Fourth Thesis:—

To be and not to seem is the end of life.

The Greek in the age of Plato admitted praise to be one of the chief incentives to moral virtue, and to most men the opinion of their fellows is a leading principle of action. Hence a certain element of seeming enters into all things; all or almost all desire to appear better than they are, that they may win the esteem or admiration of others. A man of ability can easily feign the language of piety or virtue; and there is an unconscious as well as a conscious hypocrisy which, according to Socrates, is the worst of the two. Again, there is the sophistry of classes and professions. There are the different opinions about themselves and one another which prevail in different ranks of society. There is the bias given to the mind by the study of one department of human knowledge to the exclusion of the rest; and stronger far the prejudice engendered by a pecuniary or party interest in certain tenets. There is the sophistry of law, the sophistry of medicine, the sophistry of politics, the sophistry of theology. All of these disguises wear the appearance of the truth; some of them are very ancient, and we do not easily disengage ourselves from them; for we have inherited them, and they have become a part of us. The sophistry of an ancient Greek sophist is nothing compared with the sophistry of a religious order, or of a church in which during many ages falsehood has been accumulating, and everything has been said on one side, and nothing on the other. The conventions and customs which we observe in conversation, and the opposition of our interests when we have dealings with one another ('the buyer saith, it is nought—it is nought,' etc.), are always obscuring our sense of truth and right. The sophistry of human nature is far more subtle than the deceit of any one man. Few persons speak freely from their own natures, and scarcely any one dares to think for himself: most of us imperceptibly fall into the opinions of those around us, which we partly help to make. A man who would shake himself loose from them, requires great force of mind; he hardly knows where to begin in the search after truth. On every side he is met by the world, which is not an abstraction of theologians, but the most real of all things, being another name for ourselves when regarded collectively and subjected to the influences of society.

Then comes Socrates, impressed as no other man ever was, with the unreality and untruthfulness of popular opinion, and tells mankind that they must be and not seem. How are they to be? At any rate they must have the spirit and desire to be. If they are ignorant, they must acknowledge their ignorance to themselves; if they are conscious of doing evil, they must learn to do well; if they are weak, and have nothing in them which they can call themselves, they must acquire firmness and consistency; if they are indifferent, they must begin to take an interest in the great questions which surround them. They must try to be what they would fain appear in the eyes of their fellow-men. A single individual cannot easily change public opinion; but he can be true and innocent, simple and independent; he can know what he does, and what he does not know; and though not without an effort, he can form a judgment of his own, at least in common matters. In his most secret actions he can show the same high principle (compare Republic) which he shows when supported and watched by public opinion. And on some fitting occasion, on some question of humanity or truth or right, even an ordinary man, from the natural rectitude of his disposition, may be found to take up arms against a whole tribe of politicians and lawyers, and be too much for them.

Who is the true and who the false statesman?—

The true statesman is he who brings order out of disorder; who first organizes and then administers the government of his own country; and having made a nation, seeks to reconcile the national interests with those of Europe and of mankind. He is not a mere theorist, nor yet a dealer in expedients; the whole and the parts grow together in his mind; while the head is conceiving, the hand is executing. Although obliged to descend to the world, he is not of the world. His thoughts are fixed not on power or riches or extension of territory, but on an ideal state, in which all the citizens have an equal chance of health and life, and the highest education is within the reach of all, and the moral and intellectual qualities of every individual are freely developed, and 'the idea of good' is the animating principle of the whole. Not the attainment of freedom alone, or of order alone, but how to unite freedom with order is the problem which he has to solve.

The statesman who places before himself these lofty aims has undertaken a task which will call forth all his powers. He must control himself before he can control others; he must know mankind before he can manage them. He has no private likes or dislikes; he does not conceal personal enmity under the disguise of moral or political principle: such meannesses, into which men too often fall unintentionally, are absorbed in the consciousness of his mission, and in his love for his country and for mankind. He will sometimes ask himself what the next generation will say of him; not because he is careful of posthumous fame, but because he knows that the result of his life as a whole will then be more fairly judged. He will take time for the execution of his plans; not hurrying them on when the mind of a nation is unprepared for them; but like the Ruler of the Universe Himself, working in the appointed time, for he knows that human life, 'if not long in comparison with eternity' (Republic), is sufficient for the fulfilment of many great purposes. He knows, too, that the work will be still going on when he is no longer here; and he will sometimes, especially when his powers are failing, think of that other 'city of which the pattern is in heaven' (Republic).

The false politician is the serving-man of the state. In order to govern men he becomes like them; their 'minds are married in conjunction;' they 'bear themselves' like vulgar and tyrannical masters, and he is their obedient servant. The true politician, if he would rule men, must make them like himself; he must 'educate his party' until they cease to be a party; he must breathe into them the spirit which will hereafter give form to their institutions. Politics with him are not a mechanism for seeming what he is not, or for carrying out the will of the majority. Himself a representative man, he is the representative not of the lower but of the higher elements of the nation. There is a better (as well as a worse) public opinion of which he seeks to lay hold; as there is also a deeper current of human affairs in which he is borne up when the waves nearer the shore are threatening him. He acknowledges that he cannot take the world by force—two or three moves on the political chess board are all that he can fore see—two or three weeks moves on the political chessboard are all that he can foresee—two or three weeks or months are granted to him in which he can provide against a coming struggle. But he knows also that there are permanent principles of politics which are always tending to the well-being of states—better administration, better education, the reconciliation of conflicting elements, increased security against external enemies. These are not 'of to-day or yesterday,' but are the same in all times, and under all forms of government. Then when the storm descends and the winds blow, though he knows not beforehand the hour of danger, the pilot, not like Plato's captain in the Republic, half-blind and deaf, but with penetrating eye and quick ear, is ready to take command of the ship and guide her into port.

The false politician asks not what is true, but what is the opinion of the world—not what is right, but what is expedient. The only measures of which he approves are the measures which will pass. He has no intention of fighting an uphill battle; he keeps the roadway of politics. He is unwilling to incur the persecution and enmity which political convictions would entail upon him. He begins with popularity, and in fair weather sails gallantly along. But unpopularity soon follows him. For men expect their leaders to be better and wiser than themselves: to be their guides in danger, their saviours in extremity; they do not really desire them to obey all the ignorant impulses of the popular mind; and if they fail them in a crisis they are disappointed. Then, as Socrates says, the cry of ingratitude is heard, which is most unreasonable; for the people, who have been taught no better, have done what might be expected of them, and their statesmen have received justice at their hands.

The true statesman is aware that he must adapt himself to times and circumstances. He must have allies if he is to fight against the world; he must enlighten public opinion; he must accustom his followers to act together. Although he is not the mere executor of the will of the majority, he must win over the majority to himself. He is their leader and not their follower, but in order to lead he must also follow. He will neither exaggerate nor undervalue the power of a statesman, neither adopting the 'laissez faire' nor the 'paternal government' principle; but he will, whether he is dealing with children in politics, or with full-grown men, seek to do for the people what the government can do for them, and what, from imperfect education or deficient powers of combination, they cannot do for themselves. He knows that if he does too much for them they will do nothing; and that if he does nothing for them they will in some states of society be utterly helpless. For the many cannot exist without the few, if the material force of a country is from below, wisdom and experience are from above. It is not a small part of human evils which kings and governments make or cure. The statesman is well aware that a great purpose carried out consistently during many years will at last be executed. He is playing for a stake which may be partly determined by some accident, and therefore he will allow largely for the unknown element of politics. But the game being one in which chance and skill are combined, if he plays long enough he is certain of victory. He will not be always consistent, for the world is changing; and though he depends upon the support of a party, he will remember that he is the minister of the whole. He lives not for the present, but for the future, and he is not at all sure that he will be appreciated either now or then. For he may have the existing order of society against him, and may not be remembered by a distant posterity.

There are always discontented idealists in politics who, like Socrates in the Gorgias, find fault with all statesmen past as well as present, not excepting the greatest names of history. Mankind have an uneasy feeling that they ought to be better governed than they are. Just as the actual philosopher falls short of the one wise man, so does the actual statesman fall short of the ideal. And so partly from vanity and egotism, but partly also from a true sense of the faults of eminent men, a temper of dissatisfaction and criticism springs up among those who are ready enough to acknowledge the inferiority of their own powers. No matter whether a statesman makes high professions or none at all—they are reduced sooner or later to the same level. And sometimes the more unscrupulous man is better esteemed than the more conscientious, because he has not equally deceived expectations. Such sentiments may be unjust, but they are widely spread; we constantly find them recurring in reviews and newspapers, and still oftener in private conversation.

We may further observe that the art of government, while in some respects tending to improve, has in others a tendency to degenerate, as institutions become more popular. Governing for the people cannot easily be combined with governing by the people: the interests of classes are too strong for the ideas of the statesman who takes a comprehensive view of the whole. According to Socrates the true governor will find ruin or death staring him in the face, and will only be induced to govern from the fear of being governed by a worse man than himself (Republic). And in modern times, though the world has grown milder, and the terrible consequences which Plato foretells no longer await an English statesman, any one who is not actuated by a blind ambition will only undertake from a sense of duty a work in which he is most likely to fail; and even if he succeed, will rarely be rewarded by the gratitude of his own generation.

