'Yes, indeed, and a fair and shady resting-place, full of summer sounds and scents. There is the lofty and spreading plane-tree, and the agnus castus, high and clustering, in the fullest blossom and the greatest fragrance; and the stream which flows beneath the plane-tree is deliciously cold to the feet. Judging from the ornaments and images, this must be a spot sacred to Achelöus and the Nymphs; moreover, there is a sweet breeze, and the grasshoppers chirrup; and the greatest charm of all is the grass like a pillow gently sloping to the head. My dear Phædrus, you have been an admirable guide.' In p. 248, C., θεσμὸς Ἀδραστείας is not 'a law of the goddess Retribution,' but simply 'a law of necessity.' Had we space, we could point out not a few very inadequate, not to say inaccurate, renderings in the grand and mystical passage about the ἰδέα of beauty, p. 250. For instance, Mr. Jowett does not see that we should construe κατειλήφαμεν αὐτὸ (viz., κάλλος) διὰ τῆς ἐναργεστάτης αἰσθήσεως τῶν ἡμετέρων, 'we realize it (here on earth) by the clearest of all our senses,' viz., the sight of the eye. The whole translation of the great allegory, in fact, reads as if it came from one who had never taken the trouble to make out _exactly_ what the Greek meant; and, as it is very difficult, and the passage itself very sublime, the student ought to have found in Professor Jowett a safe and cautious and accurate guide to the language as well as to the mind of Plato. We are compelled to pass on, rapidly and very briefly, to that most difficult of Platonic dialogues, the _Philebus_. This treats of a life made up of pleasure and intellectuality, φρόνησις, combined in certain proportions, a μικτὸς βίος, as the best and happiest. And the doctrine of πέρας and ἄπειρον, the Finite and the Infinite, which Aristotle (Eth., ii. 5) attributes to Protagoras,τὸ κακὸν τοῦ ἀπείρου, ὡς οἱ Πυθαγόρειοι εἴκαζον, τὸ δ' ἀγαθὸν τοῦ πεπερασμένου, is so applied as to show that mere pleasure carried to excess is self-destroying. This also is touched upon in the Tenth Book of the Ethics, ch. ii., where the μικτὸς βίος of ἡδονὴ and φρόνησις combined is preferred to either alone. It has sometimes occurred to us, that in this dialogue Plato has purposely used involved constructions and an affected obscurity of style, as if to satirize Heraclitus, or some sophist of the Ephesian school. The scholastic formulæ ἓν καὶ πολλὰ, implying synthesis and analysis, and μᾶλλον καὶ ἧττον, 'the more or less,' to denote the ἄπειρον, which can always be carried forward or backward, as in 'hot and cold,' till πέρας, or definite quantity, is brought to limit them,--these and other subtleties give to the _Philebus_, besides its linguistic difficulties, which are great, an aspect which is seldom inviting to younger students.