b. The arts or sciences, when pursued without any view to truth, or the improvement of human life, are called flatteries. They are all alike dependent upon the opinion of mankind, from which they are derived. To Plato the whole world appears to be sunk in error, based on self-interest. To this is opposed the one wise man hardly professing to have found truth, yet strong in the conviction that a virtuous life is the only good, whether regarded with reference to this world or to another. Statesmen, Sophists, rhetoricians, poets, are alike brought up for judgment. They are the parodies of wise men, and their arts are the parodies of true arts and sciences. All that they call science is merely the result of that study of the tempers of the Great Beast, which he describes in the Republic. c. Various other points of contact naturally suggest themselves between the Gorgias and other dialogues, especially the Republic, the Philebus, and the Protagoras. There are closer resemblances both of spirit and language in the Republic than in any other dialogue, the verbal similarity tending to show that they were written at the same period of Plato’s life. For the Republic supplies that education and training of which the Gorgias suggests the necessity. The theory of the many weak combining against the few strong in the formation of society (which is indeed a partial truth), is similar in both of them, and is expressed in nearly the same language. The sufferings and fate of the just man, the powerlessness of evil, and the reversal of the situation in another life, are also points of similarity. The poets, like the rhetoricians, are condemned because they aim at pleasure only, as in the Republic they are expelled by the State, because they are imitators, and minister to the weaker side of human nature. That poetry is akin to rhetoric may be compared with the analogous notion, which occurs in the Protagoras, that the ancient poets were the Sophists of their day. In some other respects the Protagoras rather offers a contrast than a parallel. The character of Protagoras may be compared with that of Gorgias, but the conception of happiness is different in the two dialogues; being described in the former, according to the old Socratic notion, as deferred or accumulated pleasure, while in the Gorgias, and in the Phaedo, pleasure and good are distinctly opposed.