Excerpt from The Dialogues of Plato, Vol. 4 of 5: Translated Into English, With Analyses and Introductions
The Philebus appears to be one of the later writings of Plato, in which the style begins to alter, and the dramatic and poetical element has become subordinate to the speculative and philosophical. In the development of abstract thought great advances have been made on the Protagoras or the Phaedrus, and even on the Republic. But there is a corresponding diminution of artistic skill, a want of character in the persons, a laboured march in the dialogue, and a degree of confusion and incompleteness in the general design. As in the speeches of Thucydides, the multiplication of ideas seems to interfere with the power of expression. Instead of the equally diffused grace and case of the earlier dialogues there occur two or three highly-wrought passages (pp. 15, 16, 63); instead of the ever-flowing play of humour, now appearing, now concealed, but always present, are inserted a good many bad jests, as we may venture to term them (17 E, 23 A, 24 B, 29 B, 30 E, 34 D, 43 A, 36 C, 46 B). We may observe also an attempt at artificial ornament (43 E, 53 D, E), and far-fetched modes of statement (48 D), as well as other defects of style, which remind us of the Laws. The connexion is often abrupt and inharmonious (24 C, etc.), and at 42 D, E, 43 A, 48 A, B, 49, 50, far from clear. Many points require further explanation; e. g. the reference of pleasure to the indefinite class (31 A), compared with the assertion which almost immediately follows, that pleasure and pain naturally have their seat in the third or mixed class: these two statements are unreconciled. In like manner, the table of goods does not clearly distinguish between the two heads of measure and symmetry; and though a hint is given that the divine mind has the first place (22 C), nothing is said of this in the final summing up.
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