Plato and the Other Companions of Sokrates, 3rd ed. Volume 2

Dramatic and comic exuberance of the Euthydêmus. Judgments of various critics

195

Scenery and personages

The two Sophists, Euthydemus and Dionysodorus: manner in which they are here presented

196

Conversation carried on with Kleinias, first by Sokrates, next by the two Sophists

Contrast between the two different modes of interrogation

197

Wherein this contrast does not consist

198

Wherein it does consist

199

Abuse of fallacies by the Sophists — their bidding for the applause of the by-standers

Comparison of the Euthydêmus with the Parmenidês

200

Necessity of settling accounts with the negative, before we venture upon the affirmative, is common to both: in the one the process is solitary and serious; in the other, it is vulgarised and ludicrous

201

Opinion of Stallbaum and other critics about the Euthydêmus, that Euthydêmus and Dionysodorus represent the way in which Protagoras and Gorgias talked to their auditors

202

That opinion is unfounded. Sokrates was much more Eristic than Protagoras, who generally manifested himself by continuous speech or lecture

Sokrates in the Euthydêmus is drawn suitably to the purpose of that dialogue

203

The two Sophists in the Euthydêmus are not to be taken as real persons, or representatives of real persons

204

Colloquy of Sokrates with Kleinias — possession of good things is useless, unless we also have intelligence how to use them

But intelligence — of what? It must be such intelligence, or such an art, as will include both the making of what we want, and the right use of it when made

205

Where is such an art to be found? The regal or political art looks like it; but what does this art do for us? No answer can be found. Ends in puzzle

206

Review of the cross-examination just pursued by Sokrates. It is very suggestive — puts the mind upon what to look for

207

Comparison with other dialogues — Republic, Philêbus, Protagoras. The only distinct answer is found in the Protagoras

208

The talk of the two Sophists, though ironically admired while it is going on, is shown at the end to produce no real admiration, but the contrary