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The Philebus appears to be one of the later writings of Plato, in which the style has begun to alter, and the dramatic and poetical element has become subordinate to the speculative and philosophical. In the development of abstract thought great advances have been made on the Protagoras or the Phaedrus, and even on the Republic. But there is a corresponding diminution of artistic skill, a want of character in the persons, a laboured march in the dialogue, and a degree of confusion and incompleteness in the general design. As in the speeches of Thucydides, the multiplication of ideas seems to interfere with the power of expression. Instead of the equally diffused grace and ease of the earlier dialogues there occur two or three highly-wrought passages; instead of the ever-flowing play of humour, now appearing, now concealed, but always present, are inserted a good many bad jests, as we may venture to term them. We may observe an attempt at artificial ornament, and far-fetched modes of expression; also clamorous demands on the part of his companions, that Socrates shall answer his own questions, as well as other defects of style, which remind us of the Laws. The connection is often abrupt and inharmonious, and far from clear. Many points require further explanation; e.g. the reference of pleasure to the indefinite class, compared with the assertion which almost immediately follows, that pleasure and pain naturally have their seat in the third or mixed class: these two statements are unreconciled. In like manner, the table of goods does not distinguish between the two heads of measure and symmetry; and though a hint is given that the divine mind has the first place, nothing is said of this in the final summing up. The relation of the goods to the sciences does not appear; though dialectic may be thought to correspond to the highest good, the sciences and arts and true opinions are enumerated in the fourth class. We seem to have an intimation of a further discussion, in which some topics lightly passed over were to receive a fuller consideration. The various uses of the word 'mixed,' for the mixed life, the mixed class of elements, the mixture of pleasures, or of pleasure and pain, are a further source of perplexity. Our ignorance of the opinions which Plato is attacking is also an element of obscurity. Many things in a controversy might seem relevant, if we knew to what they were intended to refer. But no conjecture will enable us to supply what Plato has not told us; or to explain, from our fragmentary knowledge of them, the relation in which his doctrine stood to the Eleatic Being or the Megarian good, or to the theories of Aristippus or Antisthenes respecting pleasure. Nor are we able to say how far Plato in the Philebus conceives the finite and infinite (which occur both in the fragments of Philolaus and in the Pythagorean table of opposites) in the same manner as contemporary Pythagoreans.

There is little in the characters which is worthy of remark. The Socrates of the Philebus is devoid of any touch of Socratic irony, though here, as in the Phaedrus, he twice attributes the flow of his ideas to a sudden inspiration. The interlocutor Protarchus, the son of Callias, who has been a hearer of Gorgias, is supposed to begin as a disciple of the partisans of pleasure, but is drawn over to the opposite side by the arguments of Socrates. The instincts of ingenuous youth are easily induced to take the better part. Philebus, who has withdrawn from the argument, is several times brought back again, that he may support pleasure, of which he remains to the end the uncompromising advocate. On the other hand, the youthful group of listeners by whom he is surrounded, 'Philebus' boys' as they are termed, whose presence is several times intimated, are described as all of them at last convinced by the arguments of Socrates. They bear a very faded resemblance to the interested audiences of the Charmides, Lysis, or Protagoras. Other signs of relation to external life in the dialogue, or references to contemporary things and persons, with the single exception of the allusions to the anonymous enemies of pleasure, and the teachers of the flux, there are none.

The omission of the doctrine of recollection, derived from a previous state of existence, is a note of progress in the philosophy of Plato. The transcendental theory of pre-existent ideas, which is chiefly discussed by him in the Meno, the Phaedo, and the Phaedrus, has given way to a psychological one. The omission is rendered more significant by his having occasion to speak of memory as the basis of desire. Of the ideas he treats in the same sceptical spirit which appears in his criticism of them in the Parmenides. He touches on the same difficulties and he gives no answer to them. His mode of speaking of the analytical and synthetical processes may be compared with his discussion of the same subject in the Phaedrus; here he dwells on the importance of dividing the genera into all the species, while in the Phaedrus he conveys the same truth in a figure, when he speaks of carving the whole, which is described under the image of a victim, into parts or members, 'according to their natural articulation, without breaking any of them.' There is also a difference, which may be noted, between the two dialogues. For whereas in the Phaedrus, and also in the Symposium, the dialectician is described as a sort of enthusiast or lover, in the Philebus, as in all the later writings of Plato, the element of love is wanting; the topic is only introduced, as in the Republic, by way of illustration. On other subjects of which they treat in common, such as the nature and kinds of pleasure, true and false opinion, the nature of the good, the order and relation of the sciences, the Republic is less advanced than the Philebus, which contains, perhaps, more metaphysical truth more obscurely expressed than any other Platonic dialogue. Here, as Plato expressly tells us, he is 'forging weapons of another make,' i.e. new categories and modes of conception, though 'some of the old ones might do again.'

But if superior in thought and dialectical power, the Philebus falls very far short of the Republic in fancy and feeling. The development of the reason undisturbed by the emotions seems to be the ideal at which Plato aims in his later dialogues. There is no mystic enthusiasm or rapturous contemplation of ideas. Whether we attribute this change to the greater feebleness of age, or to the development of the quarrel between philosophy and poetry in Plato's own mind, or perhaps, in some degree, to a carelessness about artistic effect, when he was absorbed in abstract ideas, we can hardly be wrong in assuming, amid such a variety of indications, derived from style as well as subject, that the Philebus belongs to the later period of his life and authorship. But in this, as in all the later writings of Plato, there are not wanting thoughts and expressions in which he rises to his highest level.

The plan is complicated, or rather, perhaps, the want of plan renders the progress of the dialogue difficult to follow. A few leading ideas seem to emerge: the relation of the one and many, the four original elements, the kinds of pleasure, the kinds of knowledge, the scale of goods. These are only partially connected with one another. The dialogue is not rightly entitled 'Concerning pleasure' or 'Concerning good,' but should rather be described as treating of the relations of pleasure and knowledge, after they have been duly analyzed, to the good. (1) The question is asked, whether pleasure or wisdom is the chief good, or some nature higher than either; and if the latter, how pleasure and wisdom are related to this higher good. (2) Before we can reply with exactness, we must know the kinds of pleasure and the kinds of knowledge. (3) But still we may affirm generally, that the combined life of pleasure and wisdom or knowledge has more of the character of the good than either of them when isolated. (4) to determine which of them partakes most of the higher nature, we must know under which of the four unities or elements they respectively fall. These are, first, the infinite; secondly, the finite; thirdly, the union of the two; fourthly, the cause of the union. Pleasure is of the first, wisdom or knowledge of the third class, while reason or mind is akin to the fourth or highest.

