As to the style of Porphyry, when we consider that he was the disciple of Longinus, whom Eunapius elegantly calls "a certain living library, and walking museum," it is but reasonable to suppose that he imbibed some portion of his master's excellence in writing. That he did so is abundantly evident from the testimony of Eunapius, who particularly commends his style for its clearness, purity, and grace. "Hence," he says, "Porphyry being let down to men like a mercurial chain, through his various erudition, unfolded every thing into perspicuity, and purity." And in another place he speaks of him as abounding with all the graces of diction, and as the only one that exhibited and proclaimed the praise of his master. With respect to the style of Proclus, it is pure, clear and elegant, like that of Dionysius Halicarnassus; but is much more copious and magnificent; that of Hierocles is venerable and majestic, and nearly equals the style of the greatest ancients; that of Sallust possesses an accuracy and a pregnant brevity, which cannot easily be distinguished from the composition of the Stagirite; and lastly, that of Damascius is clear and accurate, and highly worthy a most investigating mind.

Others again have filled themselves with a vain confidence, from reading of commentaries of these admirable interpreters, and have in a short time considered themselves superior to their masters. This was the case with Ficinus, Picus, Dr. Henry Moore, and other pseudo Platonists, their contemporaries, who, in order to combine Christianity with the doctrines of Plato, rejected some of his most important tenets, and perverted others, and thus corrupted one of these systems, and afforded no real benefit to the other.

But who are the men by whom these latter interpreters of Plato are reviled? When and whence did this defamation originate? Was it when the fierce champions for the trinity fled from Galilee to the groves of Academus, and invoked, but in vain, the assistance of Philosophy? When

The trembling grove confessed its fright, The wood-nymphs started at the sight; Ilissus backward urg'd his course, And rush'd indignant to his source.

Was it because that mitred sophist, Warburton, thought fit to talk of the polluted streams of the Alexandrian school, without knowing any thing of the source whence those streams are derived? Or was it because some heavy German critic, who knew nothing beyond a verb in mi, presumed to grunt at these venerable heroes? Whatever was its source, and whenever it originated, for I have not been able to discover either, this however is certain, that it owes its being to the most profound Ignorance, or the most artful Sophistry, and that its origin is no less contemptible than obscure. For let us but for a moment consider the advantages which these latter Platonists possessed beyond any of their modern revilers. In the first place, they had the felicity of having the Greek for their native language, and must therefore, as they were confessedly, learned men, have understood that language incomparably better than any man since the time in which the ancient Greek was a living tongue. In the next place, they had books to consult, written by the immediate disciples of Plato, which have been lost for upwards of a thousand years, besides many Pythagoric writings from which Plato himself derived most of his more sublime dogmas. Hence we find the works of Parmenides, Empedocles, the Electic Zeno, Speusippus, Xenocrates, and many other illustrious philosophers of the highest antiquity, who were either genuine Platonists or the sources of Platonism, are continually cited by these most excellent interpreters, and in the third place they united the greatest purity of life to the most piercing vigor of intellect. Now when it is considered that the philosophy to the study of which these great men devoted their lives, was professedly delivered by its author in obscurity; that Aristotle himself studied it for twenty years; and that it was no uncommon thing, as Plato informs us in one of his Epistles, to find students unable to comprehend its sublimest tenets even in a longer period than this,--when all these circumstances are considered, what must we think of the arrogance, not to say impudence, of men in the seventeenth, eighteenth, and nineteenth centuries, who have dared to calumniate these great masters of wisdom? Of men, with whom the Greek is no native language; who have no such books to consult as those had whom they revile; who have never thought, even in a dream, of making the acquisition of wisdom the great object of their life; and who in short have committed that most baneful error of mistaking philology for philosophy, and words for things? When such as these dare to defame men who may be justly ranked among the greatest and wisest of the ancients, what else can be said than that they are the legitimate descendants of the suitors of Penelope, whom, in the animated language of Ulysses,

Laws or divine or human fail'd to move, Or shame of men, or dread of gods above: Heedless alike of infamy or praise, Or Fame's eternal voice in future days,[21]

[21] Pope's Odyssey, book xxii, v. 47, &c.


