sophist-第5部分
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agreed that he
was a purger of souls； who cleared away notions obstructive to
knowledge。
Theaet。 Very true。
Str。 Do you not see that when the professor of any art has one
name and many kinds of knowledge； there must be something wrong？ The
multiplicity of names which is applied to him shows that the common
principle to which all these branches of knowledge are
tending； is not
understood。
Theaet。 I should imagine this to be the case。
Str。 At any rate we will understand him； and no indolence shall
prevent us。 Let us begin again； then； and re…examine some of our
statements concerning the Sophist； there was one thing which
appeared to me especially characteristic of him。
Theaet。 To what are you referring？
Str。 We were saying of him； if I am not mistaken； that he was a
disputer？
Theaet。 We were。
Str。 And does he not also teach others the art of disputation？
Theaet。 Certainly he does。
Str。 And about what does he profess that he teaches men to
dispute？ To begin at the beginning…Does he make them able to dispute
about divine things； which are invisible to men in general？
Theaet。 At any rate； he is said to do so。
Str。 And what do you say of the visible things in heaven and
earth； and the like？
Theaet。 Certainly he disputes； and teaches to dispute about them。
Str。 Then； again； in private conversation； when any universal
assertion is made about generation and essence； we know that such
persons are tremendous argufiers； and are able to impart their own
skill to others。
Theaet。 Undoubtedly。
Str。 And do they not profess to make men able to dispute about law
and about politics in general？
Theaet。 Why； no one would have anything to say to them； if they
did not make these professions。
Str。 In all and every art； what the craftsman ought to say
in answer
to any question is written down in a popular form； and he who likes
may learn。
Theaet。 I suppose that you are referring to the precepts of
Protagoras about wrestling and the other arts？
Str。 Yes； my friend； and about a good many other things。 In a
word； is not the art of disputation a power of disputing about all
things？
Theaet。 Certainly； there does not seem to be much which is
left out。
Str。 But oh！ my dear youth； do you suppose this possible？ for
perhaps your young eyes may see things which to our duller sight do
not appear。
Theaet。 To what are you alluding？ I do not think that I understand
your present question。
Str。 I ask whether anybody can understand all things。
Theaet。 Happy would mankind be if such a thing were possible！
Soc。 But how can any one who is ignorant dispute in a rational
manner against him who knows？
Theaet。 He cannot。
Str。 Then why has the sophistical art such a mysterious power？
Theaet。 To what do you refer？
Str。 How do the Sophists make young men believe in their
supreme and
universal wisdom？ For if they neither disputed nor were thought to
dispute rightly； or being thought to do so were deemed no wiser for
their controversial skill； then； to quote your own
observation； no one
would give them money or be willing to learn their art。
Theaet。 They certainly would not。
Str。 But they are willing。
Theaet。 Yes； they are。
Str。 Yes； and the reason； as I should imagine； is that they are
supposed to have knowledge of those things about which they dispute？
Theaet。 Certainly。
Str。 And they dispute about all things？
Theaet。 True。
Str。 And therefore； to their disciples； they appear to be all…wise？
Theaet。 Certainly。
Str。 But they are not； for that was shown to be impossible。
Theaet。 Impossible； of course。
Str。 Then the Sophist has been shown to have a sort of conjectural
or apparent knowledge only of all things； which is not the truth？
Theaet。 Exactly； no better description of him could be given。
Str。 Let us now take an illustration； which will still more
clearly explain his nature。
Theaet。 What is it？
Str。 I will tell you； and you shall answer me； giving your very
closest attention。 Suppose that a person were to profess； not that
he could speak or dispute； but that he knew how to make and do all
things； by a single art。
Theaet。 All things？
Str。 I see that you do not understand the first word that I utter；
for you do not understand the meaning of 〃all。〃
Theaet。 No； I do not。
Str。 Under all things； I include you and me； and also animals and
trees。
Theaet。 What do you mean？
Str。 Suppose a person to say that he will make you and me； and all
creatures。
Theaet。 What would he mean by 〃making〃？ He cannot be a
husbandman；…for you said that he is a maker of animals。
Str。 Yes； and I say that he is also the maker of the sea； and the
earth； and the heavens； and the gods； and of all other things； and；
further； that he can make them in no time； and sell them for a few
pence。
Theaet。 That must be a jest。
Str。 And when a man says that he knows all things； and can teach
them to another at a small cost； and in a short time； is not that a
jest？
Theaet。 Certainly。
Str。 And is there any more artistic or graceful form of jest than
imitation？
Theaet。 Certainly not； and imitation is a very comprehensive term；
which includes under one class the most diverse sorts of things。
Str。 We know； of course； that he who professes by one art to make
all things is really a painter； and by the painter's art makes
resemblances of real things which have the same name with
them； and he
can deceive the less intelligent sort of young children； to whom he
shows his pictures at a distance； into the belief that he has the
absolute power of making whatever he likes。
Theaet。 Certainly。
Str。 And may there not be supposed to be an imitative art of
reasoning？ Is it not possible to enchant the hearts of young men by
words poured through their ears； when they are still at a distance
from the truth of facts； by exhibiting to them fictitious arguments；
and making them think that they are true； and that the speaker is
the wisest of men in all things？
Theaet。 Yes； why should there not be another such art？
Str。 But as time goes on； and their hearers advance in years； and
come into closer contact with realities； and have learnt by sad
experience to see and feel the truth of things； are not the greater
part of them compelled to change many opinions which they formerly
entertained； so that the great appears small to them； and the easy
difficult； and all their dreamy speculations are overturned by the
facts of life？
Theaet。 That is my view； as far as I can judge； although；
at my age；
I may be one of those who see things at a distance only。
Str。 And the wish of all of us； who are your friends； is and
always will be to bring you as near to the truth as we can
without the
sad reality。 And now I should like you to tell me； whether
the Sophist
is not visibly a magician and imitator of true being； or are we
still disposed to think that he may have a true knowledge of the
various matters about which he disputes？
Theaet。 But how can he； Stranger？ Is there any doubt；
after what has
been said； that he is to be located in one of the divisions of
children's play？
Str。 Then we must place him in the class of magicians and mimics。
Theaet。 Certainly we must。
Str。 And now our business is not to let the animal out； for we
have got him in a sort of dialectical net； and there is one thing
which he decidedly will not escape。
Theaet。 What is that？
Str。 The inference that he is a juggler。
Theaet。 Precisely my own opinion of him。
Str。 Then； clearly； we ought as soon as possible to divide the
image…making art； and go down into the net； and； if the Sophist does
not run away from us； to seize him according to orders and
deliver him
over to reason； who is the lord of the hunt； and proclaim the
capture of him； and if he creeps into the recesses of the imitative
art； and secretes himself in one of them； to divide again and follow
him up until in some sub…section of imitation he is caught。 For our
method of tackling each and all is one which neither he nor any
other creature will ever escape in triumph。
Theaet。 Well said； and let us do as you propose。
Str。 Well； then； pursuing the same analytic method as before； I
think that I can discern two divisions of the imitative art； but I
am not as yet able to see in which of them the desired form is to be
found。
Theaet。 Will you tell me first what are two divisions of which you
are speaking？
Str。 One is the art of likeness…making；…generally a likeness of
anything is made by producing a copy which is executed according to
the proportions of the original； similar in length and breadth and
depth； each thing receiving also its appropriate colour。
Theaet。 Is not this always the aim of imitation？
Str。 Not always； in works either of sculpture or of painting；
which are of any magnitude； there is a certain degree of deception；
…for artists were to give the true proportions of their fair works；
the upper part； which is farther off