(5) Pleasures are of two kinds, the mixed and unmixed. Of mixed pleasures there are three classes – (a) those in which both the pleasures and pains are corporeal, as in eating and hunger; (b) those in which there is a pain of the body and pleasure of the mind, as when you are hungry and are looking forward to a feast; (c) those in which the pleasure and pain are both mental. Of unmixed pleasures there are four kinds: those of sight, hearing, smell, knowledge.

(6) The sciences are likewise divided into two classes, theoretical and productive: of the latter, one part is pure, the other impure. The pure part consists of arithmetic, mensuration, and weighing. Arts like carpentering, which have an exact measure, are to be regarded as higher than music, which for the most part is mere guess-work. But there is also a higher arithmetic, and a higher mensuration, which is exclusively theoretical; and a dialectical science, which is higher still and the truest and purest knowledge.

(7) We are now able to determine the composition of the perfect life. First, we admit the pure pleasures and the pure sciences; secondly, the impure sciences, but not the impure pleasures. We have next to discover what element of goodness is contained in this mixture. There are three criteria of goodness – beauty, symmetry, truth. These are clearly more akin to reason than to pleasure, and will enable us to fix the places of both of them in the scale of good. First in the scale is measure; the second place is assigned to symmetry; the third, to reason and wisdom; the fourth, to knowledge and true opinion; the fifth, to pure pleasures; and here the Muse says 'Enough.'

'Bidding farewell to Philebus and Socrates,' we may now consider the metaphysical conceptions which are presented to us. These are (I) the paradox of unity and plurality; (II) the table of categories or elements; (III) the kinds of pleasure; (IV) the kinds of knowledge; (V) the conception of the good. We may then proceed to examine (VI) the relation of the Philebus to the Republic, and to other dialogues.

I. The paradox of the one and many originated in the restless dialectic of Zeno, who sought to prove the absolute existence of the one by showing the contradictions that are involved in admitting the existence of the many (compare Parm.). Zeno illustrated the contradiction by well-known examples taken from outward objects. But Socrates seems to intimate that the time had arrived for discarding these hackneyed illustrations; such difficulties had long been solved by common sense ('solvitur ambulando'); the fact of the co-existence of opposites was a sufficient answer to them. He will leave them to Cynics and Eristics; the youth of Athens may discourse of them to their parents. To no rational man could the circumstance that the body is one, but has many members, be any longer a stumbling-block.

Plato's difficulty seems to begin in the region of ideas. He cannot understand how an absolute unity, such as the Eleatic Being, can be broken up into a number of individuals, or be in and out of them at once. Philosophy had so deepened or intensified the nature of one or Being, by the thoughts of successive generations, that the mind could no longer imagine 'Being' as in a state of change or division. To say that the verb of existence is the copula, or that unity is a mere unit, is to us easy; but to the Greek in a particular stage of thought such an analysis involved the same kind of difficulty as the conception of God existing both in and out of the world would to ourselves. Nor was he assisted by the analogy of sensible objects. The sphere of mind was dark and mysterious to him; but instead of being illustrated by sense, the greatest light appeared to be thrown on the nature of ideas when they were contrasted with sense.

Both here and in the Parmenides, where similar difficulties are raised, Plato seems prepared to desert his ancient ground. He cannot tell the relation in which abstract ideas stand to one another, and therefore he transfers the one and many out of his transcendental world, and proceeds to lay down practical rules for their application to different branches of knowledge. As in the Republic he supposes the philosopher to proceed by regular steps, until he arrives at the idea of good; as in the Sophist and Politicus he insists that in dividing the whole into its parts we should bisect in the middle in the hope of finding species; as in the Phaedrus (see above) he would have 'no limb broken' of the organism of knowledge; – so in the Philebus he urges the necessity of filling up all the intermediate links which occur (compare Bacon's 'media axiomata') in the passage from unity to infinity. With him the idea of science may be said to anticipate science; at a time when the sciences were not yet divided, he wants to impress upon us the importance of classification; neither neglecting the many individuals, nor attempting to count them all, but finding the genera and species under which they naturally fall. Here, then, and in the parallel passages of the Phaedrus and of the Sophist, is found the germ of the most fruitful notion of modern science.

Plato describes with ludicrous exaggeration the influence exerted by the one and many on the minds of young men in their first fervour of metaphysical enthusiasm (compare Republic). But they are none the less an everlasting quality of reason or reasoning which never grows old in us. At first we have but a confused conception of them, analogous to the eyes blinking at the light in the Republic. To this Plato opposes the revelation from Heaven of the real relations of them, which some Prometheus, who gave the true fire from heaven, is supposed to have imparted to us. Plato is speaking of two things – (1) the crude notion of the one and many, which powerfully affects the ordinary mind when first beginning to think; (2) the same notion when cleared up by the help of dialectic.

To us the problem of the one and many has lost its chief interest and perplexity. We readily acknowledge that a whole has many parts, that the continuous is also the divisible, that in all objects of sense there is a one and many, and that a like principle may be applied to analogy to purely intellectual conceptions. If we attend to the meaning of the words, we are compelled to admit that two contradictory statements are true. But the antinomy is so familiar as to be scarcely observed by us. Our sense of the contradiction, like Plato's, only begins in a higher sphere, when we speak of necessity and free-will, of mind and body, of Three Persons and One Substance, and the like. The world of knowledge is always dividing more and more; every truth is at first the enemy of every other truth. Yet without this division there can be no truth; nor any complete truth without the reunion of the parts into a whole. And hence the coexistence of opposites in the unity of the idea is regarded by Hegel as the supreme principle of philosophy; and the law of contradiction, which is affirmed by logicians to be an ultimate principle of the human mind, is displaced by another law, which asserts the coexistence of contradictories as imperfect and divided elements of the truth. Without entering further into the depths of Hegelianism, we may remark that this and all similar attempts to reconcile antinomies have their origin in the old Platonic problem of the 'One and Many.'