Socrates, who is not a politician at all, tells us that he is the only real politician of his time. Let us illustrate the meaning of his words by applying them to the history of our own country. He would have said that not Pitt or Fox, or Canning or Sir R. Peel, are the real politicians of their time, but Locke, Hume, Adam Smith, Bentham, Ricardo. These during the greater part of their lives occupied an inconsiderable space in the eyes of the public. They were private persons; nevertheless they sowed in the minds of men seeds which in the next generation have become an irresistible power. 'Herein is that saying true, One soweth and another reapeth.' We may imagine with Plato an ideal statesman in whom practice and speculation are perfectly harmonized; for there is no necessary opposition between them. But experience shows that they are commonly divorced—the ordinary politician is the interpreter or executor of the thoughts of others, and hardly ever brings to the birth a new political conception. One or two only in modern times, like the Italian statesman Cavour, have created the world in which they moved. The philosopher is naturally unfitted for political life; his great ideas are not understood by the many; he is a thousand miles away from the questions of the day. Yet perhaps the lives of thinkers, as they are stiller and deeper, are also happier than the lives of those who are more in the public eye. They have the promise of the future, though they are regarded as dreamers and visionaries by their own contemporaries. And when they are no longer here, those who would have been ashamed of them during their lives claim kindred with them, and are proud to be called by their names. (Compare Thucyd.)

Who is the true poet?

Plato expels the poets from his Republic because they are allied to sense; because they stimulate the emotions; because they are thrice removed from the ideal truth. And in a similar spirit he declares in the Gorgias that the stately muse of tragedy is a votary of pleasure and not of truth. In modern times we almost ridicule the idea of poetry admitting of a moral. The poet and the prophet, or preacher, in primitive antiquity are one and the same; but in later ages they seem to fall apart. The great art of novel writing, that peculiar creation of our own and the last century, which, together with the sister art of review writing, threatens to absorb all literature, has even less of seriousness in her composition. Do we not often hear the novel writer censured for attempting to convey a lesson to the minds of his readers?

Yet the true office of a poet or writer of fiction is not merely to give amusement, or to be the expression of the feelings of mankind, good or bad, or even to increase our knowledge of human nature. There have been poets in modern times, such as Goethe or Wordsworth, who have not forgotten their high vocation of teachers; and the two greatest of the Greek dramatists owe their sublimity to their ethical character. The noblest truths, sung of in the purest and sweetest language, are still the proper material of poetry. The poet clothes them with beauty, and has a power of making them enter into the hearts and memories of men. He has not only to speak of themes above the level of ordinary life, but to speak of them in a deeper and tenderer way than they are ordinarily felt, so as to awaken the feeling of them in others. The old he makes young again; the familiar principle he invests with a new dignity; he finds a noble expression for the common-places of morality and politics. He uses the things of sense so as to indicate what is beyond; he raises us through earth to heaven. He expresses what the better part of us would fain say, and the half-conscious feeling is strengthened by the expression. He is his own critic, for the spirit of poetry and of criticism are not divided in him. His mission is not to disguise men from themselves, but to reveal to them their own nature, and make them better acquainted with the world around them. True poetry is the remembrance of youth, of love, the embodiment in words of the happiest and holiest moments of life, of the noblest thoughts of man, of the greatest deeds of the past. The poet of the future may return to his greater calling of the prophet or teacher; indeed, we hardly know what may not be effected for the human race by a better use of the poetical and imaginative faculty. The reconciliation of poetry, as of religion, with truth, may still be possible. Neither is the element of pleasure to be excluded. For when we substitute a higher pleasure for a lower we raise men in the scale of existence. Might not the novelist, too, make an ideal, or rather many ideals of social life, better than a thousand sermons? Plato, like the Puritans, is too much afraid of poetic and artistic influences. But he is not without a true sense of the noble purposes to which art may be applied (Republic).

Modern poetry is often a sort of plaything, or, in Plato's language, a flattery, a sophistry, or sham, in which, without any serious purpose, the poet lends wings to his fancy and exhibits his gifts of language and metre. Such an one seeks to gratify the taste of his readers; he has the 'savoir faire,' or trick of writing, but he has not the higher spirit of poetry. He has no conception that true art should bring order out of disorder; that it should make provision for the soul's highest interest; that it should be pursued only with a view to 'the improvement of the citizens.' He ministers to the weaker side of human nature (Republic); he idealizes the sensual; he sings the strain of love in the latest fashion; instead of raising men above themselves he brings them back to the 'tyranny of the many masters,' from which all his life long a good man has been praying to be delivered. And often, forgetful of measure and order, he will express not that which is truest, but that which is strongest. Instead of a great and nobly-executed subject, perfect in every part, some fancy of a heated brain is worked out with the strangest incongruity. He is not the master of his words, but his words—perhaps borrowed from another—the faded reflection of some French or German or Italian writer, have the better of him. Though we are not going to banish the poets, how can we suppose that such utterances have any healing or life-giving influence on the minds of men?

'Let us hear the conclusion of the whole matter:' Art then must be true, and politics must be true, and the life of man must be true and not a seeming or sham. In all of them order has to be brought out of disorder, truth out of error and falsehood. This is what we mean by the greatest improvement of man. And so, having considered in what way 'we can best spend the appointed time, we leave the result with God.' Plato does not say that God will order all things for the best (compare Phaedo), but he indirectly implies that the evils of this life will be corrected in another. And as we are very far from the best imaginable world at present, Plato here, as in the Phaedo and Republic, supposes a purgatory or place of education for mankind in general, and for a very few a Tartarus or hell. The myth which terminates the dialogue is not the revelation, but rather, like all similar descriptions, whether in the Bible or Plato, the veil of another life. For no visible thing can reveal the invisible. Of this Plato, unlike some commentators on Scripture, is fully aware. Neither will he dogmatize about the manner in which we are 'born again' (Republic). Only he is prepared to maintain the ultimate triumph of truth and right, and declares that no one, not even the wisest of the Greeks, can affirm any other doctrine without being ridiculous.

There is a further paradox of ethics, in which pleasure and pain are held to be indifferent, and virtue at the time of action and without regard to consequences is happiness. From this elevation or exaggeration of feeling Plato seems to shrink: he leaves it to the Stoics in a later generation to maintain that when impaled or on the rack the philosopher may be happy (compare Republic). It is observable that in the Republic he raises this question, but it is not really discussed; the veil of the ideal state, the shadow of another life, are allowed to descend upon it and it passes out of sight. The martyr or sufferer in the cause of right or truth is often supposed to die in raptures, having his eye fixed on a city which is in heaven. But if there were no future, might he not still be happy in the performance of an action which was attended only by a painful death? He himself may be ready to thank God that he was thought worthy to do Him the least service, without looking for a reward; the joys of another life may not have been present to his mind at all. Do we suppose that the mediaeval saint, St. Bernard, St. Francis, St. Catharine of Sienna, or the Catholic priest who lately devoted himself to death by a lingering disease that he might solace and help others, was thinking of the 'sweets' of heaven? No; the work was already heaven to him and enough. Much less will the dying patriot be dreaming of the praises of man or of an immortality of fame: the sense of duty, of right, and trust in God will be sufficient, and as far as the mind can reach, in that hour. If he were certain that there were no life to come, he would not have wished to speak or act otherwise than he did in the cause of truth or of humanity. Neither, on the other hand, will he suppose that God has forsaken him or that the future is to be a mere blank to him. The greatest act of faith, the only faith which cannot pass away, is his who has not known, but yet has believed. A very few among the sons of men have made themselves independent of circumstances, past, present, or to come. He who has attained to such a temper of mind has already present with him eternal life; he needs no arguments to convince him of immortality; he has in him already a principle stronger than death. He who serves man without the thought of reward is deemed to be a more faithful servant than he who works for hire. May not the service of God, which is the more disinterested, be in like manner the higher? And although only a very few in the course of the world's history—Christ himself being one of them—have attained to such a noble conception of God and of the human soul, yet the ideal of them may be present to us, and the remembrance of them be an example to us, and their lives may shed a light on many dark places both of philosophy and theology.

THE MYTHS OF PLATO.

