him by Plato were really held either by him or by any other Sophist is uncertain; in the infancy of philosophy serious errors about morality might easily grow up—they are certainly put into the mouths of speakers in Thucydides; but we are concerned at present with Plato’s description of him, and not with the historical reality. The inequality of the contest adds greatly to the humor of the scene. The pompous and empty Sophist is utterly helpless in the hands of the great master of dialectic, who knows how to touch all the springs of vanity and weakness in him. He is greatly irritated by the irony of Socrates, but his noisy and imbecile rage only lays him more and more open to the thrusts of his assailant. His determination to cram down their throats, or put “bodily into their souls” his own words, elicits a cry of horror from Socrates. The state of his temper is quite as worthy of remark as the process of the argument. Nothing is more amusing than his complete submission when he has been once thoroughly beaten. At first he seems to continue the discussion with reluctance, but soon with apparent good-will, and he even testifies his interest at a later stage by one or two occasional remarks (v. 450 A, B). When attacked by Glaucon (vi. 498 C, D) he is humorously protected by Socrates “as one who has never been his enemy and is now his friend.” From Cicero and Quintilian and from Aristotle’s “Rhetoric” (iii. i. 7; ii. 23. 29) we learn that the Sophist whom Plato has made so ridiculous was a man of note whose writings were preserved in later ages. The play on his name which was made by his contemporary Herodicus (Aris. “Rhet.” ii. 23, 29), “thou wast ever bold in battle,” seems to show that the description of him is not devoid of verisimilitude.
When Thrasymachus has been silenced, the two principal respondents, Glaucon and Adeimantus, appear on the scene; here, as in Greek tragedy (cp. Introd. to “Phædo”), three actors are introduced. At first sight the two sons of Ariston may seem to wear a family likeness, like the two friends Simmias and Cebes in the “Phædo.” But on a nearer examination of them the similarity vanishes, and they are seen to be distinct characters. Glaucon is the impetuous youth who can “just never have enough of fechting” (cp. the character of him in Xen. “Mem.” iii. 6); the man of pleasure who is
