Protagoras | Page 6

probable, and shows in many Dialogues (e.g.
the Symposium and Republic, and already in the Laches) an extreme
disregard of the historical accuracy which is sometimes demanded of
him. (2) The exact place of the Protagoras among the Dialogues, and
the date of composition, have also been much disputed. But there are
no criteria which afford any real grounds for determining the date of
composition; and the affinities of the Dialogues, when they are not
indicated by Plato himself, must always to a great extent remain
uncertain. (3) There is another class of difficulties, which may be
ascribed to preconceived notions of commentators, who imagine that
Protagoras the Sophist ought always to be in the wrong, and his
adversary Socrates in the right; or that in this or that passage--e.g. in
the explanation of good as pleasure--Plato is inconsistent with himself;
or that the Dialogue fails in unity, and has not a proper beginning,
middle, and ending. They seem to forget that Plato is a dramatic writer
who throws his thoughts into both sides of the argument, and certainly
does not aim at any unity which is inconsistent with freedom, and with
a natural or 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 of rhetoric and the new science of interrogation and
argument; also of the irony of Socrates and the self-assertion of the
Sophists. There is quite as much truth on the side of Protagoras as of
Socrates; but the truth of Protagoras is based on common sense and
common maxims of morality, while that of Socrates is paradoxical or
transcendental, and though full of meaning and insight, hardly
intelligible to the rest of mankind. Here as elsewhere is the usual
contrast between the Sophists representing average public opinion and
Socrates seeking for increased clearness and unity of ideas. But to a
great extent Protagoras has the best of the argument and represents the
better mind of man.
For example: (1) one of the noblest statements to be found in antiquity
about the preventive nature of punishment is put into his mouth; (2) he

is clearly right also in maintaining that virtue can be taught (which
Socrates himself, at the end of the Dialogue, is disposed to concede);
and also (3) in his explanation of the phenomenon that good fathers
have bad sons; (4) he is right also in observing that the virtues are not
like the arts, gifts or attainments of