The myths of Plato are a phenomenon unique in literature. There are four longer ones: these occur in the Phaedrus, Phaedo, Gorgias, and Republic. That in the Republic is the most elaborate and finished of them. Three of these greater myths, namely those contained in the Phaedo, the Gorgias and the Republic, relate to the destiny of human souls in a future life. The magnificent myth in the Phaedrus treats of the immortality, or rather the eternity of the soul, in which is included a former as well as a future state of existence. To these may be added, (1) the myth, or rather fable, occurring in the Statesman, in which the life of innocence is contrasted with the ordinary life of man and the consciousness of evil: (2) the legend of the Island of Atlantis, an imaginary history, which is a fragment only, commenced in the Timaeus and continued in the Critias: (3) the much less artistic fiction of the foundation of the Cretan colony which is introduced in the preface to the Laws, but soon falls into the background: (4) the beautiful but rather artificial tale of Prometheus and Epimetheus narrated in his rhetorical manner by Protagoras in the dialogue called after him: (5) the speech at the beginning of the Phaedrus, which is a parody of the orator Lysias; the rival speech of Socrates and the recantation of it. To these may be added (6) the tale of the grasshoppers, and (7) the tale of Thamus and of Theuth, both in the Phaedrus: (8) the parable of the Cave (Republic), in which the previous argument is recapitulated, and the nature and degrees of knowledge having been previously set forth in the abstract are represented in a picture: (9) the fiction of the earth-born men (Republic; compare Laws), in which by the adaptation of an old tradition Plato makes a new beginning for his society: (10) the myth of Aristophanes respecting the division of the sexes, Sym.: (11) the parable of the noble captain, the pilot, and the mutinous sailors (Republic), in which is represented the relation of the better part of the world, and of the philosopher, to the mob of politicians: (12) the ironical tale of the pilot who plies between Athens and Aegina charging only a small payment for saving men from death, the reason being that he is uncertain whether to live or die is better for them (Gor.): (13) the treatment of freemen and citizens by physicians and of slaves by their apprentices,—a somewhat laboured figure of speech intended to illustrate the two different ways in which the laws speak to men (Laws). There also occur in Plato continuous images; some of them extend over several pages, appearing and reappearing at intervals: such as the bees stinging and stingless (paupers and thieves) in the Eighth Book of the Republic, who are generated in the transition from timocracy to oligarchy: the sun, which is to the visible world what the idea of good is to the intellectual, in the Sixth Book of the Republic: the composite animal, having the form of a man, but containing under a human skin a lion and a many-headed monster (Republic): the great beast, i.e. the populace: and the wild beast within us, meaning the passions which are always liable to break out: the animated comparisons of the degradation of philosophy by the arts to the dishonoured maiden, and of the tyrant to the parricide, who 'beats his father, having first taken away his arms': the dog, who is your only philosopher: the grotesque and rather paltry image of the argument wandering about without a head (Laws), which is repeated, not improved, from the Gorgias: the argument personified as veiling her face (Republic), as engaged in a chase, as breaking upon us in a first, second and third wave:—on these figures of speech the changes are rung many times over. It is observable that nearly all these parables or continuous images are found in the Republic; that which occurs in the Theaetetus, of the midwifery of Socrates, is perhaps the only exception. To make the list complete, the mathematical figure of the number of the state (Republic), or the numerical interval which separates king from tyrant, should not be forgotten.

The myth in the Gorgias is one of those descriptions of another life which, like the Sixth Aeneid of Virgil, appear to contain reminiscences of the mysteries. It is a vision of the rewards and punishments which await good and bad men after death. It supposes the body to continue and to be in another world what it has become in this. It includes a Paradiso, Purgatorio, and Inferno, like the sister myths of the Phaedo and the Republic. The Inferno is reserved for great criminals only. The argument of the dialogue is frequently referred to, and the meaning breaks through so as rather to destroy the liveliness and consistency of the picture. The structure of the fiction is very slight, the chief point or moral being that in the judgments of another world there is no possibility of concealment: Zeus has taken from men the power of foreseeing death, and brings together the souls both of them and their judges naked and undisguised at the judgment-seat. Both are exposed to view, stripped of the veils and clothes which might prevent them from seeing into or being seen by one another.

The myth of the Phaedo is of the same type, but it is more cosmological, and also more poetical. The beautiful and ingenious fancy occurs to Plato that the upper atmosphere is an earth and heaven in one, a glorified earth, fairer and purer than that in which we dwell. As the fishes live in the ocean, mankind are living in a lower sphere, out of which they put their heads for a moment or two and behold a world beyond. The earth which we inhabit is a sediment of the coarser particles which drop from the world above, and is to that heavenly earth what the desert and the shores of the ocean are to us. A part of the myth consists of description of the interior of the earth, which gives the opportunity of introducing several mythological names and of providing places of torment for the wicked. There is no clear distinction of soul and body; the spirits beneath the earth are spoken of as souls only, yet they retain a sort of shadowy form when they cry for mercy on the shores of the lake; and the philosopher alone is said to have got rid of the body. All the three myths in Plato which relate to the world below have a place for repentant sinners, as well as other homes or places for the very good and very bad. It is a natural reflection which is made by Plato elsewhere, that the two extremes of human character are rarely met with, and that the generality of mankind are between them. Hence a place must be found for them. In the myth of the Phaedo they are carried down the river Acheron to the Acherusian lake, where they dwell, and are purified of their evil deeds, and receive the rewards of their good. There are also incurable sinners, who are cast into Tartarus, there to remain as the penalty of atrocious crimes; these suffer everlastingly. And there is another class of hardly-curable sinners who are allowed from time to time to approach the shores of the Acherusian lake, where they cry to their victims for mercy; which if they obtain they come out into the lake and cease from their torments.

Neither this, nor any of the three greater myths of Plato, nor perhaps any allegory or parable relating to the unseen world, is consistent with itself. The language of philosophy mingles with that of mythology; abstract ideas are transformed into persons, figures of speech into realities. These myths may be compared with the Pilgrim's Progress of Bunyan, in which discussions of theology are mixed up with the incidents of travel, and mythological personages are associated with human beings: they are also garnished with names and phrases taken out of Homer, and with other fragments of Greek tradition.

The myth of the Republic is more subtle and also more consistent than either of the two others. It has a greater verisimilitude than they have, and is full of touches which recall the experiences of human life. It will be noticed by an attentive reader that the twelve days during which Er lay in a trance after he was slain coincide with the time passed by the spirits in their pilgrimage. It is a curious observation, not often made, that good men who have lived in a well-governed city (shall we say in a religious and respectable society?) are more likely to make mistakes in their choice of life than those who have had more experience of the world and of evil. It is a more familiar remark that we constantly blame others when we have only ourselves to blame; and the philosopher must acknowledge, however reluctantly, that there is an element of chance in human life with which it is sometimes impossible for man to cope. That men drink more of the waters of forgetfulness than is good for them is a poetical description of a familiar truth. We have many of us known men who, like Odysseus, have wearied of ambition and have only desired rest. We should like to know what became of the infants 'dying almost as soon as they were born,' but Plato only raises, without satisfying, our curiosity. The two companies of souls, ascending and descending at either chasm of heaven and earth, and conversing when they come out into the meadow, the majestic figures of the judges sitting in heaven, the voice heard by Ardiaeus, are features of the great allegory which have an indescribable grandeur and power. The remark already made respecting the inconsistency of the two other myths must be extended also to this: it is at once an orrery, or model of the heavens, and a picture of the Day of Judgment.

The three myths are unlike anything else in Plato. There is an Oriental, or rather an Egyptian element in them, and they have an affinity to the mysteries and to the Orphic modes of worship. To a certain extent they are un-Greek; at any rate there is hardly anything like them in other Greek writings which have a serious purpose; in spirit they are mediaeval. They are akin to what may be termed the underground religion in all ages and countries. They are presented in the most lively and graphic manner, but they are never insisted on as true; it is only affirmed that nothing better can be said about a future life. Plato seems to make use of them when he has reached the limits of human knowledge; or, to borrow an expression of his own, when he is standing on the outside of the intellectual world. They are very simple in style; a few touches bring the picture home to the mind, and make it present to us. They have also a kind of authority gained by the employment of sacred and familiar names, just as mere fragments of the words of Scripture, put together in any form and applied to any subject, have a power of their own. They are a substitute for poetry and mythology; and they are also a reform of mythology. The moral of them may be summed up in a word or two: After death the Judgment; and 'there is some better thing remaining for the good than for the evil.'

All literature gathers into itself many elements of the past: for example, the tale of the earth-born men in the Republic appears at first sight to be an extravagant fancy, but it is restored to propriety when we remember that it is based on a legendary belief. The art of making stories of ghosts and apparitions credible is said to consist in the manner of telling them. The effect is gained by many literary and conversational devices, such as the previous raising of curiosity, the mention of little circumstances, simplicity, picturesqueness, the naturalness of the occasion, and the like. This art is possessed by Plato in a degree which has never been equalled.

The myth in the Phaedrus is even greater than the myths which have been already described, but is of a different character. It treats of a former rather than of a future life. It represents the conflict of reason aided by passion or righteous indignation on the one hand, and of the animal lusts and instincts on the other. The soul of man has followed the company of some god, and seen truth in the form of the universal before it was born in this world. Our present life is the result of the struggle which was then carried on. This world is relative to a former world, as it is often projected into a future. We ask the question, Where were men before birth? As we likewise enquire, What will become of them after death? The first question is unfamiliar to us, and therefore seems to be unnatural; but if we survey the whole human race, it has been as influential and as widely spread as the other. In the Phaedrus it is really a figure of speech in which the 'spiritual combat' of this life is represented. The majesty and power of the whole passage—especially of what may be called the theme or proem (beginning 'The mind through all her being is immortal')—can only be rendered very inadequately in another language.

