on the part of Critias. The remaining definitions have a higher aim, which is to introduce the element of knowledge, and at last to unite good and truth in a single science. But the time has not yet arrived for the realization of this vision of metaphysical philosophy; and such a science when brought nearer to us in the Philebus and the Republic will not be called by the name of (Greek). Hence we see with surprise that Plato, who in his other writings identifies good and knowledge, here opposes them, and asks, almost in the spirit of Aristotle, how can there be a knowledge of knowledge, and even if attainable, how can such a knowledge be of any use?
The difficulty of the Charmides arises chiefly from the two senses of the word (Greek), or temperance. From the ethical notion of temperance, which is variously defined to be quietness, modesty, doing our own business, the doing of good actions, the dialogue passes onto the intellectual conception of (Greek), which is declared also to be the science of self-knowledge, or of the knowledge of what we know and do not know, or of the knowledge of good and evil. The dialogue represents a stage in the history of philosophy in which knowledge and action were not yet distinguished. Hence the confusion between them, and the easy transition from one to the other. The definitions which are offered are all rejected, but it is to be observed that they all tend to throw a light on the nature of temperance, and that, unlike the distinction of Critias between (Greek), none of them are merely verbal quibbles, it is implied that this question, although it has not yet received a solution in theory, has been already answered by Charmides himself, who has learned to practise the virtue of self-knowledge which philosophers are vainly trying to define in words. In a similar spirit we might say to a young man who is disturbed by theological difficulties, 'Do not trouble yourself about such matters, but only lead a good life;' and yet in either case it is not to be denied that right ideas of truth may contribute greatly to the improvement of character.
The reasons why the Charmides, Lysis, Laches have been placed together and first in the series of Platonic dialogues, are: (i) Their shortness and simplicity. The Charmides and the Lysis, if not the Laches, are of the same 'quality' as the Phaedrus and Symposium: and it is probable, though far from certain, that the slighter effort preceded the greater one. (ii) Their eristic, or rather Socratic character; they belong to the class called dialogues of search (Greek), which have no conclusion. (iii) The absence in them of certain favourite notions of Plato, such as the doctrine of recollection and of the Platonic ideas; the questions, whether virtue can be taught; whether the virtues are one or many. (iv) They have a want of depth, when compared with the dialogues of the middle and later period; and a youthful beauty and grace which is wanting in the later ones. (v) Their resemblance to one another; in all the three boyhood has a great part. These reasons have various degrees of weight in determining their place in the catalogue of the Platonic writings, though they are not conclusive. No arrangement of the Platonic dialogues can be strictly chronological. The order which has been adopted is intended mainly for the convenience of the reader; at the same time, indications of the date supplied either by Plato himself or allusions found in the dialogues have not been lost sight of. Much may be said about this subject, but the results can only be probable; there are no materials which would enable us to attain to anything like certainty.
The relations of knowledge and virtue are again brought forward in the companion dialogues of the Lysis and Laches; and also in the Protagoras and Euthydemus. The opposition of abstract and particular knowledge in this dialogue may be compared with a similar opposition of ideas and phenomena which occurs in the Prologues to the Parmenides, but seems rather to belong to a later stage of the philosophy of Plato.
Charmides
or
Temperance
Persons of the Dialogue: Socrates, who is the narrator, Charmides, Chaerephon, Critias.
Scene: The Palaestra of Taureas, which is near the Porch of the King Archon.
Yesterday evening I returned from the army at Potidaea, and having been a good while away, I thought that I should like to go and look at my old haunts. So I went into the palaestra of Taureas, which is over against the temple adjoining the porch of the King Archon, and there I found a number of persons, most of whom I knew, but not all. My visit was unexpected, and no sooner did they see me entering than they saluted me from afar on all sides; and Chaerephon, who is a kind of madman, started up and ran to me, seizing my hand, and saying, How did you escape, Socrates?—(I should explain that an engagement had taken place at Potidaea not long before we came away, of which the news had only just reached Athens.)
You see, I replied, that here I am.
There was a report, he said, that the engagement was very severe, and that many of our acquaintance had fallen.
That, I replied, was not far from the truth.
I suppose, he said, that you were present.
I was.
Then sit down, and tell us the whole story, which as yet we have only heard imperfectly.
I took the place which he assigned to me, by the side of Critias the son of Callaeschrus, and when I had saluted him and the rest of the company, I told them the news from the army, and answered their several enquiries.
Then, when there had been enough of this, I, in my turn, began to make enquiries about matters at home—about the present state of philosophy, and about the youth. I asked whether any of them were remarkable for wisdom or beauty, or both. Critias, glancing at the door, invited my attention to some youths who were coming in, and talking noisily to one another, followed by a crowd. Of the beauties, Socrates, he said, I fancy that you will soon be able to form a judgment. For those who are just entering are the advanced guard of the great beauty, as he is thought to be, of the day, and he is likely to be not far off himself.
Who is he, I said; and who is his father?
Charmides, he replied, is his name; he is my cousin, and the son of my uncle Glaucon: I rather think that you know him too, although he was not grown up at the time of your departure.
Certainly, I know him, I said, for he was remarkable even then when he was still a child, and I should imagine that by this time he must be almost a young man.
You will see, he said, in a moment what progress he has made and what he is like. He had scarcely said the word, when Charmides entered.
Now you know, my friend, that I cannot measure anything, and of the beautiful, I am simply such a measure as a white line is of chalk; for almost all young persons appear to be beautiful in my eyes. But at that moment, when I saw him coming in, I confess that I was quite astonished at his beauty and stature; all the world seemed to be enamoured of him; amazement and confusion reigned when he entered; and a troop of lovers followed him. That grown-up men like ourselves should have been affected in this way was not surprising, but I observed that there was the same feeling among the boys; all of them, down to the very least child, turned and looked at him, as if he had been a statue.
Chaerephon called me and said: What do you think of him, Socrates? Has he not a beautiful face?
Most beautiful, I said.
But you would think nothing of his face, he replied, if you could see his naked form: he is absolutely perfect.
And to this they all agreed.
By Heracles, I said, there never was such a paragon, if he has only one other slight addition.
What is that? said Critias.
If he has a noble soul; and being of your house, Critias, he may be expected to have this.
He is as fair and good within, as he is without, replied Critias.
Then, before we see his body, should we not ask him to show us his soul, naked and undisguised? he is just of an age at which he will like to talk.
That he will, said Critias, and I can tell you that he is a philosopher already, and also a considerable poet, not in his own opinion only, but in that of others.