Sophist Part 11

STRANGER: 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.

THEAETETUS: Certainly.

STRANGER: 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 fict.i.tious arguments, and making them think that they are true, and that the speaker is the wisest of men in all things?

THEAETETUS: Yes; why should there not be another such art?

STRANGER: 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?

THEAETETUS: 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.

STRANGER: 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?

THEAETETUS: 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?

STRANGER: Then we must place him in the cla.s.s of magicians and mimics.

THEAETETUS: Certainly we must.

STRANGER: 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.

THEAETETUS: What is that?

STRANGER: The inference that he is a juggler.

THEAETETUS: Precisely my own opinion of him.

STRANGER: 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.

THEAETETUS: Well said; and let us do as you propose.

STRANGER: Well, then, pursuing the same a.n.a.lytic 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.

THEAETETUS: Will you tell me first what are the two divisions of which you are speaking?

STRANGER: 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.

THEAETETUS: Is not this always the aim of imitation?

STRANGER: 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, would appear to be out of proportion in comparison with the lower, which is nearer; and so they give up the truth in their images and make only the proportions which appear to be beautiful, disregarding the real ones.

THEAETETUS: Quite true.

STRANGER: And that which being other is also like, may we not fairly call a likeness or image?

THEAETETUS: Yes.

STRANGER: And may we not, as I did just now, call that part of the imitative art which is concerned with making such images the art of likeness-making?

THEAETETUS: Let that be the name.

STRANGER: And what shall we call those resemblances of the beautiful, which appear such owing to the unfavourable position of the spectator, whereas if a person had the power of getting a correct view of works of such magnitude, they would appear not even like that to which they profess to be like? May we not call these 'appearances,' since they appear only and are not really like?

THEAETETUS: Certainly.

STRANGER: There is a great deal of this kind of thing in painting, and in all imitation.

THEAETETUS: Of course.

STRANGER: And may we not fairly call the sort of art, which produces an appearance and not an image, phantastic art?

THEAETETUS: Most fairly.

STRANGER: These then are the two kinds of image-making--the art of making likenesses, and phantastic or the art of making appearances?

THEAETETUS: True.

STRANGER: I was doubtful before in which of them I should place the Sophist, nor am I even now able to see clearly; verily he is a wonderful and inscrutable creature. And now in the cleverest manner he has got into an impossible place.

THEAETETUS: Yes, he has.

STRANGER: Do you speak advisedly, or are you carried away at the moment by the habit of a.s.senting into giving a hasty answer?

THEAETETUS: May I ask to what you are referring?

STRANGER: My dear friend, we are engaged in a very difficult speculation--there can be no doubt of that; for how a thing can appear and seem, and not be, or how a man can say a thing which is not true, has always been and still remains a very perplexing question. Can any one say or think that falsehood really exists, and avoid being caught in a contradiction? Indeed, Theaetetus, the task is a difficult one.

THEAETETUS: Why?

STRANGER: He who says that falsehood exists has the audacity to a.s.sert the being of not-being; for this is implied in the possibility of falsehood. But, my boy, in the days when I was a boy, the great Parmenides protested against this doctrine, and to the end of his life he continued to inculcate the same lesson--always repeating both in verse and out of verse:

'Keep your mind from this way of enquiry, for never will you show that not-being is.'

Such is his testimony, which is confirmed by the very expression when sifted a little. Would you object to begin with the consideration of the words themselves?

THEAETETUS: Never mind about me; I am only desirous that you should carry on the argument in the best way, and that you should take me with you.

STRANGER: Very good; and now say, do we venture to utter the forbidden word 'not-being'?

THEAETETUS: Certainly we do.

STRANGER: Let us be serious then, and consider the question neither in strife nor play: suppose that one of the hearers of Parmenides was asked, 'To what is the term "not-being" to be applied?'--do you know what sort of object he would single out in reply, and what answer he would make to the enquirer?

THEAETETUS: That is a difficult question, and one not to be answered at all by a person like myself.

STRANGER: There is at any rate no difficulty in seeing that the predicate 'not-being' is not applicable to any being.

THEAETETUS: None, certainly.