The myth in the Statesman relates to a former cycle of existence, in which men were born of the earth, and by the reversal of the earth's motion had their lives reversed and were restored to youth and beauty: the dead came to life, the old grew middle-aged, and the middle-aged young; the youth became a child, the child an infant, the infant vanished into the earth. The connection between the reversal of the earth's motion and the reversal of human life is of course verbal only, yet Plato, like theologians in other ages, argues from the consistency of the tale to its truth. The new order of the world was immediately under the government of God; it was a state of innocence in which men had neither wants nor cares, in which the earth brought forth all things spontaneously, and God was to man what man now is to the animals. There were no great estates, or families, or private possessions, nor any traditions of the past, because men were all born out of the earth. This is what Plato calls the 'reign of Cronos;' and in like manner he connects the reversal of the earth's motion with some legend of which he himself was probably the inventor.

The question is then asked, under which of these two cycles of existence was man the happier,—under that of Cronos, which was a state of innocence, or that of Zeus, which is our ordinary life? For a while Plato balances the two sides of the serious controversy, which he has suggested in a figure. The answer depends on another question: What use did the children of Cronos make of their time? They had boundless leisure and the faculty of discoursing, not only with one another, but with the animals. Did they employ these advantages with a view to philosophy, gathering from every nature some addition to their store of knowledge? or, Did they pass their time in eating and drinking and telling stories to one another and to the beasts?—in either case there would be no difficulty in answering. But then, as Plato rather mischievously adds, 'Nobody knows what they did,' and therefore the doubt must remain undetermined.

To the first there succeeds a second epoch. After another natural convulsion, in which the order of the world and of human life is once more reversed, God withdraws his guiding hand, and man is left to the government of himself. The world begins again, and arts and laws are slowly and painfully invented. A secular age succeeds to a theocratical. In this fanciful tale Plato has dropped, or almost dropped, the garb of mythology. He suggests several curious and important thoughts, such as the possibility of a state of innocence, the existence of a world without traditions, and the difference between human and divine government. He has also carried a step further his speculations concerning the abolition of the family and of property, which he supposes to have no place among the children of Cronos any more than in the ideal state.

It is characteristic of Plato and of his age to pass from the abstract to the concrete, from poetry to reality. Language is the expression of the seen, and also of the unseen, and moves in a region between them. A great writer knows how to strike both these chords, sometimes remaining within the sphere of the visible, and then again comprehending a wider range and soaring to the abstract and universal. Even in the same sentence he may employ both modes of speech not improperly or inharmoniously. It is useless to criticise the broken metaphors of Plato, if the effect of the whole is to create a picture not such as can be painted on canvas, but which is full of life and meaning to the reader. A poem may be contained in a word or two, which may call up not one but many latent images; or half reveal to us by a sudden flash the thoughts of many hearts. Often the rapid transition from one image to another is pleasing to us: on the other hand, any single figure of speech if too often repeated, or worked out too much at length, becomes prosy and monotonous. In theology and philosophy we necessarily include both 'the moral law within and the starry heaven above,' and pass from one to the other (compare for examples Psalms xviii. and xix.). Whether such a use of language is puerile or noble depends upon the genius of the writer or speaker, and the familiarity of the associations employed.

In the myths and parables of Plato the ease and grace of conversation is not forgotten: they are spoken, not written words, stories which are told to a living audience, and so well told that we are more than half-inclined to believe them (compare Phaedrus). As in conversation too, the striking image or figure of speech is not forgotten, but is quickly caught up, and alluded to again and again; as it would still be in our own day in a genial and sympathetic society. The descriptions of Plato have a greater life and reality than is to be found in any modern writing. This is due to their homeliness and simplicity. Plato can do with words just as he pleases; to him they are indeed 'more plastic than wax' (Republic). We are in the habit of opposing speech and writing, poetry and prose. But he has discovered a use of language in which they are united; which gives a fitting expression to the highest truths; and in which the trifles of courtesy and the familiarities of daily life are not overlooked.

*****



GORGIAS

By Plato

Translated by Benjamin Jowett

PERSONS OF THE DIALOGUE: Callicles, Socrates, Chaerephon, Gorgias, Polus.

SCENE: The house of Callicles.

CALLICLES: The wise man, as the proverb says, is late for a fray, but not for a feast.

SOCRATES: And are we late for a feast?

CALLICLES: Yes, and a delightful feast; for Gorgias has just been exhibiting to us many fine things.

SOCRATES: It is not my fault, Callicles; our friend Chaerephon is to blame; for he would keep us loitering in the Agora.

CHAEREPHON: Never mind, Socrates; the misfortune of which I have been the cause I will also repair; for Gorgias is a friend of mine, and I will make him give the exhibition again either now, or, if you prefer, at some other time.

CALLICLES: What is the matter, Chaerephon—does Socrates want to hear Gorgias?

CHAEREPHON: Yes, that was our intention in coming.

CALLICLES: Come into my house, then; for Gorgias is staying with me, and he shall exhibit to you.

SOCRATES: Very good, Callicles; but will he answer our questions? for I want to hear from him what is the nature of his art, and what it is which he professes and teaches; he may, as you (Chaerephon) suggest, defer the exhibition to some other time.

CALLICLES: There is nothing like asking him, Socrates; and indeed to answer questions is a part of his exhibition, for he was saying only just now, that any one in my house might put any question to him, and that he would answer.

SOCRATES: How fortunate! will you ask him, Chaerephon—?

CHAEREPHON: What shall I ask him?

SOCRATES: Ask him who he is.

CHAEREPHON: What do you mean?

SOCRATES: I mean such a question as would elicit from him, if he had been a maker of shoes, the answer that he is a cobbler. Do you understand?

CHAEREPHON: I understand, and will ask him: Tell me, Gorgias, is our friend Callicles right in saying that you undertake to answer any questions which you are asked?

GORGIAS: Quite right, Chaerephon: I was saying as much only just now; and I may add, that many years have elapsed since any one has asked me a new one.

CHAEREPHON: Then you must be very ready, Gorgias.

GORGIAS: Of that, Chaerephon, you can make trial.

POLUS: Yes, indeed, and if you like, Chaerephon, you may make trial of me too, for I think that Gorgias, who has been talking a long time, is tired.

CHAEREPHON: And do you, Polus, think that you can answer better than Gorgias?

POLUS: What does that matter if I answer well enough for you?

CHAEREPHON: Not at all:—and you shall answer if you like.

POLUS: Ask:—

CHAEREPHON: My question is this: If Gorgias had the skill of his brother Herodicus, what ought we to call him? Ought he not to have the name which is given to his brother?

POLUS: Certainly.

CHAEREPHON: Then we should be right in calling him a physician?

POLUS: Yes.

CHAEREPHON: And if he had the skill of Aristophon the son of Aglaophon, or of his brother Polygnotus, what ought we to call him?

POLUS: Clearly, a painter.

CHAEREPHON: But now what shall we call him—what is the art in which he is skilled.

POLUS: O Chaerephon, there are many arts among mankind which are experimental, and have their origin in experience, for experience makes the days of men to proceed according to art, and inexperience according to chance, and different persons in different ways are proficient in different arts, and the best persons in the best arts. And our friend Gorgias is one of the best, and the art in which he is a proficient is the noblest.

SOCRATES: Polus has been taught how to make a capital speech, Gorgias; but he is not fulfilling the promise which he made to Chaerephon.

GORGIAS: What do you mean, Socrates?

SOCRATES: I mean that he has not exactly answered the question which he was asked.

GORGIAS: Then why not ask him yourself?

SOCRATES: But I would much rather ask you, if you are disposed to answer: for I see, from the few words which Polus has uttered, that he has attended more to the art which is called rhetoric than to dialectic.

POLUS: What makes you say so, Socrates?

SOCRATES: Because, Polus, when Chaerephon asked you what was the art which Gorgias knows, you praised it as if you were answering some one who found fault with it, but you never said what the art was.

POLUS: Why, did I not say that it was the noblest of arts?

SOCRATES: Yes, indeed, but that was no answer to the question: nobody asked what was the quality, but what was the nature, of the art, and by what name we were to describe Gorgias. And I would still beg you briefly and clearly, as you answered Chaerephon when he asked you at first, to say what this art is, and what we ought to call Gorgias: Or rather, Gorgias, let me turn to you, and ask the same question,—what are we to call you, and what is the art which you profess?

GORGIAS: Rhetoric, Socrates, is my art.

SOCRATES: Then I am to call you a rhetorician?

GORGIAS: Yes, Socrates, and a good one too, if you would call me that which, in Homeric language, 'I boast myself to be.'

SOCRATES: I should wish to do so.

GORGIAS: Then pray do.

SOCRATES: And are we to say that you are able to make other men rhetoricians?

GORGIAS: Yes, that is exactly what I profess to make them, not only at Athens, but in all places.

