all other artists. According to a truly Platonic mode of approaching the
subject, language, like virtue in the Republic, is examined by the analogy
of the arts. Words are works of art which may be equally made in different
materials, and are well made when they have a meaning. Of the process
which he thus describes, Plato had probably no very definite notion. But
he means to express generally that language is the product of intelligence,
and that languages belong to States and not to individuals.

A better conception of language could not have been formed in Plato's age,
than that which he attributes to Socrates. Yet many persons have thought
that the mind of Plato is more truly seen in the vague realism of Cratylus.
This misconception has probably arisen from two causes: first, the desire
to bring Plato's theory of language into accordance with the received
doctrine of the Platonic ideas; secondly, the impression created by
Socrates himself, that he is not in earnest, and is only indulging the
fancy of the hour.

1. We shall have occasion to show more at length, in the Introduction to
future dialogues, that the so-called Platonic ideas are only a semi-
mythical form, in which he attempts to realize abstractions, and that they
are replaced in his later writings by a rational theory of psychology.
(See introductions to the Meno and the Sophist.) And in the Cratylus he
gives a general account of the nature and origin of language, in which Adam
Smith, Rousseau, and other writers of the last century, would have
substantially agreed. At the end of the dialogue, he speaks as in the
Symposium and Republic of absolute beauty and good; but he never supposed
that they were capable of being embodied in words. Of the names of the
ideas, he would have said, as he says of the names of the Gods, that we
know nothing. Even the realism of Cratylus is not based upon the ideas of
Plato, but upon the flux of Heracleitus. Here, as in the Sophist and