Gorgias

The three myths are unlike anything else in Plato. There is an Oriental, or rather an Egyptian element in them, and they have an affinity to the mysteries and to the Orphic modes of worship. To a certain extent they are un-Greek; at any rate there is hardly anything like them in other Greek writings which have a serious purpose; in spirit they are mediaeval. They are akin to what may be termed the underground religion in all ages and countries. They are presented in the most lively and graphic manner, but they are never insisted on as true; it is only affirmed that nothing better can be said about a future life. Plato seems to make use of them when he has reached the limits of human knowledge; or, to borrow an expression of his own, when he is standing on the outside of the intellectual world. They are very simple in style; a few touches bring the picture home to the mind, and make it present to us. They have also a kind of authority gained by the employment of sacred and familiar names, just as mere fragments of the words of Scripture, put together in any form and applied to any subject, have a power of their own. They are a substitute for poetry and mythology; and they are also a reform of mythology. The moral of them may be summed up in a word or two: After death the Judgment; and 'there is some better thing remaining for the good than for the evil.'

All literature gathers into itself many elements of the past: for example, the tale of the earth-born men in the Republic appears at first sight to be an extravagant fancy, but it is restored to propriety when we remember that it is based on a legendary belief. The art of making stories of ghosts and apparitions credible is said to consist in the manner of telling them. The effect is gained by many literary and conversational devices, such as the previous raising of curiosity, the mention of little circumstances, simplicity, picturesqueness, the naturalness of the occasion, and the like. This art is possessed by Plato in a degree which has never been equalled.

The myth in the Phaedrus is even greater than the myths which have been already described, but is of a different character. It treats of a former rather than of a future life. It represents the conflict of reason aided by passion or righteous indignation on the one hand, and of the animal lusts and instincts on the other. The soul of man has followed the company of some god, and seen truth in the form of the universal before it was born in this world. Our present life is the result of the struggle which was then carried on. This world is relative to a former world, as it is often projected into a future. We ask the question, Where were men before birth? As we likewise enquire, What will become of them after death? The first question is unfamiliar to us, and therefore seems to be unnatural; but if we survey the whole human race, it has been as influential and as widely spread as the other. In the Phaedrus it is really a figure of speech in which the 'spiritual combat' of this life is represented. The majesty and power of the whole passage – especially of what may be called the theme or proem (beginning 'The mind through all her being is immortal') – can only be rendered very inadequately in another language.

The myth in the Statesman relates to a former cycle of existence, in which men were born of the earth, and by the reversal of the earth's motion had their lives reversed and were restored to youth and beauty: the dead came to life, the old grew middle-aged, and the middle-aged young; the youth became a child, the child an infant, the infant vanished into the earth. The connection between the reversal of the earth's motion and the reversal of human life is of course verbal only, yet Plato, like theologians in other ages, argues from the consistency of the tale to its truth. The new order of the world was immediately under the government of God; it was a state of innocence in which men had neither wants nor cares, in which the earth brought forth all things spontaneously, and God was to man what man now is to the animals. There were no great estates, or families, or private possessions, nor any traditions of the past, because men were all born out of the earth. This is what Plato calls the 'reign of Cronos;' and in like manner he connects the reversal of the earth's motion with some legend of which he himself was probably the inventor.

The question is then asked, under which of these two cycles of existence was man the happier, – under that of Cronos, which was a state of innocence, or that of Zeus, which is our ordinary life? For a while Plato balances the two sides of the serious controversy, which he has suggested in a figure. The answer depends on another question: What use did the children of Cronos make of their time? They had boundless leisure and the faculty of discoursing, not only with one another, but with the animals. Did they employ these advantages with a view to philosophy, gathering from every nature some addition to their store of knowledge? or, Did they pass their time in eating and drinking and telling stories to one another and to the beasts? – in either case there would be no difficulty in answering. But then, as Plato rather mischievously adds, 'Nobody knows what they did,' and therefore the doubt must remain undetermined.

To the first there succeeds a second epoch. After another natural convulsion, in which the order of the world and of human life is once more reversed, God withdraws his guiding hand, and man is left to the government of himself. The world begins again, and arts and laws are slowly and painfully invented. A secular age succeeds to a theocratical. In this fanciful tale Plato has dropped, or almost dropped, the garb of mythology. He suggests several curious and important thoughts, such as the possibility of a state of innocence, the existence of a world without traditions, and the difference between human and divine government. He has also carried a step further his speculations concerning the abolition of the family and of property, which he supposes to have no place among the children of Cronos any more than in the ideal state.

It is characteristic of Plato and of his age to pass from the abstract to the concrete, from poetry to reality. Language is the expression of the seen, and also of the unseen, and moves in a region between them. A great writer knows how to strike both these chords, sometimes remaining within the sphere of the visible, and then again comprehending a wider range and soaring to the abstract and universal. Even in the same sentence he may employ both modes of speech not improperly or inharmoniously. It is useless to criticise the broken metaphors of Plato, if the effect of the whole is to create a picture not such as can be painted on canvas, but which is full of life and meaning to the reader. A poem may be contained in a word or two, which may call up not one but many latent images; or half reveal to us by a sudden flash the thoughts of many hearts. Often the rapid transition from one image to another is pleasing to us: on the other hand, any single figure of speech if too often repeated, or worked out too much at length, becomes prosy and monotonous. In theology and philosophy we necessarily include both 'the moral law within and the starry heaven above,' and pass from one to the other (compare for examples Psalms xviii. and xix.). Whether such a use of language is puerile or noble depends upon the genius of the writer or speaker, and the familiarity of the associations employed.

In the myths and parables of Plato the ease and grace of conversation is not forgotten: they are spoken, not written words, stories which are told to a living audience, and so well told that we are more than half-inclined to believe them (compare Phaedrus). As in conversation too, the striking image or figure of speech is not forgotten, but is quickly caught up, and alluded to again and again; as it would still be in our own day in a genial and sympathetic society. The descriptions of Plato have a greater life and reality than is to be found in any modern writing. This is due to their homeliness and simplicity. Plato can do with words just as he pleases; to him they are indeed 'more plastic than wax' (Republic). We are in the habit of opposing speech and writing, poetry and prose. But he has discovered a use of language in which they are united; which gives a fitting expression to the highest truths; and in which the trifles of courtesy and the familiarities of daily life are not overlooked.

GORGIAS

By Plato

Translated by Benjamin Jowett

PERSONS OF THE DIALOGUE: Callicles, Socrates, Chaerephon, Gorgias, Polus.

SCENE: The house of Callicles.

CALLICLES: The wise man, as the proverb says, is late for a fray, but not for a feast.

SOCRATES: And are we late for a feast?

CALLICLES: Yes, and a delightful feast; for Gorgias has just been exhibiting to us many fine things.

SOCRATES: It is not my fault, Callicles; our friend Chaerephon is to blame; for he would keep us loitering in the Agora.

CHAEREPHON: Never mind, Socrates; the misfortune of which I have been the cause I will also repair; for Gorgias is a friend of mine, and I will make him give the exhibition again either now, or, if you prefer, at some other time.

CALLICLES: What is the matter, Chaerephon – does Socrates want to hear Gorgias?

CHAEREPHON: Yes, that was our intention in coming.

CALLICLES: Come into my house, then; for Gorgias is staying with me, and he shall exhibit to you.

SOCRATES: Very good, Callicles; but will he answer our questions? for I want to hear from him what is the nature of his art, and what it is which he professes and teaches; he may, as you (Chaerephon) suggest, defer the exhibition to some other time.

CALLICLES: There is nothing like asking him, Socrates; and indeed to answer questions is a part of his exhibition, for he was saying only just now, that any one in my house might put any question to him, and that he would answer.

SOCRATES: How fortunate! will you ask him, Chaerephon – ?

CHAEREPHON: What shall I ask him?

SOCRATES: Ask him who he is.

CHAEREPHON: What do you mean?

SOCRATES: I mean such a question as would elicit from him, if he had been a maker of shoes, the answer that he is a cobbler. Do you understand?

CHAEREPHON: I understand, and will ask him: Tell me, Gorgias, is our friend Callicles right in saying that you undertake to answer any questions which you are asked?

GORGIAS: Quite right, Chaerephon: I was saying as much only just now; and I may add, that many years have elapsed since any one has asked me a new one.

CHAEREPHON: Then you must be very ready, Gorgias.

GORGIAS: Of that, Chaerephon, you can make trial.

POLUS: Yes, indeed, and if you like, Chaerephon, you may make trial of me too, for I think that Gorgias, who has been talking a long time, is tired.

CHAEREPHON: And do you, Polus, think that you can answer better than Gorgias?

POLUS: What does that matter if I answer well enough for you?

CHAEREPHON: Not at all: – and you shall answer if you like.

POLUS: Ask: —

CHAEREPHON: My question is this: If Gorgias had the skill of his brother Herodicus, what ought we to call him? Ought he not to have the name which is given to his brother?

POLUS: Certainly.

CHAEREPHON: Then we should be right in calling him a physician?

POLUS: Yes.

