It may not be superfluous to draw attention to the fact that what we have here outlined is the method of the _Phaedrus_ itself. The dialectic appears in the dispute about love. The current thesis that love is praiseworthy is countered by the antithesis that love is blameworthy. This position is fully developed in the speech of Lysias and in the first speech of Socrates. But this position is countered by a new thesis that after all love is praiseworthy because it is a divine thing. Of course, this is love on a higher level, or love re-defined. This is the regular process of transcendence which we have noted before. Now, having rescued love from the imputation of evil by excluding certain things from its definition, what does Socrates do? Quite in accordance with our analysis, he turns rhetorician. He tries to make this love as attractive as possible by bringing in the splendid figure of the charioteer.[14] In the narrower conception of this art, the allegory is the rhetoric, for it excites and fills us with desire for this kind of love, depicted with many terms having tendency toward the good. But in the broader conception the art must include also the dialectic, which succeeded in placing love in the category of divine things before filling our imaginations with attributes of divinity.[15] It is so regularly the method of Plato to follow a subtle analysis with a striking myth that it is not unreasonable to call him the master rhetorician. This goes far to explain why those who reject his philosophy sometimes remark his literary art with mingled admiration and annoyance. The objection sometimes made that rhetoric cannot be used by a lover of truth because it indulges in “exaggerations” can be answered as follows. There is an exaggeration which is mere wantonness, and with this the true rhetorician has nothing to do. Such exaggeration is purely impressionistic in aim. Like caricature, whose only object is to amuse, it seizes upon any trait or aspect which could produce titillation and exploits this without conscience. If all rhetoric were like this, we should have to grant that rhetoricians are persons of very low responsibility and their art a disreputable one. But the rhetorician we have now defined is not interested in sensationalism.