views more clearly. The process of thought which should be latent in the
mind of the writer appears on the surface. In several passages the
Athenian praises himself in the most unblushing manner, very unlike the
irony of the earlier dialogues, as when he declares that 'the laws are a
divine work given by some inspiration of the Gods,' and that 'youth should
commit them to memory instead of the compositions of the poets.' The
prosopopoeia which is adopted by Plato in the Protagoras and other
dialogues is repeated until we grow weary of it. The legislator is always
addressing the speakers or the youth of the state, and the speakers are
constantly making addresses to the legislator. A tendency to a paradoxical
manner of statement is also observable. 'We must have drinking,' 'we must
have a virtuous tyrant'--this is too much for the duller wits of the
Lacedaemonian and Cretan, who at first start back in surprise. More than
in any other writing of Plato the tone is hortatory; the laws are sermons
as well as laws; they are considered to have a religious sanction, and to
rest upon a religious sentiment in the mind of the citizens. The words of
the Athenian are attributed to the Lacedaemonian and Cretan, who are
supposed to have made them their own, after the manner of the earlier
dialogues. Resumptions of subjects which have been half disposed of in a
previous passage constantly occur: the arrangement has neither the
clearness of art nor the freedom of nature. Irrelevant remarks are made
here and there, or illustrations used which are not properly fitted in.
The dialogue is generally weak and laboured, and is in the later books
fairly given up, apparently, because unsuited to the subject of the work.
The long speeches or sermons of the Athenian, often extending over several
pages, have never the grace and harmony which are exhibited in the earlier
dialogues. For Plato is incapable of sustained composition; his genius is
dramatic rather than oratorical; he can converse, but he cannot make a
speech. Even the Timaeus, which is one of his most finished works, is full
of abrupt transitions. There is the same kind of difference between the