 When the convention of composing a dialogue between a teacher and student is used, usually the author can be identified more or less with the “teacher.” In Ibn Gabirol’s (Avicenbron) dialogue, best known by its Latin title, Fons vitae, the student is mostly restricted to asking the teacher for explanations and demonstrations. Anselm’s dialectical partner in Cur Deus Homo is the student Boso who as a Christian asks the questions that a non-Christian monotheist would ask about the Incarnation. Boethius, however, casts himself as student rather than teacher in the Consolatio. Of those who compose dialogues between teacher and student a good number, such as those of Augustine, Eriugena, Anselm, Boethius, and Nicolas of Cusa expect and trace a conversion or transformation in the “student” figure of the dialogue in a way that Plato’s dialogues do not. Anselm explicitly makes of his interlocutor a partner in the dialogue who is supposed to anticipate conclusions and implications and/or who more truly motivates the entire discussion (Sweeney 1999). Like Anselm, other medieval dialogue writers play with the convention that the teacher takes the lead in the discussion, in effect asking as well as answering questions. In Eriugena’s Periphyseon, it is sometimes the student, sometimes the teacher who moves the discussion forward. In William of Conches’ dialogue, Dragmaticon philosophiae, the ‘Prince’ asks questions of the ‘philosopher’ who represents William’s views. In an interesting variation, William of Ockham’s Dialogus has the student ask the questions while the teacher responds reluctantly and almost objectively without any attempt to transform or convert the student.