But it is now time to present the reader with a general view of the works of Plato, and, also to speak of the preambles, digressions, and style of their author, and of the following translation. In accomplishing the first of these, I shall avail myself of the synopsis of Mr. Sydenham, taking the liberty at the same time of correcting it where it appears to be erroneous, and of making additions to it where it appears to be deficient.

The dialogues of Plato are of various kinds; not only with regard to those different matters, which are the subjects of them; but in respect of the manner also in which they are composed or framed, and of the form under which they make their appearance to the reader. It will therefore, as I imagine, be not improper, in pursuance of the admonition given us by Plato himself in his dialogue named Phaedrus[22] and in imitation of the example set us by the ancient Platonists to distinguish the several kinds; by dividing them, first, into the most general; and then, subdividing into the subordinate; till we come to those lower species, that particularly and precisely denote the nature of the several dialogues, and from which they ought to take their respective denominations.

[22] Whoever is unable to divide and distinguish things into their several sorts or species; and, on the other hand, referring every particular to its proper species, to comprehend them all in one general idea; will never understand any writings of which those things are the subject, like a true critic, upon those high principles of art to which the human understanding reaches. We have thought proper, here, to paraphrase this passage, for the sake of giving to every part of so important a sentence its full force, agreeably to the tenor of Plato's doctrine; and in order to initiate our readers into a way of thinking, that probably many of them are as yet unacquainted with.


The most general division of the writings of Plato, is into those of the Sceptical kind, and those of they Dogmatical. In the former sort, nothing is expressly either proved or asserted, some philosophical question only is considered and examined; and the reader is left to himself to draw such conclusions, and discover such truths as the philosopher means to insinuate. This is done, either in the way of inquiry, or in the way of controversy and dispute. In the way of controversy are carried on all such dialogues, as tend to eradicate false opinions; and that, either indirectly, by involving them in difficulties, and embarrassing the maintainers of them; or directly, by confuting them. In the way of inquiry proceed those whose tendency is to raise in the mind right opinions; and that either by exciting to the pursuit of some part of wisdom, and showing in what manner to investigate it; or by leading the way, and helping the mind forward in the search. And this is effected by a process through opposing arguments.[23]

- [23] It is necessary to observe that Plato in the Parmenides calls all that part of his Dialectic, which proceeds through opposite arguments, an exercise and wandering.
-

The dialogues of the other kind, the Dogmatical or Didactic, teach explicitly some point of doctrine; and this they do either by laying it down in the authoritative way, or by proving it in the ways of reason and argument. In the authoritative way the doctrine is delivered, sometimes by the speaker himself magisterially, at other times as derived to him by tradition from wise men. The argumentative or demonstrative method of teaching, used by Plato, proceeds in all the dialectic ways, dividing, defining, demonstrating, and analysing; and the object of it consists in exploring truth alone. According to this division is framed the following scheme, or table:

DIALOGUES[24]

Sceptical Disputative Embarrassing Confuting Inquisitive Exciting Assisting Dogmatical Demonstrative Analytical Inductional Authoritative Magisterial Traditional

[24]We have, given us by Diogenes Laertius, another division of the characters, as he calls them, of Plato's writings, different from that exhibited in the scheme above. This we have thought proper to subjoin, on account of its antiquity and general reception.

