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closest attention。 Suppose that a person were to profess； not that
he could speak or dispute； but that he knew how to make and do all
things； by a single art。
Theaet。 All things？
Str。 I see that you do not understand the first word that I utter；
for you do not understand the meaning of 〃all。〃
Theaet。 No； I do not。
Str。 Under all things； I include you and me； and also animals and
trees。
Theaet。 What do you mean？
Str。 Suppose a person to say that he will make you and me； and all
creatures。
Theaet。 What would he mean by 〃making〃？ He cannot be a
husbandman；…for you said that he is a maker of animals。
Str。 Yes； and I say that he is also the maker of the sea； and the
earth； and the heavens； and the gods； and of all other things； and；
further； that he can make them in no time； and sell them for a few
pence。
Theaet。 That must be a jest。
Str。 And when a man says that he knows all things； and can teach
them to another at a small cost； and in a short time； is not that a
jest？
Theaet。 Certainly。
Str。 And is there any more artistic or graceful form of jest than
imitation？
Theaet。 Certainly not； and imitation is a very comprehensive term；
which includes under one class the most diverse sorts of things。
Str。 We know； of course； that he who professes by one art to make
all things is really a painter； and by the painter's art makes
resemblances of real things which have the same name with
them； and he
can deceive the less intelligent sort of young children； to whom he
shows his pictures at a distance； into the belief that he has the
absolute power of making whatever he likes。
Theaet。 Certainly。
Str。 And may there not be supposed to be an imitative art of
reasoning？ Is it not possible to enchant the hearts of young men by
words poured through their ears； when they are still at a distance
from the truth of facts； by exhibiting to them fictitious arguments；
and making them think that they are true； and that the speaker is
the wisest of men in all things？
Theaet。 Yes； why should there not be another such art？
Str。 But as time goes on； and their hearers advance in years； and
come into closer contact with realities； and have learnt by sad
experience to see and feel the truth of things； are not the greater
part of them compelled to change many opinions which they formerly
entertained； so that the great appears small to them； and the easy
difficult； and all their dreamy speculations are overturned by the
facts of life？
Theaet。 That is my view； as far as I can judge； although；
at my age；
I may be one of those who see things at a distance only。
Str。 And the wish of all of us； who are your friends； is and
always will be to bring you as near to the truth as we can
without the
sad reality。 And now I should like you to tell me； whether
the Sophist
is not visibly a magician and imitator of true being； or are we
still disposed to think that he may have a true knowledge of the
various matters about which he disputes？
Theaet。 But how can he； Stranger？ Is there any doubt；
after what has
been said； that he is to be located in one of the divisions of
children's play？
Str。 Then we must place him in the class of magicians and mimics。
Theaet。 Certainly we must。
Str。 And now our business is not to let the animal out； for we
have got him in a sort of dialectical net； and there is one thing
which he decidedly will not escape。
Theaet。 What is that？
Str。 The inference that he is a juggler。
Theaet。 Precisely my own opinion of him。
Str。 Then； clearly； we ought as soon as possible to divide the
image…making art； and go down into the net； and； if the Sophist does
not run away from us； to seize him according to orders and
deliver him
over to reason； who is the lord of the hunt； and proclaim the
capture of him； and if he creeps into the recesses of the imitative
art； and secretes himself in one of them； to divide again and follow
him up until in some sub…section of imitation he is caught。 For our
method of tackling each and all is one which neither he nor any
other creature will ever escape in triumph。
Theaet。 Well said； and let us do as you propose。
Str。 Well； then； pursuing the same analytic method as before； I
think that I can discern two divisions of the imitative art； but I
am not as yet able to see in which of them the desired form is to be
found。
Theaet。 Will you tell me first what are two divisions of which you
are speaking？
Str。 One is the art of likeness…making；…generally a likeness of
anything is made by producing a copy which is executed according to
the proportions of the original； similar in length and breadth and
depth； each thing receiving also its appropriate colour。
Theaet。 Is not this always the aim of imitation？
Str。 Not always； in works either of sculpture or of painting；
which are of any magnitude； there is a certain degree of deception；
…for artists were to give the true proportions of their fair works；
the upper part； which is farther off； would appear to be out of
proportion in comparison with the lower； which is nearer； and so
they give up the truth in their images and make only the proportions
which appear to be beautiful； disregarding the real ones。
Theaet。 Quite true。
Str。 And that which being other is also like； may we not
fairly call
a likeness or image？
Theaet。 Yes。
Str。 And may we not； as I did just now； call that part of the
imitative art which is concerned with making such images the art of
likeness making？
Theaet。 Let that be the name。
Str。 And what shall we call those resemblances of the beautiful；
which appear such owing to the unfavourable position of the
spectator；
whereas if a person had the power of getting a correct view of works
of such magnitude； they would appear not even like that to which
they profess to be like？ May we not call these 〃appearances；〃 since
they appear only and are not really like？
Theaet。 Certainly。
Str。 There is a great deal of this kind of thing in
painting； and in
all imitation。
Theaet。 Of course。
Str。 And may we not fairly call the sort of art； which produces an
appearance and not an image； phantastic art？
Theaet。 Most fairly。
Str。 These then are the two kinds of image making…the art of
making likenesses； and phantastic or the art of making appearances？
Theaet。 True。
Str。 I was doubtful before in which of them I should place the
Sophist； nor am I even now able to see clearly； verily he is a
wonderful and inscrutable creature。 And now in the cleverest
manner he
has got into an impossible place。
Theaet。 Yes； he has。
Str。 Do you speak advisedly； or are you carried away at the moment
by the habit of assenting into giving a hasty answer？
Theaet。 May I ask to what you are referring？
Str。 My dear friend； we are engaged in a very difficult
speculation…there can be no doubt of that； for how a thing can
appear and seem； and not be； or how a man can say a thing
which is not
true； has always been and still remains a very perplexing question。
Can any one say or think that falsehood really exists； and
avoid being
caught in a contradiction？ Indeed； Theaetetus； the task is a
difficult
one。
Theaet。 Why？
Str。 He who says that falsehood exists has the audacity to assert
the being of not…being； for this is implied in the possibility of
falsehood。 But； my boy； in the days when I was a boy； the great
Parmenides protested against this doctrine； and to the end
of his life
he continued to inculcate the same lesson…always repeating both in
verse and out of verse：
Keep your mind from this way of enquiry； for never will you show
that not…being is
Such is his testimony； which is confirmed by the very expression
when sifted a little。 Would you object to begin with the
consideration
of the words themselves？
Theaet。 Never mind about me； I am only desirous that you should
carry on the argument in the best way； and that you should take me
with you。
Str。 Very good； and now say； do we venture to utt