Schleiermacher has descended upon his successors, who have applied his
method with the most various results. The value and use of the method has
been hardly, if at all, examined either by him or them. Secondly, they
have extended almost indefinitely the scope of each separate dialogue; in
this way they think that they have escaped all difficulties, not seeing
that what they have gained in generality they have lost in truth and
distinctness. Metaphysical conceptions easily pass into one another; and
the simpler notions of antiquity, which we can only realize by an effort,
imperceptibly blend with the more familiar theories of modern philosophers.
An eye for proportion is needed (his own art of measuring) in the study of
Plato, as well as of other great artists. We may hardly admit that the
moral antithesis of good and pleasure, or the intellectual antithesis of
knowledge and opinion, being and appearance, are never far off in a
Platonic discussion. But because they are in the background, we should not
bring them into the foreground, or expect to discern them equally in all
the dialogues.

There may be some advantage in drawing out a little the main outlines of
the building; but the use of this is limited, and may be easily
exaggerated. We may give Plato too much system, and alter the natural form
and connection of his thoughts. Under the idea that his dialogues are
finished works of art, we may find a reason for everything, and lose the
highest characteristic of art, which is simplicity. Most great works
receive a new light from a new and original mind. But whether these new
lights are true or only suggestive, will depend on their agreement with the
spirit of Plato, and the amount of direct evidence which can be urged in
support of them. When a theory is running away with us, criticism does a
friendly office in counselling moderation, and recalling us to the
indications of the text.