Dialogues

Diadectic Speculative Physical Logical Practical Ethical Political Inquisitive Gymnastic Maieutic Peirastic Agonistic Endeietic Anatreptic

The learned reader will observe the latter half of the dialogues, according to this scheme, to be described by metaphors taken from the gymnastic art: the dialogues, here termed gymnastic, being imagined to bear a similitude to that exercise; the agonistic, to the combat. In the lowest subdivision, indeed, the word maieutic is a metaphor of another kind, fully explained in Plato's Theaetetus: the maieutic dialogues, however, were supposed to resemble giving the rudiments of the art; as the peirastic were, to represent a skirmish, or trial of proficiency; the endeietic were, it seems, likened to the exhibiting a specimen of skill; and the anatreptic, to presenting the spectacle of a thorough defeat, or sound drubbing. The principal reason why we contented not ourselves with this account of the difference between the dialogues of Plato, was the capital error there committed in the first subdivision, of course extending itself through the latter. This error consists in dividing the Didactic dialogues with regard to their subject-matter; while those of the Inquisitive sort are divided with respect to the manner of their composition. So that the subdivisions fall not, with any propriety, under one and the same general head. Besides, a novice in the works of Plato might hence be led naturally to suppose, that the dogmatical or didactic dialogues are, all of them, written in the same manner; and that the others, those of the inquisitive kind, by us termed sceptical, have no particular subjects at all; or, if they have, that their subjects are different from those of the didactic dialogues, and are consequently unphilosophical. Now every one of the suppositions here mentioned is far from being true.


The philosopher, in thus varying his manner, and diversifying his writings into these several kinds, means not merely to entertain with their variety; not to teach, on different occasions, with more or less plainness and perspicuity; not yet to insinuate different degrees of certainty in the doctrines themselves: but he takes this method, as a consummate master of the art of composition in the dialogue-way of writing, from the different characters of the speakers, as from different elements in the frame of these dramatic dialogues, or different ingredients in their mixture, producing some peculiar genius and turn of temper, as it were, in each.

Socrates indeed is in almost all of them the principal speaker: but when he falls into the company of some arrogant sophist; when the modest wisdom, and clear science of the one, are contrasted with the confident ignorance and blind opinionativeness of the other; dispute and controversy must of course arise: where the false pretender cannot fail of being either puzzled or confuted. To puzzle him only is sufficient, if there be no other persons present; because such a man can never be confuted in his own opinion: but when there is an audience round them, in danger of being misled by sophistry into error, then is the true philosopher to exert his utmost, and the vain sophist to be convicted and exposed.

In some dialogues Plato represents his great master mixing in conversation with young men of the best families in the commonwealth. When these happen to have docile dispositions and fair minds, then is occasion given to the philosopher to call forth[25] the latent seeds of wisdom, and to cultivate the noble plants with true doctrine, in the affable and familiar way of joint inquiry. To this is owing the inquisitive genius of such dialogues: where, by a seeming equality in the conversation, the curiosity or zeal of the mere stranger is excited; that of the disciple is encouraged; and, by proper questions, the mind is aided and forwarded in the search of truth.

[25] We require exhortation, that we may be led to true good; dissuasion, that we may be turned from things truly evil; obstetrication, that we may draw forth our unperverted conceptions; and confutation, that we may be purified from two-fold ignorance.


At other times, the philosophic hero of these dialogues is introduced in a higher character, engaged in discourse with men of more improved understandings and enlightened minds. At such seasons he has an opportunity of teaching in a more explicit manner, and of discovering the reasons of things: for to such an audience truth is due, and all demonstrations[26] possible in the teaching it. Hence, in the dialogues composed of these persons, naturally arises the justly argumentative or demonstrative genius; and this, as we have before observed, according to all the dialectic methods.

[26] The Platonists rightly observe, that Socrates, in these cases, makes use of demonstrative and just reasoning, ([Greek: apodeiktikou]); whereas to the novice he is contented with arguments only probable, ([Greek: pithanois]); and against the litigious sophist often employs such as are [Greek: eristikoi]; puzzling and contentious.


But when the doctrine to be taught admits not of demonstration; of which kind is the doctrine of antiquities, being only traditional, and a matter of belief; and the doctrine of laws, being injunctional, and the matter of obedience; the air of authority is then assumed: in the former cases, the doctrine is traditionally handed down to others from the authority of ancient sages; in the latter, is magisterially pronounced with the authority of a legislator.[27]

[27] It is necessary to observe, that in those dialogues in which Socrates is indeed introduced, but sustains an inferior part, he is presented to our view as a learner, and not as a teacher; and this is the case in the Parmenides and Timaeus. For by the former of these philosophers he is instructed in the most abtruse theological dogmas, and by the latter in the whole of physiology.


Thus much for the manner in which the dialogues of Plato are severally composed, and the cast of genius given them in their composition. The form under which they appear, or the external character that marks them, is of three sorts: either purely dramatic, like the dialogue of tragedy or comedy; or purely narrative, where a former conversation is supposed to be committed to writing, and communicated to some absent friend; or of the mixed kind, like a narration in dramatic poems, where is recited, to some person present, the story of things past.

Having thus divided the dialogues of Plato, in respect of that inward form or composition, which creates their genius; and again, with reference to that outward form, which marks them, like flowers and other vegetables, with a certain character; we are further to make a division of them, with regard to their subject and their design; beginning with their design, or end, because for the sake of this are all the subjects chosen. The end of all the writings of Plato is that, which is the end of all true philosophy or wisdom, the perfection and the happiness of man. Man therefore is the general subject; and the first business of philosophy must be to inquire what is that being called man, who is to be made happy; and what is his nature, in the perfection of which is placed his happiness. As however, in the preceding part of this Introduction, we have endeavored to give the outlines of Plato's doctrine concerning man, it is unnecessary in this place to say any thing further on that subject.

The dialogues of Plato, therefore, with respect to their subjects, may be divided into the speculative, the practical, and such as are of a mixed nature. The subjects of these last are either general, comprehending both the others; or differential, distinguishing them. The general subject are either fundamental, or final: those of the fundamental kind are philosophy, human nature, the soul of man; of the final kind are love, beauty, good. The differential regard knowledge, as it stands related to practice; in which are considered two questions: one of which is, whether virtue is to he taught; the other is, whether error in the will depends on error in the judgment. The subjects of the speculative dialogues relate either to words, or to things. Of the former sort are etymology, sophistry, rhetoric, poetry; of the latter sort are science, true being, the principles of mind, outward nature. The practical subjects relate either to private conduct, and the government of the mind over the whole man; or to his duty towards others in his several relations; or to the government of a civil state, and the public conduct of a whole people. Under these three heads rank in order the particular subjects practical; virtue in general, sanctity, temperance, fortitude, justice, friendship, patriotism, piety; the ruling mind in a civil government, the frame and order of a state, law in general, and lastly, those rules of government and of public conduct, the civil laws.

Thus, for the sake of giving the reader a scientific, that is a comprehensive, and at the same time a distinct view of Plato's writings, we have attempted to exhibit to him, their just and natural distinctions; whether he chooses to consider them with regard to their inward form or essence, their outward form or appearance, their matter; or their end: that is, in those more familiar terms, we have used in this Synopsis, their genius, their character, their subject, and their design.

And here it is requisite to observe, that as it is the characteristic of the highest good to be universally beneficial, though some things are benefitted by it more and others less, in consequence of their greater or less aptitude to receive it; in like manner the dialogues of Plato are so largely stamped with the characters of sovereign good, that they are calculated to benefit in a certain degree even those who are incapable of penetrating their profundity. They can tame a savage sophist, like Thrasymachus in the Republic; humble the arrogance even of those who are ignorant of their ignorance; make those to become proficients in political, who will never arrive at theoretic virtue; and, in short, like the illuminations of deity, wherever there is any portion of aptitude in their recipients, they purify, irradiate, and exalt.