CHAEREPHON: And if he had the skill of Aristophon the son of Aglaophon, or of his brother Polygnotus, what ought we to call him?

POLUS: Clearly, a painter.

CHAEREPHON: But now what shall we call him – what is the art in which he is skilled.

POLUS: O Chaerephon, there are many arts among mankind which are experimental, and have their origin in experience, for experience makes the days of men to proceed according to art, and inexperience according to chance, and different persons in different ways are proficient in different arts, and the best persons in the best arts. And our friend Gorgias is one of the best, and the art in which he is a proficient is the noblest.

SOCRATES: Polus has been taught how to make a capital speech, Gorgias; but he is not fulfilling the promise which he made to Chaerephon.

GORGIAS: What do you mean, Socrates?

SOCRATES: I mean that he has not exactly answered the question which he was asked.

GORGIAS: Then why not ask him yourself?

SOCRATES: But I would much rather ask you, if you are disposed to answer: for I see, from the few words which Polus has uttered, that he has attended more to the art which is called rhetoric than to dialectic.

POLUS: What makes you say so, Socrates?

SOCRATES: Because, Polus, when Chaerephon asked you what was the art which Gorgias knows, you praised it as if you were answering some one who found fault with it, but you never said what the art was.

POLUS: Why, did I not say that it was the noblest of arts?

SOCRATES: Yes, indeed, but that was no answer to the question: nobody asked what was the quality, but what was the nature, of the art, and by what name we were to describe Gorgias. And I would still beg you briefly and clearly, as you answered Chaerephon when he asked you at first, to say what this art is, and what we ought to call Gorgias: Or rather, Gorgias, let me turn to you, and ask the same question, – what are we to call you, and what is the art which you profess?

GORGIAS: Rhetoric, Socrates, is my art.

SOCRATES: Then I am to call you a rhetorician?

GORGIAS: Yes, Socrates, and a good one too, if you would call me that which, in Homeric language, 'I boast myself to be.'

SOCRATES: I should wish to do so.

GORGIAS: Then pray do.

SOCRATES: And are we to say that you are able to make other men rhetoricians?

GORGIAS: Yes, that is exactly what I profess to make them, not only at Athens, but in all places.

SOCRATES: And will you continue to ask and answer questions, Gorgias, as we are at present doing, and reserve for another occasion the longer mode of speech which Polus was attempting? Will you keep your promise, and answer shortly the questions which are asked of you?

GORGIAS: Some answers, Socrates, are of necessity longer; but I will do my best to make them as short as possible; for a part of my profession is that I can be as short as any one.

SOCRATES: That is what is wanted, Gorgias; exhibit the shorter method now, and the longer one at some other time.

GORGIAS: Well, I will; and you will certainly say, that you never heard a man use fewer words.

SOCRATES: Very good then; as you profess to be a rhetorician, and a maker of rhetoricians, let me ask you, with what is rhetoric concerned: I might ask with what is weaving concerned, and you would reply (would you not?), with the making of garments?

GORGIAS: Yes.

SOCRATES: And music is concerned with the composition of melodies?

GORGIAS: It is.

SOCRATES: By Here, Gorgias, I admire the surpassing brevity of your answers.

GORGIAS: Yes, Socrates, I do think myself good at that.

SOCRATES: I am glad to hear it; answer me in like manner about rhetoric: with what is rhetoric concerned?

GORGIAS: With discourse.

SOCRATES: What sort of discourse, Gorgias? – such discourse as would teach the sick under what treatment they might get well?

GORGIAS: No.

SOCRATES: Then rhetoric does not treat of all kinds of discourse?

GORGIAS: Certainly not.

SOCRATES: And yet rhetoric makes men able to speak?

GORGIAS: Yes.

SOCRATES: And to understand that about which they speak?

GORGIAS: Of course.

SOCRATES: But does not the art of medicine, which we were just now mentioning, also make men able to understand and speak about the sick?

GORGIAS: Certainly.

SOCRATES: Then medicine also treats of discourse?

GORGIAS: Yes.

SOCRATES: Of discourse concerning diseases?

GORGIAS: Just so.

SOCRATES: And does not gymnastic also treat of discourse concerning the good or evil condition of the body?

GORGIAS: Very true.

SOCRATES: And the same, Gorgias, is true of the other arts: – all of them treat of discourse concerning the subjects with which they severally have to do.

GORGIAS: Clearly.

SOCRATES: Then why, if you call rhetoric the art which treats of discourse, and all the other arts treat of discourse, do you not call them arts of rhetoric?

GORGIAS: Because, Socrates, the knowledge of the other arts has only to do with some sort of external action, as of the hand; but there is no such action of the hand in rhetoric which works and takes effect only through the medium of discourse. And therefore I am justified in saying that rhetoric treats of discourse.