II. 1. The first of Plato's categories or elements is the infinite. This is the negative of measure or limit; the unthinkable, the unknowable; of which nothing can be affirmed; the mixture or chaos which preceded distinct kinds in the creation of the world; the first vague impression of sense; the more or less which refuses to be reduced to rule, having certain affinities with evil, with pleasure, with ignorance, and which in the scale of being is farthest removed from the beautiful and good. To a Greek of the age of Plato, the idea of an infinite mind would have been an absurdity. He would have insisted that 'the good is of the nature of the finite,' and that the infinite is a mere negative, which is on the level of sensation, and not of thought. He was aware that there was a distinction between the infinitely great and the infinitely small, but he would have equally denied the claim of either to true existence. Of that positive infinity, or infinite reality, which we attribute to God, he had no conception.

The Greek conception of the infinite would be more truly described, in our way of speaking, as the indefinite. To us, the notion of infinity is subsequent rather than prior to the finite, expressing not absolute vacancy or negation, but only the removal of limit or restraint, which we suppose to exist not before but after we have already set bounds to thought and matter, and divided them after their kinds. From different points of view, either the finite or infinite may be looked upon respectively both as positive and negative (compare 'Omnis determinatio est negatio')' and the conception of the one determines that of the other. The Greeks and the moderns seem to be nearly at the opposite poles in their manner of regarding them. And both are surprised when they make the discovery, as Plato has done in the Sophist, how large an element negation forms in the framework of their thoughts.

2, 3. The finite element which mingles with and regulates the infinite is best expressed to us by the word 'law.' It is that which measures all things and assigns to them their limit; which preserves them in their natural state, and brings them within the sphere of human cognition. This is described by the terms harmony, health, order, perfection, and the like. All things, in as far as they are good, even pleasures, which are for the most part indefinite, partake of this element. We should be wrong in attributing to Plato the conception of laws of nature derived from observation and experiment. And yet he has as intense a conviction as any modern philosopher that nature does not proceed by chance. But observing that the wonderful construction of number and figure, which he had within himself, and which seemed to be prior to himself, explained a part of the phenomena of the external world, he extended their principles to the whole, finding in them the true type both of human life and of the order of nature.

Two other points may be noticed respecting the third class. First, that Plato seems to be unconscious of any interval or chasm which separates the finite from the infinite. The one is in various ways and degrees working in the other. Hence he has implicitly answered the difficulty with which he started, of how the one could remain one and yet be divided among many individuals, or 'how ideas could be in and out of themselves,' and the like. Secondly, that in this mixed class we find the idea of beauty. Good, when exhibited under the aspect of measure or symmetry, becomes beauty. And if we translate his language into corresponding modern terms, we shall not be far wrong in saying that here, as well as in the Republic, Plato conceives beauty under the idea of proportion.

4. Last and highest in the list of principles or elements is the cause of the union of the finite and infinite, to which Plato ascribes the order of the world. Reasoning from man to the universe, he argues that as there is a mind in the one, there must be a mind in the other, which he identifies with the royal mind of Zeus. This is the first cause of which 'our ancestors spoke,' as he says, appealing to tradition, in the Philebus as well as in the Timaeus. The 'one and many' is also supposed to have been revealed by tradition. For the mythical element has not altogether disappeared.

Some characteristic differences may here be noted, which distinguish the ancient from the modern mode of conceiving God.

a. To Plato, the idea of God or mind is both personal and impersonal. Nor in ascribing, as appears to us, both these attributes to him, and in speaking of God both in the masculine and neuter gender, did he seem to himself inconsistent. For the difference between the personal and impersonal was not marked to him as to ourselves. We make a fundamental distinction between a thing and a person, while to Plato, by the help of various intermediate abstractions, such as end, good, cause, they appear almost to meet in one, or to be two aspects of the same. Hence, without any reconciliation or even remark, in the Republic he speaks at one time of God or Gods, and at another time of the Good. So in the Phaedrus he seems to pass unconsciously from the concrete to the abstract conception of the Ideas in the same dialogue. Nor in the Philebus is he careful to show in what relation the idea of the divine mind stands to the supreme principle of measure.

b. Again, to us there is a strongly-marked distinction between a first cause and a final cause. And we should commonly identify a first cause with God, and the final cause with the world, which is His work. But Plato, though not a Pantheist, and very far from confounding God with the world, tends to identify the first with the final cause. The cause of the union of the finite and infinite might be described as a higher law; the final measure which is the highest expression of the good may also be described as the supreme law. Both these conceptions are realized chiefly by the help of the material world; and therefore when we pass into the sphere of ideas can hardly be distinguished.

The four principles are required for the determination of the relative places of pleasure and wisdom. Plato has been saying that we should proceed by regular steps from the one to the many. Accordingly, before assigning the precedence either to good or pleasure, he must first find out and arrange in order the general principles of things. Mind is ascertained to be akin to the nature of the cause, while pleasure is found in the infinite or indefinite class. We may now proceed to divide pleasure and knowledge after their kinds.

III. 1. Plato speaks of pleasure as indefinite, as relative, as a generation, and in all these points of view as in a category distinct from good. For again we must repeat, that to the Greek 'the good is of the nature of the finite,' and, like virtue, either is, or is nearly allied to, knowledge. The modern philosopher would remark that the indefinite is equally real with the definite. Health and mental qualities are in the concrete undefined; they are nevertheless real goods, and Plato rightly regards them as falling under the finite class. Again, we are able to define objects or ideas, not in so far as they are in the mind, but in so far as they are manifested externally, and can therefore be reduced to rule and measure. And if we adopt the test of definiteness, the pleasures of the body are more capable of being defined than any other pleasures. As in art and knowledge generally, we proceed from without inwards, beginning with facts of sense, and passing to the more ideal conceptions of mental pleasure, happiness, and the like.