After this general view of the dialogues of Plato, let us in the next place consider their preambles, the digressions with which they abound, and the character of the style in which they are written. With respect to the first of these, the preambles, however superfluous they may at first sight appear, they will be found on a closer inspection necessary to the design of the dialogues which they accompany. Thus the prefatory part of the Timaeus unfolds, in images agreeably to the Pythagoric custom, the theory of the world; and the first part of the Parmenides, or the discussion of ideas, is in fact merely a preamble to the second part, or the speculation of the one; to which however it is essentially preparatory. Hence, as Plutarch says, when he speaks of Plato's dialogue on the Atlantic island: These preambles are superb gates and magnificent courts with which he purposely embellishes his great edifices, that nothing may be wanting to their beauty, and that all may be equally splendid. He acts, as Dacier well observes, like a great prince, who, when he builds a sumptuous palace, adorns (in the language of Pindar) the vestibule with golden pillars. For it is fit that what is first seen should be splendid and magnificent, and should as it were perspicuously announce all that grandeur which afterwards presents itself to the view.

With respect to the frequent digressions in his dialogues, these also, when accurately examined, will be found to be no less subservient to the leading design of the dialogues in which they are introduced; at the same time that they afford a pleasing relaxation to the mind from the labor of severe investigation. Hence Plato, by the most happy and enchanting art, contrives to lead the reader to the temple of Truth through the delightful groves and valleys of the Graces. In short, this circuitous course, when attentively considered, will be found to be the shortest road by which he could conduct the reader to the desired end: for in accomplishing this it is necessary to regard not that road, which is most straight in the nature of things, or abstractedly considered, but that which is most direct in the progressions of human understanding.

With respect to the style of Plato, though it forms in reality the most inconsiderable part of the merit of his writings, style in all philosophical works being the last thing that should be attended to, yet even in this Plato may contend for the palm of excellence with the most renowned masters of diction. Hence we find that his style was the admiration of the finest writers of antiquity. According to Ammianus, Jupiter himself would not speak otherwise, if he were to converse in the Attic tongue. Aristotle considered his style as a medium between poetry and prose. Cicero no less praises him for the excellence of his diction than the profundity of his conceptions; and Longinus calls him with respect to his language, the rival of Homer. Hence he is considered by this prince of critics, as deriving into himself abundant streams from the Homeric fountain, and is compared by him, in his rivalship of Homer, to a new antagonist who enters the lists against one that is already the object of universal admiration.

Notwithstanding this praise, however, Plato has been accused, as Longinus informs us, of being frequently hurried away as by a certain Bacchic fury of words to immoderate and unpleasant metaphors, and an allegoric magnificence of diction. Longinus excuses this by saying that whatever naturally excels in magnitude possesses very little of purity. For that, says he, which is in every respect accurate is in danger of littleness. He adds, "and may not this also be necessary, that those of an abject and moderate genius, because they never encounter danger, nor aspire after the summit of excellence, are for the most part without error and remain in security; but that great things become insecure through their magnitude?" Indeed it appears to me, that whenever this exuberance, this Bacchic fury, occurs in the diction of Plato, it is owing to the magnitude of the inspiring influence of deity with which he is then replete. For that he sometimes wrote from divine inspiration is evident from his own confession in the Phaedrus, a great part of which is not so much like an orderly discourse as a dithyrambic poem. Such a style therefore, as it is the progeny of divine mania, which, as Plato justly observes, is better than all human prudence, spontaneously adapts itself to its producing cause, imitates a supernatural power as far as this can be effected by words, and thus necessarily becomes magnificent, vehement, and exuberant; for such are the characteristics of its source. All judges of composition however, both ancient and modern, are agreed that his style is in general graceful and pure; and that it is sublime without being impetuous and rapid. It is indeed no less harmonious than elevated, no less accurate[27] than magnificent. It combines the force of the greatest orators with the graces of the first of poets; and in short; is a river to which those justly celebrated lines of Denham may be most pertinently applied:

Tho' deep, yet clear; tho' gentle, yet not dull; Strong without rage, without o'erfowing full.

[27] The reader will see, from the notes on Plato's dialogues, and particularly from the notes on the Parmenides and Timaeus, that the style of that philosopher possesses an accuracy which is not to be found in any modern writer; an accuracy of such a wonderful nature, that the words are exactly commensurate with the sense. Hence the reader who has happily penetrated his profundity finds, with astonishment, that another word could not have been added without being superfluous, nor one word taken away without injuring the sense. The same observation may also be applied to the style of Aristotle.


