of the sixteenth century. This mythical tale, of which the subject
was a history of the wars of the Athenians against the Island
of Atlantis, is supposed to be founded upon an unfinished poem
of Solon, to which it would have stood in the same relation
as the writings of the logographers to the poems of Homer.
It would have told of a struggle for Liberty, intended to represent
the conflict of Persia and Hellas. We may judge from the noble
commencement of the Timaeus, from the fragment of the Critias itself,
and from the third book of the Laws, in what manner Plato would
have treated this high argument. We can only guess why the great
design was abandoned; perhaps because Plato became sensible of some
incongruity in a fictitious history, or because he had lost his
interest in it, or because advancing years forbade the completion
of it; and we may please ourselves with the fancy that had this
imaginary narrative ever been finished, we should have found Plato
himself sympathizing with the struggle for Hellenic independence,
singing a hymn of triumph over Marathon and Salamis, perhaps making
the reflection of Herodotus where he contemplates the growth
of the Athenian empire--"How brave a thing is freedom of speech,
which has made the Athenians so far exceed every other state
of Hellas in greatness!" or, more probably, attributing the victory
to the ancient good order of Athens and to the favor of Apollo
and Athene.

Again, Plato may be regarded as the "captain" ('arhchegoz') or leader
of a goodly band of followers; for in the Republic is to be found
the original of Cicero's De Republica, of St. Augustine's City
of God, of the Utopia of Sir Thomas More, and of the numerous
other imaginary States which are framed upon the same model.
The extent to which Aristotle or the Aristotelian school were indebted