SOCRATES: And will you continue to ask and answer questions, Gorgias, as we are at present doing, and reserve for another occasion the longer mode of speech which Polus was attempting? Will you keep your promise, and answer shortly the questions which are asked of you?

GORGIAS: Some answers, Socrates, are of necessity longer; but I will do my best to make them as short as possible; for a part of my profession is that I can be as short as any one.

SOCRATES: That is what is wanted, Gorgias; exhibit the shorter method now, and the longer one at some other time.

GORGIAS: Well, I will; and you will certainly say, that you never heard a man use fewer words.

SOCRATES: Very good then; as you profess to be a rhetorician, and a maker of rhetoricians, let me ask you, with what is rhetoric concerned: I might ask with what is weaving concerned, and you would reply (would you not?), with the making of garments?

GORGIAS: Yes.

SOCRATES: And music is concerned with the composition of melodies?

GORGIAS: It is.

SOCRATES: By Here, Gorgias, I admire the surpassing brevity of your answers.

GORGIAS: Yes, Socrates, I do think myself good at that.

SOCRATES: I am glad to hear it; answer me in like manner about rhetoric: with what is rhetoric concerned?

GORGIAS: With discourse.

SOCRATES: What sort of discourse, Gorgias?—such discourse as would teach the sick under what treatment they might get well?

GORGIAS: No.

SOCRATES: Then rhetoric does not treat of all kinds of discourse?

GORGIAS: Certainly not.

SOCRATES: And yet rhetoric makes men able to speak?

GORGIAS: Yes.

SOCRATES: And to understand that about which they speak?

GORGIAS: Of course.

SOCRATES: But does not the art of medicine, which we were just now mentioning, also make men able to understand and speak about the sick?

GORGIAS: Certainly.

SOCRATES: Then medicine also treats of discourse?

GORGIAS: Yes.

SOCRATES: Of discourse concerning diseases?

GORGIAS: Just so.

SOCRATES: And does not gymnastic also treat of discourse concerning the good or evil condition of the body?

GORGIAS: Very true.

SOCRATES: And the same, Gorgias, is true of the other arts:—all of them treat of discourse concerning the subjects with which they severally have to do.

GORGIAS: Clearly.

SOCRATES: Then why, if you call rhetoric the art which treats of discourse, and all the other arts treat of discourse, do you not call them arts of rhetoric?

GORGIAS: Because, Socrates, the knowledge of the other arts has only to do with some sort of external action, as of the hand; but there is no such action of the hand in rhetoric which works and takes effect only through the medium of discourse. And therefore I am justified in saying that rhetoric treats of discourse.

SOCRATES: I am not sure whether I entirely understand you, but I dare say I shall soon know better; please to answer me a question:—you would allow that there are arts?

GORGIAS: Yes.

SOCRATES: As to the arts generally, they are for the most part concerned with doing, and require little or no speaking; in painting, and statuary, and many other arts, the work may proceed in silence; and of such arts I suppose you would say that they do not come within the province of rhetoric.

GORGIAS: You perfectly conceive my meaning, Socrates.

SOCRATES: But there are other arts which work wholly through the medium of language, and require either no action or very little, as, for example, the arts of arithmetic, of calculation, of geometry, and of playing draughts; in some of these speech is pretty nearly co-extensive with action, but in most of them the verbal element is greater—they depend wholly on words for their efficacy and power: and I take your meaning to be that rhetoric is an art of this latter sort?

GORGIAS: Exactly.

SOCRATES: And yet I do not believe that you really mean to call any of these arts rhetoric; although the precise expression which you used was, that rhetoric is an art which works and takes effect only through the medium of discourse; and an adversary who wished to be captious might say, 'And so, Gorgias, you call arithmetic rhetoric.' But I do not think that you really call arithmetic rhetoric any more than geometry would be so called by you.

GORGIAS: You are quite right, Socrates, in your apprehension of my meaning.

SOCRATES: Well, then, let me now have the rest of my answer:—seeing that rhetoric is one of those arts which works mainly by the use of words, and there are other arts which also use words, tell me what is that quality in words with which rhetoric is concerned:—Suppose that a person asks me about some of the arts which I was mentioning just now; he might say, 'Socrates, what is arithmetic?' and I should reply to him, as you replied to me, that arithmetic is one of those arts which take effect through words. And then he would proceed to ask: 'Words about what?' and I should reply, Words about odd and even numbers, and how many there are of each. And if he asked again: 'What is the art of calculation?' I should say, That also is one of the arts which is concerned wholly with words. And if he further said, 'Concerned with what?' I should say, like the clerks in the assembly, 'as aforesaid' of arithmetic, but with a difference, the difference being that the art of calculation considers not only the quantities of odd and even numbers, but also their numerical relations to themselves and to one another. And suppose, again, I were to say that astronomy is only words—he would ask, 'Words about what, Socrates?' and I should answer, that astronomy tells us about the motions of the stars and sun and moon, and their relative swiftness.

GORGIAS: You would be quite right, Socrates.

SOCRATES: And now let us have from you, Gorgias, the truth about rhetoric: which you would admit (would you not?) to be one of those arts which act always and fulfil all their ends through the medium of words?

GORGIAS: True.

SOCRATES: Words which do what? I should ask. To what class of things do the words which rhetoric uses relate?

GORGIAS: To the greatest, Socrates, and the best of human things.

SOCRATES: That again, Gorgias is ambiguous; I am still in the dark: for which are the greatest and best of human things? I dare say that you have heard men singing at feasts the old drinking song, in which the singers enumerate the goods of life, first health, beauty next, thirdly, as the writer of the song says, wealth honestly obtained.

GORGIAS: Yes, I know the song; but what is your drift?

SOCRATES: I mean to say, that the producers of those things which the author of the song praises, that is to say, the physician, the trainer, the money-maker, will at once come to you, and first the physician will say: 'O Socrates, Gorgias is deceiving you, for my art is concerned with the greatest good of men and not his.' And when I ask, Who are you? he will reply, 'I am a physician.' What do you mean? I shall say. Do you mean that your art produces the greatest good? 'Certainly,' he will answer, 'for is not health the greatest good? What greater good can men have, Socrates?' And after him the trainer will come and say, 'I too, Socrates, shall be greatly surprised if Gorgias can show more good of his art than I can show of mine.' To him again I shall say, Who are you, honest friend, and what is your business? 'I am a trainer,' he will reply, 'and my business is to make men beautiful and strong in body.' When I have done with the trainer, there arrives the money-maker, and he, as I expect, will utterly despise them all. 'Consider Socrates,' he will say, 'whether Gorgias or any one else can produce any greater good than wealth.' Well, you and I say to him, and are you a creator of wealth? 'Yes,' he replies. And who are you? 'A money-maker.' And do you consider wealth to be the greatest good of man? 'Of course,' will be his reply. And we shall rejoin: Yes; but our friend Gorgias contends that his art produces a greater good than yours. And then he will be sure to go on and ask, 'What good? Let Gorgias answer.' Now I want you, Gorgias, to imagine that this question is asked of you by them and by me; What is that which, as you say, is the greatest good of man, and of which you are the creator? Answer us.

GORGIAS: That good, Socrates, which is truly the greatest, being that which gives to men freedom in their own persons, and to individuals the power of ruling over others in their several states.

SOCRATES: And what would you consider this to be?

GORGIAS: What is there greater than the word which persuades the judges in the courts, or the senators in the council, or the citizens in the assembly, or at any other political meeting?—if you have the power of uttering this word, you will have the physician your slave, and the trainer your slave, and the money-maker of whom you talk will be found to gather treasures, not for himself, but for you who are able to speak and to persuade the multitude.

SOCRATES: Now I think, Gorgias, that you have very accurately explained what you conceive to be the art of rhetoric; and you mean to say, if I am not mistaken, that rhetoric is the artificer of persuasion, having this and no other business, and that this is her crown and end. Do you know any other effect of rhetoric over and above that of producing persuasion?

GORGIAS: No: the definition seems to me very fair, Socrates; for persuasion is the chief end of rhetoric.

SOCRATES: Then hear me, Gorgias, for I am quite sure that if there ever was a man who entered on the discussion of a matter from a pure love of knowing the truth, I am such a one, and I should say the same of you.

GORGIAS: What is coming, Socrates?

SOCRATES: I will tell you: I am very well aware that I do not know what, according to you, is the exact nature, or what are the topics of that persuasion of which you speak, and which is given by rhetoric; although I have a suspicion about both the one and the other. And I am going to ask—what is this power of persuasion which is given by rhetoric, and about what? But why, if I have a suspicion, do I ask instead of telling you? Not for your sake, but in order that the argument may proceed in such a manner as is most likely to set forth the truth. And I would have you observe, that I am right in asking this further question: If I asked, 'What sort of a painter is Zeuxis?' and you said, 'The painter of figures,' should I not be right in asking, 'What kind of figures, and where do you find them?'

GORGIAS: Certainly.

SOCRATES: And the reason for asking this second question would be, that there are other painters besides, who paint many other figures?

GORGIAS: True.

SOCRATES: But if there had been no one but Zeuxis who painted them, then you would have answered very well?

