'prudence,'--at the point where the change of meaning occurs. If
translations are intended not for the Greek scholar but for the general
reader, their worst fault will be that they sacrifice the general effect
and meaning to the over-precise rendering of words and forms of speech.

(8) There is no kind of literature in English which corresponds to the
Greek Dialogue; nor is the English language easily adapted to it. The
rapidity and abruptness of question and answer, the constant repetition of
(Greek), etc., which Cicero avoided in Latin (de Amicit), the frequent
occurrence of expletives, would, if reproduced in a translation, give
offence to the reader. Greek has a freer and more frequent use of the
Interrogative, and is of a more passionate and emotional character, and
therefore lends itself with greater readiness to the dialogue form. Most
of the so-called English Dialogues are but poor imitations of Plato, which
fall very far short of the original. The breath of conversation, the
subtle adjustment of question and answer, the lively play of fancy, the
power of drawing characters, are wanting in them. But the Platonic
dialogue is a drama as well as a dialogue, of which Socrates is the central
figure, and there are lesser performers as well:--the insolence of
Thrasymachus, the anger of Callicles and Anytus, the patronizing style of
Protagoras, the self-consciousness of Prodicus and Hippias, are all part of
the entertainment. To reproduce this living image the same sort of effort
is required as in translating poetry. The language, too, is of a finer
quality; the mere prose English is slow in lending itself to the form of
question and answer, and so the ease of conversation is lost, and at the
same time the dialectical precision with which the steps of the argument
are drawn out is apt to be impaired.

II. In the Introductions to the Dialogues there have been added some
essays on modern philosophy, and on political and social life. The chief