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Thus much for the manner in which the dialogues of Plato are severally
composed, and the cast of genius given them in their composition. The
form under which they appear, or the external character that marks them,
is of three sorts: either purely dramatic, like the dialogue of tragedy
or comedy; or purely narrative, where a former conversation is supposed
to be committed to writing, and communicated to some absent friend; or of
the mixed kind, like a narration in dramatic poems, where is recited, to
some person present, the story of things past.

Having thus divided the dialogues of Plato, in respect of that inward
form or composition, which creates their genius; and again, with
reference to that outward form, which marks them, like flowers and other
vegetables, with a certain character; we are further to make a division
of them, with regard to their subject and their design; beginning with
their design, or end, because for the sake of this are all the subjects
chosen. The end of all the writings of Plato is that, which is the end of
all true philosophy or wisdom, the perfection and the happiness of man.
Man therefore is the general subject; and the first business of philosophy
must be to inquire what is that being called man, who is to be made happy;
and what is his nature, in the perfection of which is placed his happiness.
As however, in the preceding part of this Introduction, we have endeavored
to give the outlines of Plato's doctrine concerning man, it is unnecessary
in this place to say any thing further on that subject.

The dialogues of Plato, therefore, with respect to their subjects, may be
divided into the speculative, the practical, and such as are of a mixed
nature. The subjects of these last are either general, comprehending both
the others; or differential, distinguishing them. The general subject are