Having thus considered the philosophy of Plato, given a general view of his writings, and made some observations on his style, it only now remains to speak of the following arrangement of his dialogues and translation of his works, and then, with a few appropriate observations, to close this Introduction.

As no accurate and scientific arrangement then of these dialogues has been transmitted to us from the ancients, I was under the necessity of adopting an arrangement of my own, which I trust is not unscientific, however inferior it may be to that which was doubtless made, though unfortunately lost, by the latter interpreters of Plato. In my arrangement, therefore, I have imitated the order of the universe in which, as I have already observed, wholes precede parts, and universals particulars. Hence I have placed those dialogues first which rank as wholes, or have the relation of a system, and afterwards those in which these systems are branch out into particulars. Thus, after the First Alcibiades, which may be called, and appears to have been generally considered by the ancients an introduction to the whole of Plato's philosophy, I have placed the Republic and the Laws, which may be said to comprehend systematically the morals and politics of Plato. After these I have ranked the Timaeus, which contains the whole of his physiology, and together with it the Critias, because of its connection with the Timaeus. The next in order is the Parmenides, which contains a system of his theology. Thus far this arrangement is conformable to the natural progress of the human mind in the acquisition of the sublimest knowledge; the subsequent arrangement principally regards the order of things. After the Parmenides then, the Sophista, Phaedrus, Greater Hippias, and Banquet, follow, which may be considered as so many lesser wholes subordinate to and comprehended in the Parmenides, which, like the universe itself, is a whole of wholes. For in the Sophista being itself is investigated, in the Banquet love itself, and in the Phaedrus beauty itself; all which are intelligible forms, and are consequently contained in the Parmenides, in which the whole extent of the intelligible is unfolded. The Greater Hippias is classed with the Phaedrus, because in the latter the whole series of the beautiful is discussed, and in the former that which subsists in soul. After these follows the Theaetetus, in which science considered as subsisting in soul is investigated; science itself, according to its first subsistence, having been previously celebrated by Socrates in one part of the Phaedrus. The Politicus and Minos, which follow next, may be considered as ramifications from the Laws; and, in short, all the following dialogues either consider more particularly the dogmas which are systematically comprehended in those already enumerated, or naturally flow from them as their original source. As it did not however appear possible to arrange these dialogues which rank as parts in the same accurate order as those which we considered as whole, it was thought better to class them either according to their agreement in one particular circumstance, as the Phaedo, Apology, and Crito, all which relate to the death of Socrates, and as the Meno and Protagoras, which relate to the question whether virtue can be taught; or according to their agreement in character, as the Lesser Hippias and Euthydemus, which are anatreptic, and the Theages, Laches, and Lysis, which are maieutic dialogues. The Cratylus is ranked in the last place, not so much because the subject of it is etymology, as because a great part of it is deeply theological; for by this arrangement, after having ascended to all the divine orders and their ineffable principle in the Parmenides, and thence descended in a regular series to the human soul in the subsequent dialogues, the reader is again led back to deity in this dialogue, and thus imitates the order which all beings observe, that of incessantly returning to the principles whence they flew.

After the dialogues[28] follow the Epistles of Plato, which are in every respect worthy that prince of all true philosophers. They are not only written with great elegance, and occasionally with magnificence of diction, but with all the becoming dignity of a mind conscious of its superior endowments, and all the authority of a master in philosophy. They are likewise replete with many admirable political observations, and contain some of his most abstruse dogmas, which though delivered enigmatically, yet the manner in which they are delivered, elucidates at the same time that it is elucidated by what is said of these dogmas in his more theological dialogues.

[28] As I profess to give the reader a translation of the genuine works of Plato only, I have not translated the Axiochus, Demodoeus, Sisyphus, &c. as these are evidently spurious dialogues.