GORGIAS: Quite so.

SOCRATES: Now I want to know about rhetoric in the same way;—is rhetoric the only art which brings persuasion, or do other arts have the same effect? I mean to say—Does he who teaches anything persuade men of that which he teaches or not?

GORGIAS: He persuades, Socrates,—there can be no mistake about that.

SOCRATES: Again, if we take the arts of which we were just now speaking:—do not arithmetic and the arithmeticians teach us the properties of number?

GORGIAS: Certainly.

SOCRATES: And therefore persuade us of them?

GORGIAS: Yes.

SOCRATES: Then arithmetic as well as rhetoric is an artificer of persuasion?

GORGIAS: Clearly.

SOCRATES: And if any one asks us what sort of persuasion, and about what,—we shall answer, persuasion which teaches the quantity of odd and even; and we shall be able to show that all the other arts of which we were just now speaking are artificers of persuasion, and of what sort, and about what.

GORGIAS: Very true.

SOCRATES: Then rhetoric is not the only artificer of persuasion?

GORGIAS: True.

SOCRATES: Seeing, then, that not only rhetoric works by persuasion, but that other arts do the same, as in the case of the painter, a question has arisen which is a very fair one: Of what persuasion is rhetoric the artificer, and about what?—is not that a fair way of putting the question?

GORGIAS: I think so.

SOCRATES: Then, if you approve the question, Gorgias, what is the answer?

GORGIAS: I answer, Socrates, that rhetoric is the art of persuasion in courts of law and other assemblies, as I was just now saying, and about the just and unjust.

SOCRATES: And that, Gorgias, was what I was suspecting to be your notion; yet I would not have you wonder if by-and-by I am found repeating a seemingly plain question; for I ask not in order to confute you, but as I was saying that the argument may proceed consecutively, and that we may not get the habit of anticipating and suspecting the meaning of one another's words; I would have you develope your own views in your own way, whatever may be your hypothesis.

GORGIAS: I think that you are quite right, Socrates.

SOCRATES: Then let me raise another question; there is such a thing as 'having learned'?

GORGIAS: Yes.

SOCRATES: And there is also 'having believed'?

GORGIAS: Yes.

SOCRATES: And is the 'having learned' the same as 'having believed,' and are learning and belief the same things?

GORGIAS: In my judgment, Socrates, they are not the same.

SOCRATES: And your judgment is right, as you may ascertain in this way:—If a person were to say to you, 'Is there, Gorgias, a false belief as well as a true?'—you would reply, if I am not mistaken, that there is.

GORGIAS: Yes.

SOCRATES: Well, but is there a false knowledge as well as a true?

GORGIAS: No.

SOCRATES: No, indeed; and this again proves that knowledge and belief differ.

GORGIAS: Very true.

SOCRATES: And yet those who have learned as well as those who have believed are persuaded?

GORGIAS: Just so.

SOCRATES: Shall we then assume two sorts of persuasion,—one which is the source of belief without knowledge, as the other is of knowledge?

GORGIAS: By all means.

SOCRATES: And which sort of persuasion does rhetoric create in courts of law and other assemblies about the just and unjust, the sort of persuasion which gives belief without knowledge, or that which gives knowledge?

GORGIAS: Clearly, Socrates, that which only gives belief.

SOCRATES: Then rhetoric, as would appear, is the artificer of a persuasion which creates belief about the just and unjust, but gives no instruction about them?

GORGIAS: True.

SOCRATES: And the rhetorician does not instruct the courts of law or other assemblies about things just and unjust, but he creates belief about them; for no one can be supposed to instruct such a vast multitude about such high matters in a short time?

GORGIAS: Certainly not.

SOCRATES: Come, then, and let us see what we really mean about rhetoric; for I do not know what my own meaning is as yet. When the assembly meets to elect a physician or a shipwright or any other craftsman, will the rhetorician be taken into counsel? Surely not. For at every election he ought to be chosen who is most skilled; and, again, when walls have to be built or harbours or docks to be constructed, not the rhetorician but the master workman will advise; or when generals have to be chosen and an order of battle arranged, or a position taken, then the military will advise and not the rhetoricians: what do you say, Gorgias? Since you profess to be a rhetorician and a maker of rhetoricians, I cannot do better than learn the nature of your art from you. And here let me assure you that I have your interest in view as well as my own. For likely enough some one or other of the young men present might desire to become your pupil, and in fact I see some, and a good many too, who have this wish, but they would be too modest to question you. And therefore when you are interrogated by me, I would have you imagine that you are interrogated by them. 'What is the use of coming to you, Gorgias?' they will say—'about what will you teach us to advise the state?—about the just and unjust only, or about those other things also which Socrates has just mentioned?' How will you answer them?

GORGIAS: I like your way of leading us on, Socrates, and I will endeavour to reveal to you the whole nature of rhetoric. You must have heard, I think, that the docks and the walls of the Athenians and the plan of the harbour were devised in accordance with the counsels, partly of Themistocles, and partly of Pericles, and not at the suggestion of the builders.

SOCRATES: Such is the tradition, Gorgias, about Themistocles; and I myself heard the speech of Pericles when he advised us about the middle wall.

GORGIAS: And you will observe, Socrates, that when a decision has to be given in such matters the rhetoricians are the advisers; they are the men who win their point.

SOCRATES: I had that in my admiring mind, Gorgias, when I asked what is the nature of rhetoric, which always appears to me, when I look at the matter in this way, to be a marvel of greatness.

GORGIAS: A marvel, indeed, Socrates, if you only knew how rhetoric comprehends and holds under her sway all the inferior arts. Let me offer you a striking example of this. On several occasions I have been with my brother Herodicus or some other physician to see one of his patients, who would not allow the physician to give him medicine, or apply the knife or hot iron to him; and I have persuaded him to do for me what he would not do for the physician just by the use of rhetoric. And I say that if a rhetorician and a physician were to go to any city, and had there to argue in the Ecclesia or any other assembly as to which of them should be elected state-physician, the physician would have no chance; but he who could speak would be chosen if he wished; and in a contest with a man of any other profession the rhetorician more than any one would have the power of getting himself chosen, for he can speak more persuasively to the multitude than any of them, and on any subject. Such is the nature and power of the art of rhetoric! And yet, Socrates, rhetoric should be used like any other competitive art, not against everybody,—the rhetorician ought not to abuse his strength any more than a pugilist or pancratiast or other master of fence;—because he has powers which are more than a match either for friend or enemy, he ought not therefore to strike, stab, or slay his friends. Suppose a man to have been trained in the palestra and to be a skilful boxer,—he in the fulness of his strength goes and strikes his father or mother or one of his familiars or friends; but that is no reason why the trainers or fencing-masters should be held in detestation or banished from the city;—surely not. For they taught their art for a good purpose, to be used against enemies and evil-doers, in self-defence not in aggression, and others have perverted their instructions, and turned to a bad use their own strength and skill. But not on this account are the teachers bad, neither is the art in fault, or bad in itself; I should rather say that those who make a bad use of the art are to blame. And the same argument holds good of rhetoric; for the rhetorician can speak against all men and upon any subject,—in short, he can persuade the multitude better than any other man of anything which he pleases, but he should not therefore seek to defraud the physician or any other artist of his reputation merely because he has the power; he ought to use rhetoric fairly, as he would also use his athletic powers. And if after having become a rhetorician he makes a bad use of his strength and skill, his instructor surely ought not on that account to be held in detestation or banished. For he was intended by his teacher to make a good use of his instructions, but he abuses them. And therefore he is the person who ought to be held in detestation, banished, and put to death, and not his instructor.

SOCRATES: You, Gorgias, like myself, have had great experience of disputations, and you must have observed, I think, that they do not always terminate in mutual edification, or in the definition by either party of the subjects which they are discussing; but disagreements are apt to arise—somebody says that another has not spoken truly or clearly; and then they get into a passion and begin to quarrel, both parties conceiving that their opponents are arguing from personal feeling only and jealousy of themselves, not from any interest in the question at issue. And sometimes they will go on abusing one another until the company at last are quite vexed at themselves for ever listening to such fellows. Why do I say this? Why, because I cannot help feeling that you are now saying what is not quite consistent or accordant with what you were saying at first about rhetoric. And I am afraid to point this out to you, lest you should think that I have some animosity against you, and that I speak, not for the sake of discovering the truth, but from jealousy of you. Now if you are one of my sort, I should like to cross-examine you, but if not I will let you alone. And what is my sort? you will ask. I am one of those who are very willing to be refuted if I say anything which is not true, and very willing to refute any one else who says what is not true, and quite as ready to be refuted as to refute; for I hold that this is the greater gain of the two, just as the gain is greater of being cured of a very great evil than of curing another. For I imagine that there is no evil which a man can endure so great as an erroneous opinion about the matters of which we are speaking; and if you claim to be one of my sort, let us have the discussion out, but if you would rather have done, no matter;—let us make an end of it.

GORGIAS: I should say, Socrates, that I am quite the man whom you indicate; but, perhaps, we ought to consider the audience, for, before you came, I had already given a long exhibition, and if we proceed the argument may run on to a great length. And therefore I think that we should consider whether we may not be detaining some part of the company when they are wanting to do something else.

CHAEREPHON: You hear the audience cheering, Gorgias and Socrates, which shows their desire to listen to you; and for myself, Heaven forbid that I should have any business on hand which would take me away from a discussion so interesting and so ably maintained.

CALLICLES: By the gods, Chaerephon, although I have been present at many discussions, I doubt whether I was ever so much delighted before, and therefore if you go on discoursing all day I shall be the better pleased.

SOCRATES: I may truly say, Callicles, that I am willing, if Gorgias is.

GORGIAS: After all this, Socrates, I should be disgraced if I refused, especially as I have promised to answer all comers; in accordance with the wishes of the company, then, do you begin, and ask of me any question which you like.

SOCRATES: Let me tell you then, Gorgias, what surprises me in your words; though I dare say that you may be right, and I may have misunderstood your meaning. You say that you can make any man, who will learn of you, a rhetorician?

GORGIAS: Yes.

SOCRATES: Do you mean that you will teach him to gain the ears of the multitude on any subject, and this not by instruction but by persuasion?

GORGIAS: Quite so.

SOCRATES: You were saying, in fact, that the rhetorician will have greater powers of persuasion than the physician even in a matter of health?

GORGIAS: Yes, with the multitude,—that is.

SOCRATES: You mean to say, with the ignorant; for with those who know he cannot be supposed to have greater powers of persuasion.

GORGIAS: Very true.

SOCRATES: But if he is to have more power of persuasion than the physician, he will have greater power than he who knows?

GORGIAS: Certainly.

SOCRATES: Although he is not a physician:—is he?

GORGIAS: No.

SOCRATES: And he who is not a physician must, obviously, be ignorant of what the physician knows.

GORGIAS: Clearly.

SOCRATES: Then, when the rhetorician is more persuasive than the physician, the ignorant is more persuasive with the ignorant than he who has knowledge?—is not that the inference?

GORGIAS: In the case supposed:—yes.

SOCRATES: And the same holds of the relation of rhetoric to all the other arts; the rhetorician need not know the truth about things; he has only to discover some way of persuading the ignorant that he has more knowledge than those who know?

GORGIAS: Yes, Socrates, and is not this a great comfort?—not to have learned the other arts, but the art of rhetoric only, and yet to be in no way inferior to the professors of them?

SOCRATES: Whether the rhetorician is or not inferior on this account is a question which we will hereafter examine if the enquiry is likely to be of any service to us; but I would rather begin by asking, whether he is or is not as ignorant of the just and unjust, base and honourable, good and evil, as he is of medicine and the other arts; I mean to say, does he really know anything of what is good and evil, base or honourable, just or unjust in them; or has he only a way with the ignorant of persuading them that he not knowing is to be esteemed to know more about these things than some one else who knows? Or must the pupil know these things and come to you knowing them before he can acquire the art of rhetoric? If he is ignorant, you who are the teacher of rhetoric will not teach him—it is not your business; but you will make him seem to the multitude to know them, when he does not know them; and seem to be a good man, when he is not. Or will you be unable to teach him rhetoric at all, unless he knows the truth of these things first? What is to be said about all this? By heavens, Gorgias, I wish that you would reveal to me the power of rhetoric, as you were saying that you would.

GORGIAS: Well, Socrates, I suppose that if the pupil does chance not to know them, he will have to learn of me these things as well.

SOCRATES: Say no more, for there you are right; and so he whom you make a rhetorician must either know the nature of the just and unjust already, or he must be taught by you.

GORGIAS: Certainly.

SOCRATES: Well, and is not he who has learned carpentering a carpenter?

GORGIAS: Yes.

SOCRATES: And he who has learned music a musician?

GORGIAS: Yes.

SOCRATES: And he who has learned medicine is a physician, in like manner? He who has learned anything whatever is that which his knowledge makes him.

GORGIAS: Certainly.

SOCRATES: And in the same way, he who has learned what is just is just?

GORGIAS: To be sure.

SOCRATES: And he who is just may be supposed to do what is just?

GORGIAS: Yes.

SOCRATES: And must not the just man always desire to do what is just?

GORGIAS: That is clearly the inference.

SOCRATES: Surely, then, the just man will never consent to do injustice?

GORGIAS: Certainly not.

SOCRATES: And according to the argument the rhetorician must be a just man?

GORGIAS: Yes.

SOCRATES: And will therefore never be willing to do injustice?

GORGIAS: Clearly not.

SOCRATES: But do you remember saying just now that the trainer is not to be accused or banished if the pugilist makes a wrong use of his pugilistic art; and in like manner, if the rhetorician makes a bad and unjust use of his rhetoric, that is not to be laid to the charge of his teacher, who is not to be banished, but the wrong-doer himself who made a bad use of his rhetoric—he is to be banished—was not that said?

GORGIAS: Yes, it was.

SOCRATES: But now we are affirming that the aforesaid rhetorician will never have done injustice at all?

GORGIAS: True.

SOCRATES: And at the very outset, Gorgias, it was said that rhetoric treated of discourse, not (like arithmetic) about odd and even, but about just and unjust? Was not this said?

GORGIAS: Yes.

SOCRATES: I was thinking at the time, when I heard you saying so, that rhetoric, which is always discoursing about justice, could not possibly be an unjust thing. But when you added, shortly afterwards, that the rhetorician might make a bad use of rhetoric I noted with surprise the inconsistency into which you had fallen; and I said, that if you thought, as I did, that there was a gain in being refuted, there would be an advantage in going on with the question, but if not, I would leave off. And in the course of our investigations, as you will see yourself, the rhetorician has been acknowledged to be incapable of making an unjust use of rhetoric, or of willingness to do injustice. By the dog, Gorgias, there will be a great deal of discussion, before we get at the truth of all this.

POLUS: And do even you, Socrates, seriously believe what you are now saying about rhetoric? What! because Gorgias was ashamed to deny that the rhetorician knew the just and the honourable and the good, and admitted that to any one who came to him ignorant of them he could teach them, and then out of this admission there arose a contradiction—the thing which you dearly love, and to which not he, but you, brought the argument by your captious questions—(do you seriously believe that there is any truth in all this?) For will any one ever acknowledge that he does not know, or cannot teach, the nature of justice? The truth is, that there is great want of manners in bringing the argument to such a pass.

SOCRATES: Illustrious Polus, the reason why we provide ourselves with friends and children is, that when we get old and stumble, a younger generation may be at hand to set us on our legs again in our words and in our actions: and now, if I and Gorgias are stumbling, here are you who should raise us up; and I for my part engage to retract any error into which you may think that I have fallen-upon one condition:

POLUS: What condition?

SOCRATES: That you contract, Polus, the prolixity of speech in which you indulged at first.

POLUS: What! do you mean that I may not use as many words as I please?

SOCRATES: Only to think, my friend, that having come on a visit to Athens, which is the most free-spoken state in Hellas, you when you got there, and you alone, should be deprived of the power of speech—that would be hard indeed. But then consider my case:—shall not I be very hardly used, if, when you are making a long oration, and refusing to answer what you are asked, I am compelled to stay and listen to you, and may not go away? I say rather, if you have a real interest in the argument, or, to repeat my former expression, have any desire to set it on its legs, take back any statement which you please; and in your turn ask and answer, like myself and Gorgias—refute and be refuted: for I suppose that you would claim to know what Gorgias knows—would you not?

POLUS: Yes.

SOCRATES: And you, like him, invite any one to ask you about anything which he pleases, and you will know how to answer him?

POLUS: To be sure.

SOCRATES: And now, which will you do, ask or answer?

POLUS: I will ask; and do you answer me, Socrates, the same question which Gorgias, as you suppose, is unable to answer: What is rhetoric?

SOCRATES: Do you mean what sort of an art?

POLUS: Yes.

SOCRATES: To say the truth, Polus, it is not an art at all, in my opinion.

POLUS: Then what, in your opinion, is rhetoric?

SOCRATES: A thing which, as I was lately reading in a book of yours, you say that you have made an art.

POLUS: What thing?

SOCRATES: I should say a sort of experience.

POLUS: Does rhetoric seem to you to be an experience?

SOCRATES: That is my view, but you may be of another mind.

POLUS: An experience in what?

SOCRATES: An experience in producing a sort of delight and gratification.

POLUS: And if able to gratify others, must not rhetoric be a fine thing?

SOCRATES: What are you saying, Polus? Why do you ask me whether rhetoric is a fine thing or not, when I have not as yet told you what rhetoric is?

POLUS: Did I not hear you say that rhetoric was a sort of experience?

SOCRATES: Will you, who are so desirous to gratify others, afford a slight gratification to me?

POLUS: I will.

SOCRATES: Will you ask me, what sort of an art is cookery?

POLUS: What sort of an art is cookery?

SOCRATES: Not an art at all, Polus.

POLUS: What then?

SOCRATES: I should say an experience.

POLUS: In what? I wish that you would explain to me.