SOCRATES: I am not sure whether I entirely understand you, but I dare say I shall soon know better; please to answer me a question: – you would allow that there are arts?

GORGIAS: Yes.

SOCRATES: As to the arts generally, they are for the most part concerned with doing, and require little or no speaking; in painting, and statuary, and many other arts, the work may proceed in silence; and of such arts I suppose you would say that they do not come within the province of rhetoric.

GORGIAS: You perfectly conceive my meaning, Socrates.

SOCRATES: But there are other arts which work wholly through the medium of language, and require either no action or very little, as, for example, the arts of arithmetic, of calculation, of geometry, and of playing draughts; in some of these speech is pretty nearly co-extensive with action, but in most of them the verbal element is greater – they depend wholly on words for their efficacy and power: and I take your meaning to be that rhetoric is an art of this latter sort?

GORGIAS: Exactly.

SOCRATES: And yet I do not believe that you really mean to call any of these arts rhetoric; although the precise expression which you used was, that rhetoric is an art which works and takes effect only through the medium of discourse; and an adversary who wished to be captious might say, 'And so, Gorgias, you call arithmetic rhetoric.' But I do not think that you really call arithmetic rhetoric any more than geometry would be so called by you.

GORGIAS: You are quite right, Socrates, in your apprehension of my meaning.

SOCRATES: Well, then, let me now have the rest of my answer: – seeing that rhetoric is one of those arts which works mainly by the use of words, and there are other arts which also use words, tell me what is that quality in words with which rhetoric is concerned: – Suppose that a person asks me about some of the arts which I was mentioning just now; he might say, 'Socrates, what is arithmetic?' and I should reply to him, as you replied to me, that arithmetic is one of those arts which take effect through words. And then he would proceed to ask: 'Words about what?' and I should reply, Words about odd and even numbers, and how many there are of each. And if he asked again: 'What is the art of calculation?' I should say, That also is one of the arts which is concerned wholly with words. And if he further said, 'Concerned with what?' I should say, like the clerks in the assembly, 'as aforesaid' of arithmetic, but with a difference, the difference being that the art of calculation considers not only the quantities of odd and even numbers, but also their numerical relations to themselves and to one another. And suppose, again, I were to say that astronomy is only words – he would ask, 'Words about what, Socrates?' and I should answer, that astronomy tells us about the motions of the stars and sun and moon, and their relative swiftness.

GORGIAS: You would be quite right, Socrates.

SOCRATES: And now let us have from you, Gorgias, the truth about rhetoric: which you would admit (would you not?) to be one of those arts which act always and fulfil all their ends through the medium of words?

GORGIAS: True.

SOCRATES: Words which do what? I should ask. To what class of things do the words which rhetoric uses relate?

GORGIAS: To the greatest, Socrates, and the best of human things.

SOCRATES: That again, Gorgias is ambiguous; I am still in the dark: for which are the greatest and best of human things? I dare say that you have heard men singing at feasts the old drinking song, in which the singers enumerate the goods of life, first health, beauty next, thirdly, as the writer of the song says, wealth honestly obtained.

GORGIAS: Yes, I know the song; but what is your drift?

SOCRATES: I mean to say, that the producers of those things which the author of the song praises, that is to say, the physician, the trainer, the money-maker, will at once come to you, and first the physician will say: 'O Socrates, Gorgias is deceiving you, for my art is concerned with the greatest good of men and not his.' And when I ask, Who are you? he will reply, 'I am a physician.' What do you mean? I shall say. Do you mean that your art produces the greatest good? 'Certainly,' he will answer, 'for is not health the greatest good? What greater good can men have, Socrates?' And after him the trainer will come and say, 'I too, Socrates, shall be greatly surprised if Gorgias can show more good of his art than I can show of mine.' To him again I shall say, Who are you, honest friend, and what is your business? 'I am a trainer,' he will reply, 'and my business is to make men beautiful and strong in body.' When I have done with the trainer, there arrives the money-maker, and he, as I expect, will utterly despise them all. 'Consider Socrates,' he will say, 'whether Gorgias or any one else can produce any greater good than wealth.' Well, you and I say to him, and are you a creator of wealth? 'Yes,' he replies. And who are you? 'A money-maker.' And do you consider wealth to be the greatest good of man? 'Of course,' will be his reply. And we shall rejoin: Yes; but our friend Gorgias contends that his art produces a greater good than yours. And then he will be sure to go on and ask, 'What good? Let Gorgias answer.' Now I want you, Gorgias, to imagine that this question is asked of you by them and by me; What is that which, as you say, is the greatest good of man, and of which you are the creator? Answer us.

