Like the Phaedrus, the Gorgias has puzzled students of Plato by the
appearance of two or more subjects. Under the cover of rhetoric higher
themes are introduced; the argument expands into a general view of the good
and evil of man. After making an ineffectual attempt to obtain a sound
definition of his art from Gorgias, Socrates assumes the existence of a
universal art of flattery or simulation having several branches:--this is
the genus of which rhetoric is only one, and not the highest species. To
flattery is opposed the true and noble art of life which he who possesses
seeks always to impart to others, and which at last triumphs, if not here,
at any rate in another world. These two aspects of life and knowledge
appear to be the two leading ideas of the dialogue. The true and the false
in individuals and states, in the treatment of the soul as well as of the
body, are conceived under the forms of true and false art. In the
development of this opposition there arise various other questions, such as
the two famous paradoxes of Socrates (paradoxes as they are to the world in
general, ideals as they may be more worthily called): (1) that to do is
worse than to suffer evil; and (2) that when a man has done evil he had
better be punished than unpunished; to which may be added (3) a third
Socratic paradox or ideal, that bad men do what they think best, but not
what they desire, for the desire of all is towards the good. That pleasure
is to be distinguished from good is proved by the simultaneousness of
pleasure and pain, and by the possibility of the bad having in certain
cases pleasures as great as those of the good, or even greater. Not merely
rhetoricians, but poets, musicians, and other artists, the whole tribe of
statesmen, past as well as present, are included in the class of
flatterers. The true and false finally appear before the judgment-seat of
the gods below.

The dialogue naturally falls into three divisions, to which the three
characters of Gorgias, Polus, and Callicles respectively correspond; and