so brilliant a garb; and surely never since. Even in translation this style shines and sparkles and leaps and bubbles over.
"Plato," says one of his lovers, Shelley, "exhibits the rare union of close and subtle logic with the Pythian enthusiasm of poetry, melted by the splendor and harmony of his periods into one irresistible stream of musical impressions, which hurry the persuasions onward as in a breathless career." [1] It was not for nothing that the young philosopher had begun as a dramatist.
The difficulty in understanding Plato lies precisely in this intoxicating mixture of philosophy and poetry, of science and art; we cannot always tell in which character of the dialogue the author speaks, nor in which form; whether he is literal or speaks in metaphor, whether he jests or is in earnest. His love of jest and irony and myth leaves us at times baffled; almost we could say of him that he did not teach except in parables. "Shall I, as an older person, speak to you, as younger men, in apologue or myth?" asks his Protagoras.[2] These dialogues, we are told, were written by Plato for the general reading public of his day: by their conversational method, their lively war of pros and cons, and their gradual development and frequent repetition of every important argument, the were explicitly adapted (obscure though they may seem to us now) to the understanding of the man who must taste philosophy as an occasional luxury, and who is compelled by the brevity of life to read as he who runs may read. Therefore we must be prepared to find in these dialogues much that is playful and metaphorical; much that is unintelligible except to scholars learned in the social and literary minutiae of Plato's time; much that today will seem irrelevant and fanciful, but might well have served as the very sauce and flavor by which a heavy dish of thought was made digestible for minds unused to philosophic fare.
Let us confess, too, that Plato has in sufficient abundance