2. Pleasure is depreciated as relative, while good is exalted as absolute. But this distinction seems to arise from an unfair mode of regarding them; the abstract idea of the one is compared with the concrete experience of the other. For all pleasure and all knowledge may be viewed either abstracted from the mind, or in relation to the mind (compare Aristot. Nic. Ethics). The first is an idea only, which may be conceived as absolute and unchangeable, and then the abstract idea of pleasure will be equally unchangeable with that of knowledge. But when we come to view either as phenomena of consciousness, the same defects are for the most part incident to both of them. Our hold upon them is equally transient and uncertain; the mind cannot be always in a state of intellectual tension, any more than capable of feeling pleasure always. The knowledge which is at one time clear and distinct, at another seems to fade away, just as the pleasure of health after sickness, or of eating after hunger, soon passes into a neutral state of unconsciousness and indifference. Change and alternation are necessary for the mind as well as for the body; and in this is to be acknowledged, not an element of evil, but rather a law of nature. The chief difference between subjective pleasure and subjective knowledge in respect of permanence is that the latter, when our feeble faculties are able to grasp it, still conveys to us an idea of unchangeableness which cannot be got rid of.

3. In the language of ancient philosophy, the relative character of pleasure is described as becoming or generation. This is relative to Being or Essence, and from one point of view may be regarded as the Heraclitean flux in contrast with the Eleatic Being; from another, as the transient enjoyment of eating and drinking compared with the supposed permanence of intellectual pleasures. But to us the distinction is unmeaning, and belongs to a stage of philosophy which has passed away. Plato himself seems to have suspected that the continuance or life of things is quite as much to be attributed to a principle of rest as of motion (compare Charm. Cratyl.). A later view of pleasure is found in Aristotle, who agrees with Plato in many points, e.g. in his view of pleasure as a restoration to nature, in his distinction between bodily and mental, between necessary and non-necessary pleasures. But he is also in advance of Plato; for he affirms that pleasure is not in the body at all; and hence not even the bodily pleasures are to be spoken of as generations, but only as accompanied by generation (Nic. Eth.).

4. Plato attempts to identify vicious pleasures with some form of error, and insists that the term false may be applied to them: in this he appears to be carrying out in a confused manner the Socratic doctrine, that virtue is knowledge, vice ignorance. He will allow of no distinction between the pleasures and the erroneous opinions on which they are founded, whether arising out of the illusion of distance or not. But to this we naturally reply with Protarchus, that the pleasure is what it is, although the calculation may be false, or the after-effects painful. It is difficult to acquit Plato, to use his own language, of being a 'tyro in dialectics,' when he overlooks such a distinction. Yet, on the other hand, we are hardly fair judges of confusions of thought in those who view things differently from ourselves.

5. There appears also to be an incorrectness in the notion which occurs both here and in the Gorgias, of the simultaneousness of merely bodily pleasures and pains. We may, perhaps, admit, though even this is not free from doubt, that the feeling of pleasureable hope or recollection is, or rather may be, simultaneous with acute bodily suffering. But there is no such coexistence of the pain of thirst with the pleasures of drinking; they are not really simultaneous, for the one expels the other. Nor does Plato seem to have considered that the bodily pleasures, except in certain extreme cases, are unattended with pain. Few philosophers will deny that a degree of pleasure attends eating and drinking; and yet surely we might as well speak of the pains of digestion which follow, as of the pains of hunger and thirst which precede them. Plato's conception is derived partly from the extreme case of a man suffering pain from hunger or thirst, partly from the image of a full and empty vessel. But the truth is rather, that while the gratification of our bodily desires constantly affords some degree of pleasure, the antecedent pains are scarcely perceived by us, being almost done away with by use and regularity.

6. The desire to classify pleasures as accompanied or not accompanied by antecedent pains, has led Plato to place under one head the pleasures of smell and sight, as well as those derived from sounds of music and from knowledge. He would have done better to make a separate class of the pleasures of smell, having no association of mind, or perhaps to have divided them into natural and artificial. The pleasures of sight and sound might then have been regarded as being the expression of ideas. But this higher and truer point of view never appears to have occurred to Plato. Nor has he any distinction between the fine arts and the mechanical; and, neither here nor anywhere, an adequate conception of the beautiful in external things.

7. Plato agrees partially with certain 'surly or fastidious' philosophers, as he terms them, who defined pleasure to be the absence of pain. They are also described as eminent in physics. There is unfortunately no school of Greek philosophy known to us which combined these two characteristics. Antisthenes, who was an enemy of pleasure, was not a physical philosopher; the atomists, who were physical philosophers, were not enemies of pleasure. Yet such a combination of opinions is far from being impossible. Plato's omission to mention them by name has created the same uncertainty respecting them which also occurs respecting the 'friends of the ideas' and the 'materialists' in the Sophist.

On the whole, this discussion is one of the least satisfactory in the dialogues of Plato. While the ethical nature of pleasure is scarcely considered, and the merely physical phenomenon imperfectly analysed, too much weight is given to ideas of measure and number, as the sole principle of good. The comparison of pleasure and knowledge is really a comparison of two elements, which have no common measure, and which cannot be excluded from each other. Feeling is not opposed to knowledge, and in all consciousness there is an element of both. The most abstract kinds of knowledge are inseparable from some pleasure or pain, which accompanies the acquisition or possession of them: the student is liable to grow weary of them, and soon discovers that continuous mental energy is not granted to men. The most sensual pleasure, on the other hand, is inseparable from the consciousness of pleasure; no man can be happy who, to borrow Plato's illustration, is leading the life of an oyster. Hence (by his own confession) the main thesis is not worth determining; the real interest lies in the incidental discussion. We can no more separate pleasure from knowledge in the Philebus than we can separate justice from happiness in the Republic.

IV. An interesting account is given in the Philebus of the rank and order of the sciences or arts, which agrees generally with the scheme of knowledge in the Sixth Book of the Republic. The chief difference is, that the position of the arts is more exactly defined. They are divided into an empirical part and a scientific part, of which the first is mere guess-work, the second is determined by rule and measure. Of the more empirical arts, music is given as an example; this, although affirmed to be necessary to human life, is depreciated. Music is regarded from a point of view entirely opposite to that of the Republic, not as a sublime science, coordinate with astronomy, but as full of doubt and conjecture. According to the standard of accuracy which is here adopted, it is rightly placed lower in the scale than carpentering, because the latter is more capable of being reduced to measure.

