Both these two dialogues are carried on between Sokrates and the Eleian Sophist Hippias. The general conception of Hippias--described as accomplished, eloquent, and successful, yet made to say vain and silly things--is the same in both dialogues: in both also the polemics of Sokrates against him are conducted in a like spirit, of affected deference mingled with insulting sarcasm. Indeed the figure assigned to Hippias is so contemptible, that even an admiring critic like Stallbaum cannot avoid noticing the "petulans pene et proterva in Hippiam oratio," and intimating that Plato has handled Hippias more coarsely than any one else. Such petulance Stallbaum attempts to excuse by saying that the dialogue is a youthful composition of Plato:[1] while Schleiermacher numbers it among the reasons for suspecting the dialogue, and Ast, among the reasons for declaring positively that Plato is not the author.[2] This last conclusion I do not at all accept: nor even the hypothesis of Stallbaum, if it be tendered as an excuse for improprieties of tone: for I believe that the earliest of Plato's dialogues was composed after he was twenty-eight years of age--that is, after the death of Sokrates. It is however noway improbable, that both the Greater and Lesser Hippias may have been among Plato's earlier compositions. We see by the Memorabilia of Xenophon that there was repeated and acrimonious controversy between Sokrates and Hippias: so that we may probably suppose feelings of special dislike, determining Plato to compose two distinct dialogues, in which an imaginary Hippias is mocked and scourged by an imaginary Sokrates. [Footnote 1: Stallbaum, Prolegg. in Hipp. Maj. p. 149-150; also Steinhart (Einleitung, p. 42-43), who says, after an outpouring of his usual invective against the Sophist: "Nevertheless the coarse jesting of the dialogue seems almost to exceed the admissible limit of comic effect," &c. Again, p. 50, Steinhart talks of the banter which Sokrates carries on with Hippias, in a way not less cruel (grausam) than purposeless, tormenting him with a string of successive new propositions about the definition of the Beautiful, which propositions, as fast as Hippias catches at them, he again withdraws of his own accord, and thus at last dismisses him (as he had dismissed Ion) uninstructed and unimproved, without even leaving behind in him the sting of anger, &c. It requires a powerful hatred against the persons called Sophists, to make a critic take pleasure in a comedy wherein silly and ridiculous speeches are fastened upon the name of one of them, in his own day not merely honoured but acknowledged as deserving honour by remarkable and varied accomplishments--and to make the critic describe the historical Hippias (whom we only know from Plato and Xenophon--see Steinhart, note 7, p. 89; Socher, p. 221) as if he had really delivered these speeches, or something equally absurd.