Dialogues

characters of the Dialogue are easily intelligible. There is Socrates once more in the character of an old man; and his equal in years, Crito, the father of Critobulus, like Lysimachus in the “Laches,” his fellow demesman (“Apology” 33 D), to whom the scene is narrated, and who once or twice interrupts with a remark after the manner of the interlocutor in the “Phaedo,” and adds his commentary at the end; Socrates makes a playful allusion to his money-getting habits. There is the youth Cleinias, the grandson of Alcibiades, who may be compared with Lysis, Charmides, Menexenus, and other ingenuous youths out of whose mouths Socrates draws his own lessons, and to whom he always seems to stand in a kindly and sympathetic relation. Crito will not believe that Socrates has not improved or perhaps invented the answers of Cleinias (compare “Phaedrus,” 275 B). The name of the grandson of Alcibiades, who is described as long dead, τοῦ παλαιοῦ, and who died at the age of forty-four, in the year 404 BC, suggests not only that the intended scene of the “Euthydemus” could not have been earlier than 404, but that as a fact this Dialogue could not have been composed before 390 at the soonest. Ctesippus, who is the lover of Cleinias, has been already introduced to us in the “Lysis,” and seems there too to deserve the character which is here given him, of a somewhat uproarious young man. But the chief study of all is the picture of the two brothers, who are unapproachable in their effrontery, equally careless of what they say to others and of what is said to them, and never at a loss. They are “Arcades ambo et cantare pares et respondere parati.” Some superior degree of wit or subtlety is attributed to Euthydemus, who sees the trap in which Socrates catches Dionysodorus (296 A).

The epilogue or conclusion of the Dialogue has been criticised as inconsistent with the general scheme. Such a criticism is like similar criticisms on Shakespeare, and proceeds upon a narrow notion of the variety which the Dialogue, like the drama, seems to admit. Plato in the abundance of his dramatic power has chosen to write a play upon a play, just as he often gives us an argument within an argument. At the same time he takes the opportunity of assailing another class of persons who are as alien from the spirit of philosophy as Euthydemus and Dionysodorus. The Eclectic, the Syncretist, the Doctrinaire, have been apt to have a bad name both in ancient and modern times. The persons whom Plato ridicules in the epilogue to the “Euthydemus” are of this class. They occupy a border-ground between philosophy and politics; they keep out of the dangers of politics, and at the same time use philosophy as a means of serving their own interests. Plato quaintly describes them as making two good things, philosophy and politics, a little worse by perverting the objects of both. Men like Antiphon or Lysias would be types of the class. Out of a regard to the respectabilities of life, they are disposed to censure the interest which Socrates takes in the exhibition of the two brothers. They do not understand, any more than Crito, that he is pursuing his vocation of detecting the follies of mankind, which he finds “not unpleasant.” (Compare “Apology” 23 B, 33 B)

Education is the common subject of all Plato’s earlier Dialogues. The concluding remark of Crito, that he has a difficulty in educating his two sons, and the advice of Socrates to him that he should not give up philosophy because he has no faith in philosophers, seems to be a preparation for the more peremptory declaration of the “Meno” that “Virtue cannot be taught because there are no teachers.”

The reasons for placing the “Euthydemus” early in the series are: (1) the similarity in plan and style to the “Protagoras,” “Charmides,” and “Lysis”;⁠—the relation of Socrates to the Sophists is still that of humorous antagonism, not, as in the later Dialogues of Plato, of embittered hatred; and the places and persons have a considerable family likeness; (2) the “Euthydemus” belongs to the Socratic period in which Socrates is represented as willing to learn, but unable to teach; and in the spirit of Xenophon’s Memorabilia, philosophy is defined as “the knowledge which will make us happy”; (3) we seem to have passed the stage arrived at in the “Protagoras,” for Socrates is no longer discussing whether virtue can be taught⁠—from this question he is relieved by the ingenuous declaration of the youth Cleinias; and (4) not yet to have reached the point at which he asserts “that there are no teachers.” Such grounds are precarious, as arguments from style and plan are apt to be (ὀλισθηρότατον τὸ γένος). But no arguments equally strong can be urged in favour of assigning to the “Euthydemus” any other position in the series.

Euthydemus

Persons of the dialogue:

• Socrates, who is the narrator of the Dialogue

• Crito

• Cleinias

• Euthydemus

• Dionysodorus

• Ctesippus

Scene: The Lyceum

Crito: Who was the person, Socrates, with whom you were talking yesterday at the Lyceum? There was such a crowd around you that I could not get within hearing, but I caught a sight of him over their heads, and I made out, as I thought, that he was a stranger with whom you were talking: who was he?

Socrates: There were two, Crito; which of them do you mean?

Crito: The one whom I mean was seated second from you on the right-hand side. In the middle was Cleinias the young son of Axiochus, who has wonderfully grown; he is only about the age of my own Critobulus, but he is much forwarder and very good-looking: the other is thin and looks younger than he is.

Socrates: He whom you mean, Crito, is Euthydemus; and on my left hand there was his brother Dionysodorus, who also took part in the conversation.

Crito:21