GORGIAS: That good, Socrates, which is truly the greatest, being that which gives to men freedom in their own persons, and to individuals the power of ruling over others in their several states.

SOCRATES: And what would you consider this to be?

GORGIAS: What is there greater than the word which persuades the judges in the courts, or the senators in the council, or the citizens in the assembly, or at any other political meeting? – if you have the power of uttering this word, you will have the physician your slave, and the trainer your slave, and the money-maker of whom you talk will be found to gather treasures, not for himself, but for you who are able to speak and to persuade the multitude.

SOCRATES: Now I think, Gorgias, that you have very accurately explained what you conceive to be the art of rhetoric; and you mean to say, if I am not mistaken, that rhetoric is the artificer of persuasion, having this and no other business, and that this is her crown and end. Do you know any other effect of rhetoric over and above that of producing persuasion?

GORGIAS: No: the definition seems to me very fair, Socrates; for persuasion is the chief end of rhetoric.

SOCRATES: Then hear me, Gorgias, for I am quite sure that if there ever was a man who entered on the discussion of a matter from a pure love of knowing the truth, I am such a one, and I should say the same of you.

GORGIAS: What is coming, Socrates?

SOCRATES: I will tell you: I am very well aware that I do not know what, according to you, is the exact nature, or what are the topics of that persuasion of which you speak, and which is given by rhetoric; although I have a suspicion about both the one and the other. And I am going to ask – what is this power of persuasion which is given by rhetoric, and about what? But why, if I have a suspicion, do I ask instead of telling you? Not for your sake, but in order that the argument may proceed in such a manner as is most likely to set forth the truth. And I would have you observe, that I am right in asking this further question: If I asked, 'What sort of a painter is Zeuxis?' and you said, 'The painter of figures,' should I not be right in asking, 'What kind of figures, and where do you find them?'

GORGIAS: Certainly.

SOCRATES: And the reason for asking this second question would be, that there are other painters besides, who paint many other figures?

GORGIAS: True.

SOCRATES: But if there had been no one but Zeuxis who painted them, then you would have answered very well?

GORGIAS: Quite so.

SOCRATES: Now I want to know about rhetoric in the same way; – is rhetoric the only art which brings persuasion, or do other arts have the same effect? I mean to say – Does he who teaches anything persuade men of that which he teaches or not?

GORGIAS: He persuades, Socrates, – there can be no mistake about that.

SOCRATES: Again, if we take the arts of which we were just now speaking: – do not arithmetic and the arithmeticians teach us the properties of number?

GORGIAS: Certainly.

SOCRATES: And therefore persuade us of them?

GORGIAS: Yes.

SOCRATES: Then arithmetic as well as rhetoric is an artificer of persuasion?

GORGIAS: Clearly.

SOCRATES: And if any one asks us what sort of persuasion, and about what, – we shall answer, persuasion which teaches the quantity of odd and even; and we shall be able to show that all the other arts of which we were just now speaking are artificers of persuasion, and of what sort, and about what.

GORGIAS: Very true.

SOCRATES: Then rhetoric is not the only artificer of persuasion?

GORGIAS: True.

SOCRATES: Seeing, then, that not only rhetoric works by persuasion, but that other arts do the same, as in the case of the painter, a question has arisen which is a very fair one: Of what persuasion is rhetoric the artificer, and about what? – is not that a fair way of putting the question?

GORGIAS: I think so.

SOCRATES: Then, if you approve the question, Gorgias, what is the answer?

GORGIAS: I answer, Socrates, that rhetoric is the art of persuasion in courts of law and other assemblies, as I was just now saying, and about the just and unjust.

SOCRATES: And that, Gorgias, was what I was suspecting to be your notion; yet I would not have you wonder if by-and-by I am found repeating a seemingly plain question; for I ask not in order to confute you, but as I was saying that the argument may proceed consecutively, and that we may not get the habit of anticipating and suspecting the meaning of one another's words; I would have you develope your own views in your own way, whatever may be your hypothesis.

GORGIAS: I think that you are quite right, Socrates.

SOCRATES: Then let me raise another question; there is such a thing as 'having learned'?

GORGIAS: Yes.

SOCRATES: And there is also 'having believed'?

GORGIAS: Yes.

SOCRATES: And is the 'having learned' the same as 'having believed,' and are learning and belief the same things?

GORGIAS: In my judgment, Socrates, they are not the same.

SOCRATES: And your judgment is right, as you may ascertain in this way: – If a person were to say to you, 'Is there, Gorgias, a fa