We can imagine a character having a profound insight into the nature of men
and things, and yet hardly dwelling upon them seriously; blending
inextricably sense and nonsense; sometimes enveloping in a blaze of jests
the most serious matters, and then again allowing the truth to peer
through; enjoying the flow of his own humour, and puzzling mankind by an
ironical exaggeration of their absurdities. Such were Aristophanes and
Rabelais; such, in a different style, were Sterne, Jean Paul, Hamann,--
writers who sometimes become unintelligible through the extravagance of
their fancies. Such is the character which Plato intends to depict in some
of his dialogues as the Silenus Socrates; and through this medium we have
to receive our theory of language.

There remains a difficulty which seems to demand a more exact answer: In
what relation does the satirical or etymological portion of the dialogue
stand to the serious? Granting all that can be said about the provoking
irony of Socrates, about the parody of Euthyphro, or Prodicus, or
Antisthenes, how does the long catalogue of etymologies furnish any answer
to the question of Hermogenes, which is evidently the main thesis of the
dialogue: What is the truth, or correctness, or principle of names?

After illustrating the nature of correctness by the analogy of the arts,
and then, as in the Republic, ironically appealing to the authority of the
Homeric poems, Socrates shows that the truth or correctness of names can
only be ascertained by an appeal to etymology. The truth of names is to be
found in the analysis of their elements. But why does he admit etymologies
which are absurd, based on Heracleitean fancies, fourfold interpretations
of words, impossible unions and separations of syllables and letters?

1. The answer to this difficulty has been already anticipated in part: