non…fusile；　shall　we　say　that　they　come　into　existence…not　having
  existed　previously…by　the　creation　of　God；　or　shall　we　agree　with
  vulgar　opinion　about　them？
  Theaet。　What　is　it？
  Str。　The　opinion　that　nature　brings　them　into　being　from　some
  spontaneous　and　unintelligent　cause。　Or　shall　we　say　that　they　are
  created　by　a　divine　reason　and　a　knowledge　which　comes　from　God？
  Theaet。　I　dare　say　that；　owing　to　my　youth；　I　may　often　waver　in
  my　view；　but　now　when　I　look　at　you　and　see　that　you　incline　to
  refer　them　to　God；　I　defer　to　your　authority。
  Str。　Nobly　said；　Theaetetus；　and　if　I　thought　that　you　were　one　of
  those　who　would　hereafter　change　your　mind；　I　would　have
  gently　argued
  with　you；　and　forced　you　to　assent；　but　as　I　perceive　that　you　will
  come　of　yourself　and　without　any　argument　of　mine；　to　that　belief
  which；　as　you　say；　attracts　you；　I　will　not　forestall　the　work　of
  time。　Let　me　suppose　then；　that　things　which　are　said　to　be　made　by
  nature　are　the　work　of　divine　art；　and　that　things　which　are　made　by
  man　out　of　these　are　work　of　human　art。　And　so　there　are　two　kinds
  of　making　and　production；　the　one　human　and　the　other　divine。
  Theaet。　True。
  Str。　Then；　now；　subdivide　each　of　the　two　sections　which　we　have
  already。
  Theaet。　How　do　you　mean？
  Str。　I　mean　to　say　that　you　should　make　a　vertical　division　of
  production　or　invention；　as　you　have　already　made　a　lateral　one。
  Theaet。　I　have　done　so。
  Str。　Then；　now；　there　are　in　all　four　parts　or　segments…two　of
  them　have　reference　to　us　and　are　human；　and　two　of　them　have
  reference　to　the　gods　and　are　divine。
  Theaet。　True。
  Str。　And；　again；　in　the　division　which　was　supposed　to　be　made　in
  the　other　way；　one　part　in　each　subdivision　is　the　making　of　the
  things　themselves；　but　the　two　remaining　parts　may　be　called　the
  making　of　likenesses；　and　so　the　productive　art　is　again　divided
  into　two　parts。
  Theaet。　Tell　me　the　divisions　once　more。
  Str。　I　suppose　that　we；　and　the　other　animals；　and　the　elements
  out　of　which　things　are　made…fire；　water；　and　the　like…are
  known　by　us
  to　be　each　and　all　the　creation　and　work　of　God。
  Theaet。　True。
  Str。　And　there　are　images　of　them；　which　are　not　them；　but　which
  correspond　to　them；　and　these　are　also　the　creation　of　a　wonderful
  skill。
  Theaet。　What　are　they？
  Str。　The　appearances　which　spring　up　of　themselves　in　sleep　or　by
  day；　such　as　a　shadow　when　darkness　arises　in　a　fire；　or　the
  reflection　which　is　produced　when　the　light　in　bright　and　smooth
  objects　meets　on　their　surface　with　an　external　light；　and　creates　a
  perception　the　opposite　of　our　ordinary　sight。
  Theaet。　Yes；　and　the　images　as　well　as　the　creation　are　equally
  the　work　of　a　divine　hand。
  Str。　And　what　shall　we　say　of　human　art？　Do　we　not　make
  one　house　by
  the　art　of　building；　and　another　by　the　art　of　drawing；　which　is　a
  sort　of　dream　created　by　man　for　those　who　are　awake？
  Theaet。　Quite　true。
  Str。　And　other　products　of　human　creation　are　twofold　and　go　in
  pairs；　there　is　the　thing；　with　which　the　art　of　making　the　thing　is
  concerned；　and　the　image；　with　which　imitation　is　concerned。
  Theaet。　Now　I　begin　to　understand；　and　am　ready　to　acknowledge
  that　there　are　two　kinds　of　production；　and　each　of　them　two　fold；
  in　the　lateral　division　there　is　both　a　divine　and　a　human
  production；
  in　the　vertical　there　are　realities　and　a　creation　of　a　kind　of
  similitudes。
  Str。　And　let　us　not　forget　that　of　the　imitative　class　the　one
  part　to　have　been　likeness　making；　and　the　other　phantastic；　if　it
  could　be　shown　that　falsehood　is　a　reality　and　belongs　to
  the　class　of
  real　being。
  Theaet。　Yes。
  Str。　And　this　appeared　to　be　the　case；　and　therefore　now；　without
  hesitation；　we　shall　number　the　different　kinds　as　two。
  Theaet。　True。
  Str。　Then；　now；　let　us　again　divide　the　phantastic　art。
  Theaet。　Where　shall　we　make　the　division？
  Str。　There　is　one　kind　which　is　produced　by　an　instrument；　and
  another　in　which　the　creator　of　the　appearance　is　himself　the
  instrument。
  Theaet。　What　do　you　mean？
  Str。　When　any　one　makes　himself　appear　like　another　in　his
  figure　or
  his　voice；　imitation　is　the　name　for　this　part　of　the　phantastic　art。
  Theaet。　Yes。
  Str。　Let　this；　then；　be　named　the　art　of　mimicry；　and　this　the
  province　assigned　to　it；　as　for　the　other　division；　we　are　weary　and
