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| Alphabetical [« »] drags 5 drama 9 dramas 1 dramatic 34 dramatis 2 dramatists 1 drank 7 | Frequency [« »] 34 deep 34 differs 34 discourses 34 dramatic 34 duties 34 dwelling 34 e | Plato Partial collection IntraText - Concordances dramatic |
The Apology Part
1 Text | Anaxagoras, as well as to other dramatic poets.) (price of admission Charmides Part
2 Intro| philosophy in later ages.~The dramatic interest of the Dialogue Cratylus Part
3 Intro| more truly viewed:—they are dramatic sketches of an argument. Euthydemus Part
4 Intro| in the abundance of his dramatic power has chosen to write Euthyphro Part
5 Intro| the religious world; the dramatic power and play of the two The First Alcibiades Part
6 Pre | greatest differences in dramatic power, in the formation 7 Intro| which there is so little dramatic verisimilitude.~ Gorgias Part
8 Intro| Dialogues of Plato, a precise dramatic date is an invention of 9 Intro| obvious fact that Plato is a dramatic writer, whose real opinions Ion Part
10 Intro| The plan is simple; the dramatic interest consists entirely 11 Intro| Socrates attributes to dramatic performances over the mind Laches Part
12 Intro| simple beauty, and more of dramatic interest and power. They Lysis Part
13 Intro| is fully sustained by the dramatic accompaniments. Observe, 14 Intro| Plato has not forgotten dramatic propriety, and Socrates Menexenus Part
15 Pre | greatest differences in dramatic power, in the formation 16 Intro| occur in Plato, in whom the dramatic element is always tending Parmenides Part
17 Intro| defective in ease and grace and dramatic interest; nor in the second Philebus Part
18 Intro| begun to alter, and the dramatic and poetical element has Protagoras Part
19 Intro| to forget that Plato is a dramatic writer who throws his thoughts 20 Intro| piece of art. There are dramatic contrasts and interests, 21 Intro| of character in a great dramatic work like the Protagoras The Sophist Part
22 Intro| INTRODUCTION AND ANALYSIS~The dramatic power of the dialogues of 23 Intro| style, though wanting in dramatic power,—in this respect resembling The Statesman Part
24 Intro| decline of style, and of dramatic power; the characters excite 25 Intro| nothing but a name. The dramatic character is so completely 26 Intro| the entire disregard of dramatic propriety is not always The Symposium Part
27 Intro| salvation of Athens. The dramatic interest of the character Theaetetus Part
28 Intro| of style, the humour, the dramatic interest, the complexity 29 Intro| expressing his own opinion. The dramatic character of the work renders 30 Intro| without violating the laws of dramatic probability. Could he have 31 Intro| from not attending to the dramatic character of the writings Timaeus Part
32 Intro| And this is required by dramatic propriety; for the investigation 33 Intro| dialogues he is exerting his dramatic and imitative power; in 34 Intro| seems to fail him, and the dramatic form is wholly given up.