: change from the rel. to the independent construction. See on 452 d
. Here, however, we must supply the pronoun (αὐτοῖς
) to which λεγομένοις
is a subordinate temporal partic. equiv. to ὅτε ἐλέγετο
. We might translate δέ
ἐξέλεγξον ὡς κτἑ.
: see on 467 a
. Here, to “prove by confuting her.” ὅπερ ἄρτι ἔλεγον
: refers to 480 e οὐκοῦν ἢ κὰκεῖνα λυτέον ἢ τάδε ἀνάγκη συμβαίνειν
. The transition from the personal to the material object is made much easier by the meaning of the verb ἐξέλεγξον
μὰ τὸν κύνα
: the addition of τὸν Αἰγυπτίων θεόν
is a humorous allusion to the animal worship of the Egyptians. See Apol.
21 e. The omission of the art. with Αἰγυπτίων
: the use of the proper name in contrast with the pronoun σοί
, and its close connection with the address ὦ Καλλικλεις
, is intended to emphasize as sharply as possible the inner conflict which must continue to rage in Callicles' soul, so long as one opinion has not decisively vanquished the other.
: applies especially to imperfection in the general harmony, while διαφωνεῖν
is used of the discord between single tones. Two different principles exert their effects upon the soul.χορηγοίην
: this liturgy, which has been already mentioned in note on 472 a
, was of course not possible for Socrates, and could be only for the rich. But in proportion as a victory in this kind of musical competition was looked upon as a great honor, so a failure was a great humiliation. The opt. is ideal, and to be translated “which I might conduct.”