SOCRATES: An experience in producing a sort of delight and gratification, Polus.

POLUS: Then are cookery and rhetoric the same?

SOCRATES: No, they are only different parts of the same profession.

POLUS: Of what profession?

SOCRATES: I am afraid that the truth may seem discourteous; and I hesitate to answer, lest Gorgias should imagine that I am making fun of his own profession. For whether or no this is that art of rhetoric which Gorgias practises I really cannot tell:—from what he was just now saying, nothing appeared of what he thought of his art, but the rhetoric which I mean is a part of a not very creditable whole.

GORGIAS: A part of what, Socrates? Say what you mean, and never mind me.

SOCRATES: In my opinion then, Gorgias, the whole of which rhetoric is a part is not an art at all, but the habit of a bold and ready wit, which knows how to manage mankind: this habit I sum up under the word 'flattery'; and it appears to me to have many other parts, one of which is cookery, which may seem to be an art, but, as I maintain, is only an experience or routine and not an art:—another part is rhetoric, and the art of attiring and sophistry are two others: thus there are four branches, and four different things answering to them. And Polus may ask, if he likes, for he has not as yet been informed, what part of flattery is rhetoric: he did not see that I had not yet answered him when he proceeded to ask a further question: Whether I do not think rhetoric a fine thing? But I shall not tell him whether rhetoric is a fine thing or not, until I have first answered, 'What is rhetoric?' For that would not be right, Polus; but I shall be happy to answer, if you will ask me, What part of flattery is rhetoric?

POLUS: I will ask and do you answer? What part of flattery is rhetoric?

SOCRATES: Will you understand my answer? Rhetoric, according to my view, is the ghost or counterfeit of a part of politics.

POLUS: And noble or ignoble?

SOCRATES: Ignoble, I should say, if I am compelled to answer, for I call what is bad ignoble: though I doubt whether you understand what I was saying before.

GORGIAS: Indeed, Socrates, I cannot say that I understand myself.

SOCRATES: I do not wonder, Gorgias; for I have not as yet explained myself, and our friend Polus, colt by name and colt by nature, is apt to run away. (This is an untranslatable play on the name 'Polus,' which means 'a colt.')

GORGIAS: Never mind him, but explain to me what you mean by saying that rhetoric is the counterfeit of a part of politics.

SOCRATES: I will try, then, to explain my notion of rhetoric, and if I am mistaken, my friend Polus shall refute me. We may assume the existence of bodies and of souls?

GORGIAS: Of course.

SOCRATES: You would further admit that there is a good condition of either of them?

GORGIAS: Yes.

SOCRATES: Which condition may not be really good, but good only in appearance? I mean to say, that there are many persons who appear to be in good health, and whom only a physician or trainer will discern at first sight not to be in good health.

GORGIAS: True.

SOCRATES: And this applies not only to the body, but also to the soul: in either there may be that which gives the appearance of health and not the reality?

GORGIAS: Yes, certainly.

SOCRATES: And now I will endeavour to explain to you more clearly what I mean: The soul and body being two, have two arts corresponding to them: there is the art of politics attending on the soul; and another art attending on the body, of which I know no single name, but which may be described as having two divisions, one of them gymnastic, and the other medicine. And in politics there is a legislative part, which answers to gymnastic, as justice does to medicine; and the two parts run into one another, justice having to do with the same subject as legislation, and medicine with the same subject as gymnastic, but with a difference. Now, seeing that there are these four arts, two attending on the body and two on the soul for their highest good; flattery knowing, or rather guessing their natures, has distributed herself into four shams or simulations of them; she puts on the likeness of some one or other of them, and pretends to be that which she simulates, and having no regard for men's highest interests, is ever making pleasure the bait of the unwary, and deceiving them into the belief that she is of the highest value to them. Cookery simulates the disguise of medicine, and pretends to know what food is the best for the body; and if the physician and the cook had to enter into a competition in which children were the judges, or men who had no more sense than children, as to which of them best understands the goodness or badness of food, the physician would be starved to death. A flattery I deem this to be and of an ignoble sort, Polus, for to you I am now addressing myself, because it aims at pleasure without any thought of the best. An art I do not call it, but only an experience, because it is unable to explain or to give a reason of the nature of its own applications. And I do not call any irrational thing an art; but if you dispute my words, I am prepared to argue in defence of them.

Cookery, then, I maintain to be a flattery which takes the form of medicine; and tiring, in like manner, is a flattery which takes the form of gymnastic, and is knavish, false, ignoble, illiberal, working deceitfully by the help of lines, and colours, and enamels, and garments, and making men affect a spurious beauty to the neglect of the true beauty which is given by gymnastic.

I would rather not be tedious, and therefore I will only say, after the manner of the geometricians (for I think that by this time you will be able to follow)

as tiring: gymnastic:: cookery: medicine;

or rather,

as tiring: gymnastic:: sophistry: legislation;

and

as cookery: medicine:: rhetoric: justice.

And this, I say, is the natural difference between the rhetorician and the sophist, but by reason of their near connection, they are apt to be jumbled up together; neither do they know what to make of themselves, nor do other men know what to make of them. For if the body presided over itself, and were not under the guidance of the soul, and the soul did not discern and discriminate between cookery and medicine, but the body was made the judge of them, and the rule of judgment was the bodily delight which was given by them, then the word of Anaxagoras, that word with which you, friend Polus, are so well acquainted, would prevail far and wide: 'Chaos' would come again, and cookery, health, and medicine would mingle in an indiscriminate mass. And now I have told you my notion of rhetoric, which is, in relation to the soul, what cookery is to the body. I may have been inconsistent in making a long speech, when I would not allow you to discourse at length. But I think that I may be excused, because you did not understand me, and could make no use of my answer when I spoke shortly, and therefore I had to enter into an explanation. And if I show an equal inability to make use of yours, I hope that you will speak at equal length; but if I am able to understand you, let me have the benefit of your brevity, as is only fair: And now you may do what you please with my answer.

POLUS: What do you mean? do you think that rhetoric is flattery?

SOCRATES: Nay, I said a part of flattery; if at your age, Polus, you cannot remember, what will you do by-and-by, when you get older?

POLUS: And are the good rhetoricians meanly regarded in states, under the idea that they are flatterers?

SOCRATES: Is that a question or the beginning of a speech?

POLUS: I am asking a question.

SOCRATES: Then my answer is, that they are not regarded at all.

POLUS: How not regarded? Have they not very great power in states?

SOCRATES: Not if you mean to say that power is a good to the possessor.

POLUS: And that is what I do mean to say.

SOCRATES: Then, if so, I think that they have the least power of all the citizens.

POLUS: What! are they not like tyrants? They kill and despoil and exile any one whom they please.

SOCRATES: By the dog, Polus, I cannot make out at each deliverance of yours, whether you are giving an opinion of your own, or asking a question of me.

POLUS: I am asking a question of you.

SOCRATES: Yes, my friend, but you ask two questions at once.

POLUS: How two questions?

SOCRATES: Why, did you not say just now that the rhetoricians are like tyrants, and that they kill and despoil or exile any one whom they please?

POLUS: I did.

SOCRATES: Well then, I say to you that here are two questions in one, and I will answer both of them. And I tell you, Polus, that rhetoricians and tyrants have the least possible power in states, as I was just now saying; for they do literally nothing which they will, but only what they think best.

POLUS: And is not that a great power?

SOCRATES: Polus has already said the reverse.

POLUS: Said the reverse! nay, that is what I assert.

SOCRATES: No, by the great—what do you call him?—not you, for you say that power is a good to him who has the power.

POLUS: I do.

SOCRATES: And would you maintain that if a fool does what he thinks best, this is a good, and would you call this great power?

POLUS: I should not.

SOCRATES: Then you must prove that the rhetorician is not a fool, and that rhetoric is an art and not a flattery—and so you will have refuted me; but if you leave me unrefuted, why, the rhetoricians who do what they think best in states, and the tyrants, will have nothing upon which to congratulate themselves, if as you say, power be indeed a good, admitting at the same time that what is done without sense is an evil.

POLUS: Yes; I admit that.

SOCRATES: How then can the rhetoricians or the tyrants have great power in states, unless Polus can refute Socrates, and prove to him that they do as they will?

POLUS: This fellow—

SOCRATES: I say that they do not do as they will;—now refute me.

POLUS: Why, have you not already said that they do as they think best?

SOCRATES: And I say so still.

POLUS: Then surely they do as they will?

SOCRATES: I deny it.

POLUS: But they do what they think best?

SOCRATES: Aye.

POLUS: That, Socrates, is monstrous and absurd.

SOCRATES: Good words, good Polus, as I may say in your own peculiar style; but if you have any questions to ask of me, either prove that I am in error or give the answer yourself.

POLUS: Very well, I am willing to answer that I may know what you mean.

SOCRATES: Do men appear to you to will that which they do, or to will that further end for the sake of which they do a thing? when they take medicine, for example, at the bidding of a physician, do they will the drinking of the medicine which is painful, or the health for the sake of which they drink?