίγνοιτο τοῦ συμπαρεπομένου τοῖς ἄλλοις, τῆς χάριτος, ἣν δὴ κάλλιστά τις ὀνομάσαι ἂν ἡδονήν, ὅταν μηδὲν αὐτῇ τούτων ἐπακολουθῇ;
ΚΛ. Ἀβλαβῆ λέγεις ἡδονὴν μόνον.
You mean only harmless pleasure?
This discussion seems to carve out a category for a possible work of art which is neither mimetic (and so is not available for evaluation in terms of its accuracy, here: quantitative and qualitative isotês) nor can serve any purpose (and so is not available for evaluation in terms of its usefulness, here: ôpheleia). The Athenian refers to them as 'play' (paidia). Items in this category we would rightly judge solely in terms of the pleasure they produce. Presumably, the more pleasure the better. This is fine, I suppose, both because this class is likely to be relatively small and also because since in these cases we have specified that there is no sense in which these objects might either mislead or otherwise do harm they are sufficiently ethically and psychologically safe that pleasure can be allowed as the proper criterion of evaluation. Importantly, it is only in these cases that pleasure should win the day -- precisely when there is no reason to worry that there are other criteria worth being concerned about -- and in cases where we can make judgements involving standards of accuracy or use these will take priority.
Now another question arises. Does the Athenian imagine that there genuinely are works of art which fall into this category? He gives no examples. If there are any examples, what would they be? Painting, music and sculpture are all cases of imitative arts, we soon discover (668aff.) Perhaps the lack of examples is simply because whatever things fit in this category we need not bother about them as lawgivers or educators. Certainly the Athenian says that they need not bother talking about them or giving any further account of them (667e-8). But if there are no examples of works in this category, then this argument is also perhaps something of a reductio. Only on these very stringent criteria would it be right to judge a work solely on its production of pleasure; but given these criteria no work would qualify. So it is never right so to evaluate works of art.