The theoretical element of the arts may also become a purely abstract science, when separated from matter, and is then said to be pure and unmixed. The distinction which Plato here makes seems to be the same as that between pure and applied mathematics, and may be expressed in the modern formula – science is art theoretical, art is science practical. In the reason which he gives for the superiority of the pure science of number over the mixed or applied, we can only agree with him in part. He says that the numbers which the philosopher employs are always the same, whereas the numbers which are used in practice represent different sizes or quantities. He does not see that this power of expressing different quantities by the same symbol is the characteristic and not the defect of numbers, and is due to their abstract nature; – although we admit of course what Plato seems to feel in his distinctions between pure and impure knowledge, that the imperfection of matter enters into the applications of them.

Above the other sciences, as in the Republic, towers dialectic, which is the science of eternal Being, apprehended by the purest mind and reason. The lower sciences, including the mathematical, are akin to opinion rather than to reason, and are placed together in the fourth class of goods. The relation in which they stand to dialectic is obscure in the Republic, and is not cleared up in the Philebus.

V. Thus far we have only attained to the vestibule or ante-chamber of the good; for there is a good exceeding knowledge, exceeding essence, which, like Glaucon in the Republic, we find a difficulty in apprehending. This good is now to be exhibited to us under various aspects and gradations. The relative dignity of pleasure and knowledge has been determined; but they have not yet received their exact position in the scale of goods. Some difficulties occur to us in the enumeration: First, how are we to distinguish the first from the second class of goods, or the second from the third? Secondly, why is there no mention of the supreme mind? Thirdly, the nature of the fourth class. Fourthly, the meaning of the allusion to a sixth class, which is not further investigated.

(I) Plato seems to proceed in his table of goods, from the more abstract to the less abstract; from the subjective to the objective; until at the lower end of the scale we fairly descend into the region of human action and feeling. To him, the greater the abstraction the greater the truth, and he is always tending to see abstractions within abstractions; which, like the ideas in the Parmenides, are always appearing one behind another. Hence we find a difficulty in following him into the sphere of thought which he is seeking to attain. First in his scale of goods he places measure, in which he finds the eternal nature: this would be more naturally expressed in modern language as eternal law, and seems to be akin both to the finite and to the mind or cause, which were two of the elements in the former table. Like the supreme nature in the Timaeus, like the ideal beauty in the Symposium or the Phaedrus, or like the ideal good in the Republic, this is the absolute and unapproachable being. But this being is manifested in symmetry and beauty everywhere, in the order of nature and of mind, in the relations of men to one another. For the word 'measure' he now substitutes the word 'symmetry,' as if intending to express measure conceived as relation. He then proceeds to regard the good no longer in an objective form, but as the human reason seeking to attain truth by the aid of dialectic; such at least we naturally infer to be his meaning, when we consider that both here and in the Republic the sphere of nous or mind is assigned to dialectic. (2) It is remarkable (see above) that this personal conception of mind is confined to the human mind, and not extended to the divine. (3) If we may be allowed to interpret one dialogue of Plato by another, the sciences of figure and number are probably classed with the arts and true opinions, because they proceed from hypotheses (compare Republic). (4) The sixth class, if a sixth class is to be added, is playfully set aside by a quotation from Orpheus: Plato means to say that a sixth class, if there be such a class, is not worth considering, because pleasure, having only gained the fifth place in the scale of goods, is already out of the running.

VI. We may now endeavour to ascertain the relation of the Philebus to the other dialogues. Here Plato shows the same indifference to his own doctrine of Ideas which he has already manifested in the Parmenides and the Sophist. The principle of the one and many of which he here speaks, is illustrated by examples in the Sophist and Statesman. Notwithstanding the differences of style, many resemblances may be noticed between the Philebus and Gorgias. The theory of the simultaneousness of pleasure and pain is common to both of them (Phil. Gorg.); there is also a common tendency in them to take up arms against pleasure, although the view of the Philebus, which is probably the later of the two dialogues, is the more moderate. There seems to be an allusion to the passage in the Gorgias, in which Socrates dilates on the pleasures of itching and scratching. Nor is there any real discrepancy in the manner in which Gorgias and his art are spoken of in the two dialogues. For Socrates is far from implying that the art of rhetoric has a real sphere of practical usefulness: he only means that the refutation of the claims of Gorgias is not necessary for his present purpose. He is saying in effect: 'Admit, if you please, that rhetoric is the greatest and usefullest of sciences: – this does not prove that dialectic is not the purest and most exact.' From the Sophist and Statesman we know that his hostility towards the sophists and rhetoricians was not mitigated in later life; although both in the Statesman and Laws he admits of a higher use of rhetoric.

Reasons have been already given for assigning a late date to the Philebus. That the date is probably later than that of the Republic, may be further argued on the following grounds: – 1. The general resemblance to the later dialogues and to the Laws: 2. The more complete account of the nature of good and pleasure: 3. The distinction between perception, memory, recollection, and opinion which indicates a great progress in psychology; also between understanding and imagination, which is described under the figure of the scribe and the painter. A superficial notion may arise that Plato probably wrote shorter dialogues, such as the Philebus, the Sophist, and the Statesman, as studies or preparations for longer ones. This view may be natural; but on further reflection is seen to be fallacious, because these three dialogues are found to make an advance upon the metaphysical conceptions of the Republic. And we can more easily suppose that Plato composed shorter writings after longer ones, than suppose that he lost hold of further points of view which he had once attained.

