  Socrates’ reply to this seeks to enforce an admission that there are, in such naming contexts, variable degrees of correctness, and indeed that no naming act could ever attain perfect accuracy. He finally wins this round by appeal to a pair of analogies with paintings. First (430a–431c), if attaching names to people is like assigning portraits to them, there seems no reason why one could not succeed in incorrectly assigning them the wrong portrait, and likewise the wrong name. Second (432b–c), however good a likeness a name is of its object, some gap between the two must inevitably remain: otherwise painting a completely accurate portrait of Cratylus would result, not in Cratylus plus his picture, but in two Cratyluses.