  will　give　that　up；　leaving　to　some　one　else　the　duty　of　making　the
  class　and　giving　it　a　suitable　name。
  Theaet。　Let　us　do　as　you　say…assign　a　sphere　to　the　one　and　leave
  the　other。
  Str。　There　is　a　further　distinction；　Theaetetus；　which　is　worthy
  of　our　consideration；　and　for　a　reason　which　I　will　tell　you。
  Theaet。　Let　me　hear。
  Str。　There　are　some　who　imitate；　knowing　what　they
  imitate；　and　some
  who　do　not　know。　And　what　line　of　distinction　can　there　possibly　be
  greater　than　that　which　divides　ignorance　from　knowledge？
  Theaet。　There　can　be　no　greater。
  Str。　Was　not　the　sort　of　imitation　of　which　we　spoke　just　now　the
  imitation　of　those　who　know？　For　he　who　would　imitate　you
  would　surely
  know　you　and　your　figure？
  Theaet。　Naturally。
  Str。　And　what　would　you　say　of　the　figure　or　form　of　justice　or　of
  virtue　in　general？　Are　we　not　well　aware　that　many；　having　no
  knowledge　of　either；　but　only　a　sort　of　opinion；　do　their
  best　to　show
  that　this　opinion　is　really　entertained　by　them；　by　expressing　it；
  as　far　as　they　can；　in　word　and　deed？
  Theaet。　Yes；　that　is　very　common。
  Str。　And　do　they　always　fail　in　their　attempt　to　be　thought　just；
  when　they　are　not？　Or　is　not　the　very　opposite　true？
  Theaet。　The　very　opposite。
  Str。　Such　a　one；　then；　should　be　described　as　an　imitator…to　be
  distinguished　from　the　other；　as　he　who　is　ignorant　is　distinguished
  from　him　who　knows？
  Theaet。　True。
  Str。　Can　we　find　a　suitable　name　for　each　of　them？　This　is　clearly
  not　an　easy　task；　for　among　the　ancients　there　was　some　confusion　of
  ideas；　which　prevented　them　from　attempting　to　divide　genera　into
  species；　wherefore　there　is　no　great　abundance　of　names。　Yet；　for
  the　sake　of　distinctness；　I　will　make　bold　to　call　the
  imitation　which
  coexists　with　opinion；　the　imitation　of　appearance…that
  which　coexists
  with　science；　a　scientific　or　learned　imitation。
  Theaet。　Granted。
  Str。　The　former　is　our　present　concern；　for　the　Sophist　was
  classed　with　imitators　indeed；　but　not　among　those　who　have
  knowledge。
  Theaet。　Very　true。
  Str。　Let　us；　then；　examine　our　imitator　of　appearance；　and　see
  whether　he　is　sound；　like　a　piece　of　iron；　or　whether　there　is　still
  some　crack　in　him。
  Theaet。　Let　us　examine　him。
  Str。　Indeed　there　is　a　very　considerable　crack；　for　if　you
  look；　you
  find　that　one　of　the　two　classes　of　imitators　is　a　simple　creature；
  who　thinks　that　he　knows　that　which　he　only　fancies；　the　other　sort
  has　knocked　about　among　arguments；　until　he　suspects　and
  fears　that　he
  is　ignorant　of　that　which　to　the　many　he　pretends　to　know。
  Theaet。　There　are　certainly　the　two　kinds　which　you　describe。
  Str。　Shall　we　regard　one　as　the　simple　imitator…the　other　as　the
  dissembling　or　ironical　imitator？
  Theaet。　Very　good。
  Str。　And　shall　we　further　speak　of　this　latter　class　as　having　one
  or　two　divisions？
  Theaet。　Answer　yourself。
  Str。　Upon　consideration；　then；　there　appear　to　me　to　be　two；　there
  is　the　dissembler；　who　harangues　a　multitude　in　public　in　a　long
  speech；　and　the　dissembler；　who　in　private　and　in　short　speeches
  compels　the　person　who　is　conversing　with　him　to　contradict　himself。
  Theaet。　What　you　say　is　most　true。
  Str。　And　who　is　the　maker　of　the　longer　speeches？　Is　he　the
  statesman　or　the　popular　orator？
  Theaet。　The　latter。
  Str。　And　what　shall　we　call　the　other？　Is　he　the　philosopher　or
  the　Sophist？
  Theaet。　The　philosopher　he　cannot　be；　for　upon　our　view　he　is
  ignorant；　but　since　he　is　an　imitator　of　the　wise　he　will　have　a
  name　which　is　formed　by　an　adaptation　of　the　word　sothos。　What　shall
  we　name　him？　I　am　pretty　sure　that　I　cannot　be　mistaken　in
  terming　him
  the　true　and　very　Sophist。
  Str。　Shall　we　bind　up　his　name　as　we　did　before；　making　a
  chain　from
  one　end　of　his　genealogy　to　the　other？
  Theaet。　By　all　means。
  Str。　He；　then；　who　traces　the　pedigree　of　his　art　as　follows…who；
  belonging　to　the　conscious　or　dissembling　section　of　the　art　of
  causing　self…contradiction；　is　an　imitator　of　appearance；　and　is
  separated　from　the　class　of　phantastic　which　is　a　branch　of
  image…making　into　that　further　division　of　creation；　the　juggling　of
  words；　a　creation　human；　and　not　divine…any　one　who　affirms　the　real
  Sophist　to　be　of　this　blood　and　lineage　will　say　the　very　truth。
  Theaet。　Undoubtedly。
  …THE　END…
  。