It is more easy to find traces of the Pythagoreans, Eleatics, Megarians, Cynics, Cyrenaics and of the ideas of Anaxagoras, in the Philebus, than to say how much is due to each of them. Had we fuller records of those old philosophers, we should probably find Plato in the midst of the fray attempting to combine Eleatic and Pythagorean doctrines, and seeking to find a truth beyond either Being or number; setting up his own concrete conception of good against the abstract practical good of the Cynics, or the abstract intellectual good of the Megarians, and his own idea of classification against the denial of plurality in unity which is also attributed to them; warring against the Eristics as destructive of truth, as he had formerly fought against the Sophists; taking up a middle position between the Cynics and Cyrenaics in his doctrine of pleasure; asserting with more consistency than Anaxagoras the existence of an intelligent mind and cause. Of the Heracliteans, whom he is said by Aristotle to have cultivated in his youth, he speaks in the Philebus, as in the Theaetetus and Cratylus, with irony and contempt. But we have not the knowledge which would enable us to pursue further the line of reflection here indicated; nor can we expect to find perfect clearness or order in the first efforts of mankind to understand the working of their own minds. The ideas which they are attempting to analyse, they are also in process of creating; the abstract universals of which they are seeking to adjust the relations have been already excluded by them from the category of relation.

…

The Philebus, like the Cratylus, is supposed to be the continuation of a previous discussion. An argument respecting the comparative claims of pleasure and wisdom to rank as the chief good has been already carried on between Philebus and Socrates. The argument is now transferred to Protarchus, the son of Callias, a noble Athenian youth, sprung from a family which had spent 'a world of money' on the Sophists (compare Apol.; Crat.; Protag.). Philebus, who appears to be the teacher, or elder friend, and perhaps the lover, of Protarchus, takes no further part in the discussion beyond asserting in the strongest manner his adherence, under all circumstances, to the cause of pleasure.

Socrates suggests that they shall have a first and second palm of victory. For there may be a good higher than either pleasure or wisdom, and then neither of them will gain the first prize, but whichever of the two is more akin to this higher good will have a right to the second. They agree, and Socrates opens the game by enlarging on the diversity and opposition which exists among pleasures. For there are pleasures of all kinds, good and bad, wise and foolish – pleasures of the temperate as well as of the intemperate. Protarchus replies that although pleasures may be opposed in so far as they spring from opposite sources, nevertheless as pleasures they are alike. Yes, retorts Socrates, pleasure is like pleasure, as figure is like figure and colour like colour; yet we all know that there is great variety among figures and colours. Protarchus does not see the drift of this remark; and Socrates proceeds to ask how he can have a right to attribute a new predicate (i.e. 'good') to pleasures in general, when he cannot deny that they are different? What common property in all of them does he mean to indicate by the term 'good'? If he continues to assert that there is some trivial sense in which pleasure is one, Socrates may retort by saying that knowledge is one, but the result will be that such merely verbal and trivial conceptions, whether of knowledge or pleasure, will spoil the discussion, and will prove the incapacity of the two disputants. In order to avoid this danger, he proposes that they shall beat a retreat, and, before they proceed, come to an understanding about the 'high argument' of the one and the many.

Protarchus agrees to the proposal, but he is under the impression that Socrates means to discuss the common question – how a sensible object can be one, and yet have opposite attributes, such as 'great' and 'small,' 'light' and 'heavy,' or how there can be many members in one body, and the like wonders. Socrates has long ceased to see any wonder in these phenomena; his difficulties begin with the application of number to abstract unities (e.g.'man,' 'good') and with the attempt to divide them. For have these unities of idea any real existence? How, if imperishable, can they enter into the world of generation? How, as units, can they be divided and dispersed among different objects? Or do they exist in their entirety in each object? These difficulties are but imperfectly answered by Socrates in what follows.

We speak of a one and many, which is ever flowing in and out of all things, concerning which a young man often runs wild in his first metaphysical enthusiasm, talking about analysis and synthesis to his father and mother and the neighbours, hardly sparing even his dog. This 'one in many' is a revelation of the order of the world, which some Prometheus first made known to our ancestors; and they, who were better men and nearer the gods than we are, have handed it down to us. To know how to proceed by regular steps from one to many, and from many to one, is just what makes the difference between eristic and dialectic. And the right way of proceeding is to look for one idea or class in all things, and when you have found one to look for more than one, and for all that there are, and when you have found them all and regularly divided a particular field of knowledge into classes, you may leave the further consideration of individuals. But you must not pass at once either from unity to infinity, or from infinity to unity. In music, for example, you may begin with the most general notion, but this alone will not make you a musician: you must know also the number and nature of the intervals, and the systems which are framed out of them, and the rhythms of the dance which correspond to them. And when you have a similar knowledge of any other subject, you may be said to know that subject. In speech again there are infinite varieties of sound, and some one who was a wise man, or more than man, comprehended them all in the classes of mutes, vowels, and semivowels, and gave to each of them a name, and assigned them to the art of grammar.

'But whither, Socrates, are you going? And what has this to do with the comparative eligibility of pleasure and wisdom:' Socrates replies, that before we can adjust their respective claims, we want to know the number and kinds of both of them. What are they? He is requested to answer the question himself. That he will, if he may be allowed to make one or two preliminary remarks. In the first place he has a dreamy recollection of hearing that neither pleasure nor knowledge is the highest good, for the good should be perfect and sufficient. But is the life of pleasure perfect and sufficient, when deprived of memory, consciousness, anticipation? Is not this the life of an oyster? Or is the life of mind sufficient, if devoid of any particle of pleasure? Must not the union of the two be higher and more eligible than either separately? And is not the element which makes this mixed life eligible more akin to mind than to pleasure? Thus pleasure is rejected and mind is rejected. And yet there may be a life of mind, not human but divine, which conquers still.

But, if we are to pursue this argument further, we shall require some new weapons; and by this, I mean a new classification of existence. (1) There is a finite element of existence, and (2) an infinite, and (3) the union of the two, and (4) the cause of the union. More may be added if they are wanted, but at present we can do without them. And first of the infinite or indefinite: – That is the class which is denoted by the terms more or less, and is always in a state of comparison. All words or ideas to which the words 'gently,' 'extremely,' and other comparative expressions are applied, fall under this class. The infinite would be no longer infinite, if limited or reduced to measure by number and quantity. The opposite class is the limited or finite, and includes all things which have number and quantity. And there is a third class of generation into essence by the union of the finite and infinite, in which the finite gives law to the infinite; – under this are comprehended health, strength, temperate seasons, harmony, beauty, and the like. The goddess of beauty saw the universal wantonness of all things, and gave law and order to be the salvation of the soul. But no effect can be generated without a cause, and therefore there must be a fourth class, which is the cause of generation; for the cause or agent is not the same as the patient or effect.

