r even wild manner of treating his subject;
also that his mode of revealing the truth is by lights and shadows, and
far-off and opposing points of view, and not by dogmatic statements or
definite results.

The real difficulties arise out of the extreme subtlety of the work,
which, as Socrates says of the poem of Simonides, is a most perfect
piece of art. There are dramatic contrasts and interests, threads of
philosophy broken and resumed, satirical reflections on mankind, veils
thrown over truths which are lightly suggested, and all woven together
in a single design, and moving towards one end.

In the introductory scene Plato raises the expectation that a 'great
personage' is about to appear on the stage; perhaps with a further view
of showing that he is destined to be overthrown by a greater still, who
makes no pretensions. Before introducing Hippocrates to him, Socrates
thinks proper to warn the youth against the dangers of 'influence,'
of which the invidious nature is recognized by Protagoras himself.
Hippocrates readily adopts the suggestion of Socrates that he shall
learn of Protagoras only the accomplishments which befit an Athenian
gentleman, and let alone his 'sophistry.' There is nothing however in
the introduction which leads to the inference that Plato intended to
blacken the character of the Sophists; he only makes a little merry at
their expense.

The 'great personage' is somewhat ostentatious, but frank and honest.
He is introduced on a stage which is worthy of him--at the house of the
rich Callias, in which are congregated the noblest and wisest of the
Athenians. He considers openness to be the best policy, and particularly
mentions his own liberal mode of dealing with his pupils, as if in
answer to the favourite accusation of the Sophists that they received
pay. He is remarkable for the good temper which he exhibits throughout
the discussion under the trying and often sophistical cross-examination
of Socrates. Although once or twice ruffled, and reluctant to continue
the discussion, he parts company on perfectly good terms, and appears to
be, as he says of himself, the 'least jealous of mankind.'

Nor is there anything in the sentiments of Protagoras which impairs this
pleasing impression of the grave and weighty old man. His real defect
is that he is inferior to Socrates in dialectics. The opposition between
him and Socrates is not the opposition of good and bad, true and false,
but of the old art