beauty is only usefulness applied to good ends, or those that are "favourable". Identifying the beautiful and the favourable leads to a paradox: the favourable procreates the beautiful, as a father procreates a son. Since the favourable and the beautiful are thus considered to be one and the same, they arrive at the finding that beauty is the reason of goodness. In logic, a cause and an effect are two different things, as a father is different from the son. And thus they must conclude that Beauty is not good, and good is not beauty; an assertion which pleases neither Socrates nor Hippias.
Third definition: beauty is the pleasure that comes from seeing and hearing. To conclude, Socrates brings out a final definition; at first glance quite amazing: "[what] if we were to say that that is beautiful which makes us feel joy; I do not mean all pleasures, but that which makes us feel joy through hearing and sight?" This hypothesis, while appealing, contains according to Socrates himself a fundamental flaw; that it ignores the beauty of the more noble pleasures, drawn from the studious occupations or the study of laws. On the other hand, it seems striking that only the senses of sight and hearing are taken into account. Is this a way to submit to common opinion, which is that touch, taste and smell are somehow more shameful and base than the other senses? Finally, it is not simply because pleasure comes from seeing or hearing that it is beautiful. Socrates throws himself into a series of very complex considerations: taking into account pairs of objects, in the Majority of cases the term which they apply to both objects (A and B are beautiful, A and B are just) can apply also to an object taken separately (A is beautiful and B is beautiful). But in some rare cases it can happen that it this is not the case, notably when the sum of A and B forms an even number and A and B, taken in isolation, are two odd numbers. In the case of beauty, it is the first category that is appropriate, because if a pair of two objects is beautiful, it stands to reason that each of them is. But a new paradox appears, since the beautiful, in discreet definition, must belong to both pleasures of sight and hearing, taken jointly, and cannot belong to only one of them. The definition, as a result, proves to be flawed.
Exhausted by the many ultimately useless subtleties they have considered, Hippias berates Socrates and urges him instead of "with mere talk and nonsense" to seek beauty in "the ability to produce a discourse well and beautifully in a court of law or a council-house or before any other public body before which the discourse may be delivered."
Socrates, taking his leave, pretends to feel bad about the situation, cornered between the attacks of Hippias and those of his mysterious opponent. His only certainty, he concludes with a sense of humour, is that from now on he better understands the Greek proverb "beautiful things are difficult"
Literary and philosophical impact
It may strike the reader as surprising that the definition identifying the beautiful the useful is refuted, given that this corresponds quite well with the historical view of Socrates. But as in Charmides, Lysis and Euthyphro, Hippias Major has an "anatreptic" or self-defeating virtue, that is the purpose of the author is to defeat commonly held opinions, without necessarily offering a resolution, something which is saved for subsequent texts (in a sense, the philosophical equivalent of a cliffhanger).
In terms of philosophical development, Hippias Major is not much more advanced that the other early dialogues. The concept of "Good in and of itself", although only obliquely, makes its first appearance in this work. Nevertheless platonic thought is not yet fully developed: there is, for instance, no trace of the concept of "reminiscence" enunciated in "Meno" and "Phaedrus", where souls acquire the knowledge of the concept of "Beautiful" and "Good" in the course of their wanderings in the afterlife.
It is on the literary plane that Hippias Major is most remarkable. The dialogue can be read as much as a serious philosophical work as a light satirical comedy with two actors. The astuteness of Socrates in taking refuge under the authority of a supposed third protagonist in order to direct biting criticism at Hippias, endows the dialogue with great humour and brings it very much to life.
Greater Hippias
Persons of the Dialogue: Socrates, Hippias
[281a] Socrates: Hippias, beautiful and wise, what a long time it is since you have put in at the port of Athens!
Hippias: I am too busy, Socrates. For whenever Elis needs to have any business transacted with any of the states, she always comes to me first of her citizens and chooses me as envoy, thinking that I am the ablest judge and messenger of the words that are spoken by the several states. [281b] So I have often gone as envoy to other states, but most often and concerning the most numerous and important matters to Lacedaemon. For that reason, then, since you ask me, I do not often come to this neighborhood.
Socrates: That’s what it is, Hippias, to be a truly wise and perfect man! For you are both in your private capacity able to earn much money from the young [281c] and to confer upon them still greater benefits than you receive, and in public affairs you are able to benefit your own state, as a man must who is to be not despised but held in high repute among the many. And yet, Hippias, what in the world is the reason why those men of old whose names are called great in respect to wisdom—Pittacus, and Bias, and the Milesian Thales with his followers and also the later ones, down to Anaxagoras, are all, [281d] or most of them, found to refrain from affairs of state?
Hippias: What else do you suppose, Socrates, than that they were not able to compass by their wisdom both public and private matters?
Socrates: Then for Heaven’s sake, just as the other arts have progressed, and the ancients are of no account in comparison with the artisans of today, shall we say that your art also has progressed and those of the ancients who were concerned with wisdom are of no account in comparison with you?
Hippias: Yes, you are quite right.
Socrates: Then, Hippias, if Bias were to come to life again now, [282a] he would be a laughing-stock in comparison with you, just as the sculptors say that Daedalus, if he were to be born now and were to create such works as those from which he got his reputation, would be ridiculous.
Hippias: That, Socrates, is exactly as you say. I, however, am in the habit of praising the ancients and our predecessors rather than the men of the present day, and more greatly, as a precaution against the envy of the living and through fear of the wrath of those who are dead.
[282b] Socrates: Yours, Hippias, is a most excellent way, at any rate, of speaking about them and of thinking, it seems to me and I can bear you witness that you speak the truth, and that your art really has progressed in the direction of ability to carry on public together with private affairs. For this man Gorgias, the sophist from Leontini, came here from home in the public capacity of envoy, as being best able of all the citizens of Leontini to attend to the interests of the community, and it was the general opinion that he spoke excellently in the public assembly, and in his private capacity, by giving exhibitions and associating with the young, he earned and received a great deal of money from this city; [282c] or, if you like, our friend here, Prodicus, often went to other places in a public capacity, and the last time, just lately, when he came here in a public capacity from Ceos, he gained great reputation by his speaking before the Council, and in his private capacity, by giving exhibitions and associating with the young, he received a marvellous sum of money; but none of those ancients ever thought fit to exact the money as payment for his wisdom or to give exhibitions among people of various places; [282d] so simple-minded were they, and so unconscious of the fact that money is of the greatest value. But either of these two has earned more money from his wisdom than any artisan from his art. And even before these Protagoras did so.
Hippias: Why, Socrates, you know nothing of the beauties of this. For