And now, having obtained our classes, we may determine in which our conqueror life is to be placed: Clearly in the third or mixed class, in which the finite gives law to the infinite. And in which is pleasure to find a place? As clearly in the infinite or indefinite, which alone, as Protarchus thinks (who seems to confuse the infinite with the superlative), gives to pleasure the character of the absolute good. Yes, retorts Socrates, and also to pain the character of absolute evil. And therefore the infinite cannot be that which imparts to pleasure the nature of the good. But where shall we place mind? That is a very serious and awful question, which may be prefaced by another. Is mind or chance the lord of the universe? All philosophers will say the first, and yet, perhaps, they may be only magnifying themselves. And for this reason I should like to consider the matter a little more deeply, even though some lovers of disorder in the world should ridicule my attempt.

Now the elements earth, air, fire, water, exist in us, and they exist in the cosmos; but they are purer and fairer in the cosmos than they are in us, and they come to us from thence. And as we have a soul as well as a body, in like manner the elements of the finite, the infinite, the union of the two, and the cause, are found to exist in us. And if they, like the elements, exist in us, and the three first exist in the world, must not the fourth or cause which is the noblest of them, exist in the world? And this cause is wisdom or mind, the royal mind of Zeus, who is the king of all, as there are other gods who have other noble attributes. Observe how well this agrees with the testimony of men of old, who affirmed mind to be the ruler of the universe. And remember that mind belongs to the class which we term the cause, and pleasure to the infinite or indefinite class. We will examine the place and origin of both.

What is the origin of pleasure? Her natural seat is the mixed class, in which health and harmony were placed. Pain is the violation, and pleasure the restoration of limit. There is a natural union of finite and infinite, which in hunger, thirst, heat, cold, is impaired – this is painful, but the return to nature, in which the elements are restored to their normal proportions, is pleasant. Here is our first class of pleasures. And another class of pleasures and pains are hopes and fears; these are in the mind only. And inasmuch as the pleasures are unalloyed by pains and the pains by pleasures, the examination of them may show us whether all pleasure is to be desired, or whether this entire desirableness is not rather the attribute of another class. But if pleasures and pains consist in the violation and restoration of limit, may there not be a neutral state, in which there is neither dissolution nor restoration? That is a further question, and admitting, as we must, the possibility of such a state, there seems to be no reason why the life of wisdom should not exist in this neutral state, which is, moreover, the state of the gods, who cannot, without indecency, be supposed to feel either joy or sorrow.

The second class of pleasures involves memory. There are affections which are extinguished before they reach the soul, and of these there is no consciousness, and therefore no memory. And there are affections which the body and soul feel together, and this feeling is termed consciousness. And memory is the preservation of consciousness, and reminiscence is the recovery of consciousness. Now the memory of pleasure, when a man is in pain, is the memory of the opposite of his actual bodily state, and is therefore not in the body, but in the mind. And there may be an intermediate state, in which a person is balanced between pleasure and pain; in his body there is want which is a cause of pain, but in his mind a sure hope of replenishment, which is pleasant. (But if the hope be converted into despair, he has two pains and not a balance of pain and pleasure.) Another question is raised: May not pleasures, like opinions, be true and false? In the sense of being real, both must be admitted to be true: nor can we deny that to both of them qualities may be attributed; for pleasures as well as opinions may be described as good or bad. And though we do not all of us allow that there are true and false pleasures, we all acknowledge that there are some pleasures associated with right opinion, and others with falsehood and ignorance. Let us endeavour to analyze the nature of this association.

Opinion is based on perception, which may be correct or mistaken. You may see a figure at a distance, and say first of all, 'This is a man,' and then say, 'No, this is an image made by the shepherds.' And you may affirm this in a proposition to your companion, or make the remark mentally to yourself. Whether the words are actually spoken or not, on such occasions there is a scribe within who registers them, and a painter who paints the images of the things which the scribe has written down in the soul, – at least that is my own notion of the process; and the words and images which are inscribed by them may be either true or false; and they may represent either past, present, or future. And, representing the future, they must also represent the pleasures and pains of anticipation – the visions of gold and other fancies which are never wanting in the mind of man. Now these hopes, as they are termed, are propositions, which are sometimes true, and sometimes false; for the good, who are the friends of the gods, see true pictures of the future, and the bad false ones. And as there may be opinion about things which are not, were not, and will not be, which is opinion still, so there may be pleasure about things which are not, were not, and will not be, which is pleasure still, – that is to say, false pleasure; and only when false, can pleasure, like opinion, be vicious. Against this conclusion Protarchus reclaims.

Leaving his denial for the present, Socrates proceeds to show that some pleasures are false from another point of view. In desire, as we admitted, the body is divided from the soul, and hence pleasures and pains are often simultaneous. And we further admitted that both of them belonged to the infinite class. How, then, can we compare them? Are we not liable, or rather certain, as in the case of sight, to be deceived by distance and relation? In this case the pleasures and pains are not false because based upon false opinion, but are themselves false. And there is another illusion: pain has often been said by us to arise out of the derangement – pleasure out of the restoration – of our nature. But in passing from one to the other, do we not experience neutral states, which although they appear pleasureable or painful are really neither? For even if we admit, with the wise man whom Protarchus loves (and only a wise man could have ever entertained such a notion), that all things are in a perpetual flux, still these changes are often unconscious, and devoid either of pleasure or pain. We assume, then, that there are three states – pleasureable, painful, neutral; we may embellish a little by calling them gold, silver, and that which is neither.

