Some resemblances to the Greek drama may be noted in all the Dialogues of Plato. The Phaedo is the tragedy of which Socrates is the protagonist and Simmias and Cebes the secondary performers, standing to them in the same relation as to Glaucon and Adeimantus in the Republic. No Dialogue has a greater unity of subject and feeling. Plato has certainly fulfilled the condition of Greek, or rather of all art, which requires that scenes of death and suffering should be clothed in beauty. The gathering of the friends at the commencement of the Dialogue, the dismissal of Xanthippè, whose presence would have been out of place at a philosophical discussion, but who returns again with her children to take a final farewell, the dejection of the audience at the temporary overthrow of the argument, the picture of Socrates playing with the hair of Phaedo, the final scene in which Socrates alone retains his composure—are masterpieces of art. And the chorus at the end might have interpreted the feeling of the play: ‘There can no evil happen to a good man in life or death.’ ‘The art of concealing art’ is nowhere more perfect than in those writings of Plato which describe the trial and death of Socrates. Their charm is their simplicity, which gives them verisimilitude; and yet they touch, as if incidentally, and because they were suitable to the occasion, on some of the deepest truths of philosophy. There is nothing in any tragedy, ancient or modern, nothing in poetry or history (with one exception), like the last hours of Socrates in Plato. The master could not be more fitly occupied at such a time than in discoursing of immortality; nor the disciples more divinely consoled. The arguments, taken in the spirit and not in the letter, are our arguments; and Socrates by anticipation may be even thought to refute some ‘eccentric notions’ current in our own age. For there are philosophers among ourselves who do not seem to understand how much stronger is the power of intelligence, or of the best, than of Atlas, or mechanical force. How far the words attributed to Socrates were actually uttered by him we forbear to ask; for no answer can be given to this question. And it is better to resign ourselves to the feeling of a great work, than to linger among critical uncertainties. PHAEDO. _PERSONS OF THE DIALOGUE._ PHAEDO, _who is the narrator of the Dialogue to Echecrates of Phlius_. SOCRATES. ATTENDANT OF THE PRISON. APOLLODORUS. SIMMIAS. CEBES. CRITO. SCENE:—The Prison of Socrates. PLACE OF THE NARRATION:—Phlius. [Sidenote: _Phaedo._] _Echecrates._ Were you yourself, Phaedo, in the prison =Steph.= 57 with Socrates on the day when he drank the poison? _Phaedo._ Yes, Echecrates, I was.