[2] Diogen. Laert. iii. 52. Prolegom. Platon. Philosoph. c. 10, vol. vi. 205, of K. F. Hermann’s edition of Plato.
Poetical vein predominant in some compositions, but not in all.
Again, Aristotle declared the writing of Plato to be something between poetry and prose, and even the philosophical doctrine of Plato respecting Ideas, to derive all its apparent plausibility from poetic metaphors. The affirmation is true, up to a certain point. Many of the dialogues display an exuberant vein of poetry, which was declared — not by Aristotle alone, but by many other critics contemporary with Plato — to be often misplaced and excessive — and which appeared the more striking because the dialogues composed by the other Sokratic companions were all of them plain and unadorned.[3] The various mythes, in the Phædrus and elsewhere, are announced expressly as soaring above the conditions of truth and logical appreciation. Moreover, we find occasionally an amount of dramatic vivacity, and of artistic antithesis between the speakers introduced, which might have enabled Plato, had he composed for the drama as a profession, to contend with success for the prizes at the Dionysiac festivals. But here again, though this is true of several dialogues, it is not true of others. In the Parmenidês, Timæus, and the Leges, such elements will be looked for in vain. In the Timæus, they are exchanged for a professed cosmical system, including much mystic and oracular affirmation, without proof to support it, and without opponents to test it: in the Leges, for ethical sermons, and religious fulminations, proclaimed by a dictatorial authority.
[3] See Dionys. Hal. Epist. ad Cn. Pomp. 756, De Adm. Vi Dic. Dem. 956, where he recognises the contrast between Plato and τὸ Σωκρατικὸν διδασκαλεῖον πᾶν. His expression is remarkable: Ταῦτα γὰρ οἵ τε κατ’ αὐτὸν γενόμενοι πάντες ἐπιτιμῶσιν ὧν τὰ ὀνόματα οὐδὲν δεῖ με λέγειν. Epistol. ad Cn. Pomp. p. 761; also 757. See also Diog. L. iii. 37; Aristotel. Metaph. A. 991, a. 22.
Cicero and Quintilian say the same about Plato’s style: “Multum supra prosam orationem, et quam pedestrem Græci vocant, surgit: ut mihi non hominis ingenio, sed quodam Delphico videatur oraculo instinctus”. Quintil. x. 1, 81. Cicero, Orator, c. 20. Lucian, Piscator, c. 22.
Sextus Empiricus designates the same tendency under the words τὴν Πλάτωνος ἀνειδωλοποίησιν. Pyrrhon. Hypotyp. iii. 189.
The Greek rhetors of the Augustan age — Dionysius of Halikarnassus and Kækilius of Kalaktê — not only blamed the style of Plato for excessive, overstrained, and misplaced metaphor, but Kækilius goes so far as to declare a decided preference for Lysias over Plato. (Dionys. Hal. De Vi Demosth. pp. 1025-1037, De Comp. Verb. p. 196 R; Longinus, De Sublimitat. c. 32.) The number of critics who censured the manner and doctrine of Plato (critics both contemporary with him and subsequent) was considerable (Dionys. H. Ep. ad Pomp. p. 757). Dionysius and the critics of his age had before their eyes the contrast of the Asiatic style of rhetoric, prevalent in their time, with the Attic style represented by Demosthenes and Lysias. They wished to uphold the force and simplicity of the Attic, against the tumid, wordy, pretensive Asiatic: and they considered the Phædrus, with other compositions of Plato, as falling under the same censure with the Asiatic. See Theoph. Burckhardt, Cæcili Rhet. Frag., Berlin, 1863, p. 15.
Form of dialogue — universal to this extent, that Plato never speaks in his own name.
One feature there is, which is declared by Schleiermacher and others to be essential to all the works of Plato — the form of dialogue. Here Schleiermacher’s assertion, literally taken, is incontestable. Plato always puts his thoughts into the mouth of some spokesman: he never speaks in his own name. All the works of Plato which we possess (excepting the Epistles, and the Apology, which last I consider to be a report of what Sokrates himself said) are dialogues. But under this same name, many different realities are found to be contained. In the Timæus and Kritias the dialogue is simply introductory to a continuous exposition — in the Menexenus, to a rhetorical discourse: while in the Leges, and even in Sophistês, Politikus, and others, it includes no antithesis nor interchange between two independent minds, but is simply a didactic lecture, put into interrogatory form, and broken into fragments small enough for the listener to swallow at once: he by his answer acknowledging the receipt. If therefore the affirmation of Schleiermacher is intended to apply to all the Platonic compositions, we must confine it to the form, without including the spirit, of dialogue.