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"Apology" by Plato is a Socratic dialogue written after 399 BC. It presents Socrates's legal defense at his trial, where he faced charges of corrupting Athens's youth and introducing new gods. Standing before a jury of perhaps 500 Athenian men, Socrates refuses to use sophisticated rhetoric, speaking instead in his characteristic questioning style. Rather than compromise his integrity to avoid death, he challenges his accusers and maintains his philosophical principles, insisting his only wisdom comes from knowing that he knows nothing. (This is an automatically generated summary.)

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INTRODUCTION.

In what relation the “Apology” of Plato stands to the real defence of Socrates, there are no means of determining. It certainly agrees in tone and character with the description of Xenophon, who says in the “Memorabilia” that Socrates might have been acquitted “if in any moderate degree he would have conciliated the favour of the dicasts;” and who informs us in another passage, on the testimony of Hermogenes, the friend of Socrates, that he had no wish to live; and that the divine sign refused to allow him to prepare a defence, and also that Socrates himself declared this to be unnecessary, on the ground that all his life long he had been preparing against that hour. For the speech breathes throughout a spirit of defiance, “_ut non supplex aut reus sed magister aut dominus videretur esse judicum_” (Cic. “de Orat.” i. 54); and the loose and desultory style is an imitation of the “accustomed manner” in which Socrates spoke in “the _agora_ and among the tables of the money-changers.” The allusion in the “Crito” (45 B) may, perhaps, be adduced as a further evidence of the literal accuracy of some parts (37 C, D). But in the main it must be regarded as the ideal of Socrates, according to Plato’s conception of him, appearing in the greatest and most public scene of his life, and in the height of his triumph, when he is weakest, and yet his mastery over mankind is greatest, and his habitual irony acquires a new meaning and a sort of tragic pathos in the face of death. The facts of his life are summed up, and the features of his character are brought out as if by accident in the course of the defence. The co

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