The Statesman has lost the grace and beauty of the earlier dialogues. The mind of the writer seems to be so overpowered in the effort of thought as to impair his style; at least his gift of expression does not keep up with the increasing difficulty of his theme. The idea of the king or statesman and the illustration of method are connected, not like the love and rhetoric of the Phaedrus, by 'little invisible pegs,' but in a confused and inartistic manner, which fails to produce any impression of a whole on the mind of the reader. Plato apologizes for his tediousness, and acknowledges that the improvement of his audience has been his only aim in some of his digressions. His own image may be used as a motto of his style: like an inexpert statuary he has made the figure or outline too large, and is unable to give the proper colours or proportions to his work. He makes mistakes only to correct them--this seems to be his way of drawing attention to common dialectical errors. The Eleatic stranger, here, as in the Sophist, has no appropriate character, and appears only as the expositor of a political ideal, in the delineation of which he is frequently interrupted by purely logical illustrations. The younger Socrates resembles his namesake in nothing but a name. The dramatic character is so completely forgotten, that a special reference is twice made to discussions in the Sophist; and this, perhaps, is the strongest ground which can be urged for doubting the genuineness of the work. But, when we remember that a similar allusion is made in the Laws to the Republic, we see that the entire disregard of dramatic propriety is not always a sufficient reason for doubting the genuineness of a Platonic writing.