Plato does, no doubt, make it a charge against the Sophists that their doctrines are not only false and immoral, but that they are put together without any regard for logical coherence. It would seem, however, that this style of attack belongs rather to the later and constructive than to the earlier and receptive period of his intellectual development. The original cause of his antagonism to the professional teachers seems to have been their general pretensions to knowledge, which, from the standpoint of universal scepticism, were, of course, utterly illusive; together with a feeling of aristocratic contempt for a calling in which considerations of pecuniary interest were involved, heightened in this instance by a conviction that the buyer received nothing better than a sham article in exchange for his money. Here, again, a parallel suggests itself with the first preaching of the Gospel. The attitude of Christ towards the scribes and Pharisees, as also that of St. Paul towards Simon Magus, will help us to understand how Plato, in another order of spiritual teaching, must have regarded the hypocrisy of wisdom, the intrusion of fraudulent traders into the temple of Delphic inspiration, and the sale of a priceless blessing whose unlimited diffusion should have been its own and only reward. Yet throughout the philosophy of Plato we meet with a tendency to ambiguous shiftings and reversions of which, here also, due account must be taken. That curious blending of love and hate which forms the subject of a mystical lyric in Mr. Browning’s _Pippa Passes_, is not without its counterpart in purely rationalistic discussion. If Plato used the Socratic method to dissolve away much that was untrue, because incomplete, in Socratism, he used it also to absorb much that was deserving of development in Sophisticism. If, in one sense, the latter was a direct reversal of his master’s teaching, in another it served as a sort of intermediary between that teaching and the unenlightened consciousness of mankind. The shadow should not be confounded with the substance, but it might show by contiguity, by resemblance, and by contrast where the solid reality lay, what were its outlines, and how its characteristic lights might best be viewed.