But there are certain natural philosophers who will not admit a third state. Their instinctive dislike to pleasure leads them to affirm that pleasure is only the absence of pain. They are noble fellows, and, although we do not agree with them, we may use them as diviners who will indicate to us the right track. They will say, that the nature of anything is best known from the examination of extreme cases, e.g. the nature of hardness from the examination of the hardest things; and that the nature of pleasure will be best understood from an examination of the most intense pleasures. Now these are the pleasures of the body, not of the mind; the pleasures of disease and not of health, the pleasures of the intemperate and not of the temperate. I am speaking, not of the frequency or continuance, but only of the intensity of such pleasures, and this is given them by contrast with the pain or sickness of body which precedes them. Their morbid nature is illustrated by the lesser instances of itching and scratching, respecting which I swear that I cannot tell whether they are a pleasure or a pain. (1) Some of these arise out of a transition from one state of the body to another, as from cold to hot; (2) others are caused by the contrast of an internal pain and an external pleasure in the body: sometimes the feeling of pain predominates, as in itching and tingling, when they are relieved by scratching; sometimes the feeling of pleasure: or the pleasure which they give may be quite overpowering, and is then accompanied by all sorts of unutterable feelings which have a death of delights in them. But there are also mixed pleasures which are in the mind only. For are not love and sorrow as well as anger 'sweeter than honey,' and also full of pain? Is there not a mixture of feelings in the spectator of tragedy? and of comedy also? 'I do not understand that last.' Well, then, with the view of lighting up the obscurity of these mixed feelings, let me ask whether envy is painful. 'Yes.' And yet the envious man finds something pleasing in the misfortunes of others? 'True.' And ignorance is a misfortune? 'Certainly.' And one form of ignorance is self-conceit – a man may fancy himself richer, fairer, better, wiser than he is? 'Yes.' And he who thus deceives himself may be strong or weak? 'He may.' And if he is strong we fear him, and if he is weak we laugh at him, which is a pleasure, and yet we envy him, which is a pain? These mixed feelings are the rationale of tragedy and comedy, and equally the rationale of the greater drama of human life. (There appears to be some confusion in this passage. There is no difficulty in seeing that in comedy, as in tragedy, the spectator may view the performance with mixed feelings of pain as well as of pleasure; nor is there any difficulty in understanding that envy is a mixed feeling, which rejoices not without pain at the misfortunes of others, and laughs at their ignorance of themselves. But Plato seems to think further that he has explained the feeling of the spectator in comedy sufficiently by a theory which only applies to comedy in so far as in comedy we laugh at the conceit or weakness of others. He has certainly given a very partial explanation of the ridiculous.) Having shown how sorrow, anger, envy are feelings of a mixed nature, I will reserve the consideration of the remainder for another occasion.

Next follow the unmixed pleasures; which, unlike the philosophers of whom I was speaking, I believe to be real. These unmixed pleasures are: (1) The pleasures derived from beauty of form, colour, sound, smell, which are absolutely pure; and in general those which are unalloyed with pain: (2) The pleasures derived from the acquisition of knowledge, which in themselves are pure, but may be attended by an accidental pain of forgetting; this, however, arises from a subsequent act of reflection, of which we need take no account. At the same time, we admit that the latter pleasures are the property of a very few. To these pure and unmixed pleasures we ascribe measure, whereas all others belong to the class of the infinite, and are liable to every species of excess. And here several questions arise for consideration: – What is the meaning of pure and impure, of moderate and immoderate? We may answer the question by an illustration: Purity of white paint consists in the clearness or quality of the white, and this is distinct from the quantity or amount of white paint; a little pure white is fairer than a great deal which is impure. But there is another question: – Pleasure is affirmed by ingenious philosophers to be a generation; they say that there are two natures – one self-existent, the other dependent; the one noble and majestic, the other failing in both these qualities. 'I do not understand.' There are lovers and there are loves. 'Yes, I know, but what is the application?' The argument is in play, and desires to intimate that there are relatives and there are absolutes, and that the relative is for the sake of the absolute; and generation is for the sake of essence. Under relatives I class all things done with a view to generation; and essence is of the class of good. But if essence is of the class of good, generation must be of some other class; and our friends, who affirm that pleasure is a generation, would laugh at the notion that pleasure is a good; and at that other notion, that pleasure is produced by generation, which is only the alternative of destruction. Who would prefer such an alternation to the equable life of pure thought? Here is one absurdity, and not the only one, to which the friends of pleasure are reduced. For is there not also an absurdity in affirming that good is of the soul only; or in declaring that the best of men, if he be in pain, is bad?

And now, from the consideration of pleasure, we pass to that of knowledge. Let us reflect that there are two kinds of knowledge – the one creative or productive, and the other educational and philosophical. Of the creative arts, there is one part purer or more akin to knowledge than the other. There is an element of guess-work and an element of number and measure in them. In music, for example, especially in flute-playing, the conjectural element prevails; while in carpentering there is more application of rule and measure. Of the creative arts, then, we may make two classes – the less exact and the more exact. And the exacter part of all of them is really arithmetic and mensuration. But arithmetic and mensuration again may be subdivided with reference either to their use in the concrete, or to their nature in the abstract – as they are regarded popularly in building and binding, or theoretically by philosophers. And, borrowing the analogy of pleasure, we may say that the philosophical use of them is purer than the other. Thus we have two arts of arithmetic, and two of mensuration. And truest of all in the estimation of every rational man is dialectic, or the science of being, which will forget and disown us, if we forget and disown her.

'But, Socrates, I have heard Gorgias say that rhetoric is the greatest and usefullest of arts; and I should not like to quarrel either with him or you.' Neither is there any inconsistency, Protarchus, with his statement in what I am now saying; for I am not maintaining that dialectic is the greatest or usefullest, but only that she is the truest of arts; my remark is not quantitative but qualitative, and refers not to the advantage or repetition of either, but to the degree of truth which they attain – here Gorgias will not care to compete; this is what we affirm to be possessed in the highest degree by dialectic. And do not let us appeal to Gorgias or Philebus or Socrates, but ask, on behalf of the argument, what are the highest truths which the soul has the power of attaining. And is not this the science which has a firmer grasp of them than any other? For the arts generally are only occupied with matters of opinion, and with the production and action and passion of this sensible world. But the highest truth is that which is eternal and unchangeable. And reason and wisdom are concerned with the eternal; and these are the very claimants, if not for the first, at least for the second place, whom I propose as rivals to pleasure.