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καὶ τόνδε -- δημιουργόν: i.e. καὶ τόνδε τὸν δημιουργὸν τίνα καλεῖς, sc. as well as the δημιουργὸς ἑκατέρου τοῦ σκεύους. Baiter ought not to have printed Vermehren's pointless conjecture καὶ τόνδε τινὰ καλεῖς τῶν δημιουργῶν (Pl. Stud. p. 118): for Plato is leading up to 597 B ζῳγράφος δή, κλινοποιός, θεός, τρεῖς οὗτοι ἐπιστάται τρισὶν εἴδεσι κλινῶν, and he again calls the painter a δημιουργός in D and E: so also χειροτέχνης just below.

ὃς -- χειροτεχνῶν. Cf. Soph. 233 E— 234 C, where the same conception is worked out in almost exactly the same way.

τάχα here means ‘soon,’ and not ‘perhaps’: cf. with Schneider Crat. 410 E.

καὶ ἑαυτόν presents no difficulty: cf. ταχὺ δὲ σαυτόν in E below. It is difficult to imagine why Liebhold proposed τὰ κατ᾽ ἐνιαυτόν (Philolog. for 1880 p. 168). Perhaps he thought the δημιουργός was θεός, an extraordinary error, which Peipers and others (see Zeller^{4} II p. 711 note 4) perpetrated, making God his own creator, and drawing some profound and far-reaching metaphysical lessons from their mistake.

καὶ πρὸς τούτοις κτλ. Soph. l.c. καὶ πρός γε θαλάττης [καὶ γῆς] καὶ οὐρανοῦ καὶ θεῶν καὶ τῶν ἄλλων ξυμπάντων. The words in brackets occur only in Ξ, and were possibly introduced from this passage.

πάντα has two (not, as Baiter asserts, five) dots over it in A, but is in all the MSS and should not (with Baiter) be bracketed. It is important, in view of 598 C ff., to insist that there is nothing which the Painter and Poet cannot ‘make’: hence the emphasis.

ἐν Ἅιδου should also of course be kept, though cancelled by Herwerden. Polygnotus' famous picture of τὰ ἐν Ἅιδου at Delphi may serve as an illustration (Paus. X 28—31).

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  • Commentary references from this page (2):
    • Plato, Cratylus, 410e
    • Plato, Sophist, 233e
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