The real difficulties arise out of the extreme subtlety of the work, which,
as Socrates says of the poem of Simonides, is a most perfect piece of art.
There are dramatic contrasts and interests, threads of philosophy broken
and resumed, satirical reflections on mankind, veils thrown over truths
which are lightly suggested, and all woven together in a single design, and
moving towards one end.

In the introductory scene Plato raises the expectation that a 'great
personage' is about to appear on the stage; perhaps with a further view of
showing that he is destined to be overthrown by a greater still, who makes
no pretensions. Before introducing Hippocrates to him, Socrates thinks
proper to warn the youth against the dangers of 'influence,' of which the
invidious nature is recognized by Protagoras himself. Hippocrates readily
adopts the suggestion of Socrates that he shall learn of Protagoras only
the accomplishments which befit an Athenian gentleman, and let alone his
'sophistry.' There is nothing however in the introduction which leads to
the inference that Plato intended to blacken the character of the Sophists;
he only makes a little merry at their expense.

The 'great personage' is somewhat ostentatious, but frank and honest. He
is introduced on a stage which is worthy of him--at the house of the rich
Callias, in which are congregated the noblest and wisest of the Athenians.
He considers openness to be the best policy, and particularly mentions his
own liberal mode of dealing with his pupils, as if in answer to the
favourite accusation of the Sophists that they received pay. He is
remarkable for the good temper which he exhibits throughout the discussion
under the trying and often sophistical cross-examination of Socrates.
Although once or twice ruffled, and reluctant to continue the discussion,
he parts company on perfectly good terms, and appears to be, as he says of