The Republic · Plato
INTRODUCTION AND ANALYSIS.
But now, let us reason with the unjust, who is not intentionally in error. Is not the noble that which subjects the beast to the man, or rather to the God in man; the ignoble, that which subjects the man to the beast? And if so, who would receive gold on condition that he was to degrade the noblest part of himself under the worst?—who would sell his son or daughter into the hands of brutal and evil men, for any amount of money? And will he sell his own fairer and diviner part without any compunction to the most godless and foul? Would he not be worse than Eriphyle, who sold her husband’s life for a necklace? And intemperance is the letting loose of the multiform monster, and pride and sullenness are the growth and increase of the lion and serpent element, while luxury and effeminacy are caused by a too great relaxation of spirit. Flattery and meanness again arise when the spirited element is subjected to avarice, and the lion is habituated to become a monkey. The real disgrace of handicraft arts is, that those who are engaged in them have to flatter, instead of mastering their desires; therefore we say that they should be placed under the control of the better principle in another because they have none in themselves; not, as Thrasymachus imagined, to the injury of the subjects, but for their good. And our intention in educating the young, is to give them self-control; the law desires to nurse up in them a higher principle, and when they have acquired this, they may go their ways.
‘What, then, shall a man profit, if he gain the whole world’ and become more and more wicked? Or what shall he profit by escaping discovery, if the concealment of evil prevents the cure? If he had been punished, the brute within him would have been silenced, and the gentler element liberated; and he would have united temperance, justice, and wisdom in his soul—a union better far than any combination of bodily gifts. The man of understanding will honour knowledge above all; in the next place he will keep under his body, not only for the sake of health and strength, but in order to attain the most perfect harmony of body and soul. In the acquisition of riches, too, he will aim at order and harmony; he will not desire to heap up wealth without measure, but he will fear that the increase of wealth will disturb the constitution of his own soul. For the same reason he will only accept such honours as will make him a better man; any others he will decline. ‘In that case,’ said he, ‘he will never be a politician.’ Yes, but he will, in his own city; though probably not in his native country, unless by some divine accident. ‘You mean that he will be a citizen of the ideal city, which has no place upon earth.’ But in heaven, I replied, there is a pattern of such a city, and he who wishes may order his life after that image. Whether such a state is or ever will be matters not; he will act according to that pattern and no other...
The most noticeable points in the 9th Book of the Republic are:—(1) the account of pleasure; (2) the number of the interval which divides the king from the tyrant; (3) the pattern which is in heaven. 1. Plato’s account of pleasure is remarkable for moderation, and in this respect contrasts with the later Platonists and the views which are attributed to them by Aristotle. He is not, like the Cynics, opposed to all pleasure, but rather desires that the several parts of the soul shall have their natural satisfaction; he even agrees with the Epicureans in describing pleasure as something more than the absence of pain. This is proved by the circumstance that there are pleasures which have no antecedent pains (as he also remarks in the Philebus), such as the pleasures of smell, and also the pleasures of hope and anticipation. In the previous book he had made the distinction between necessary and unnecessary pleasure, which is repeated by Aristotle, and he now observes that there are a further class of ‘wild beast’ pleasures, corresponding to Aristotle’s (Greek). He dwells upon the relative and unreal character of sensual pleasures and the illusion which arises out of the contrast of pleasure and pain, pointing out the superiority of the pleasures of reason, which are at rest, over the fleeting pleasures of sense and emotion. The pre-eminence of royal pleasure is shown by the fact that reason is able to form a judgment of the lower pleasures, while the two lower parts of the soul are incapable of judging the pleasures of reason. Thus, in his treatment of pleasure, as in many other subjects, the philosophy of Plato is ‘sawn up into quantities’ by Aristotle; the analysis which was originally made by him became in the next generation the foundation of further technical distinctions. Both in Plato and Aristotle we note the illusion under which the ancients fell of regarding the transience of pleasure as a proof of its unreality, and of confounding the permanence of the intellectual pleasures with the unchangeableness of the knowledge from which they are derived. Neither do we like to admit that the pleasures of knowledge, though more elevating, are not more lasting than other pleasures, and are almost equally dependent on the accidents of our bodily state (Introduction to Philebus).
2. The number of the interval which separates the king from the tyrant, and royal from tyrannical pleasures, is 729, the cube of 9. Which Plato characteristically designates as a number concerned with human life, because NEARLY equivalent to the number of days and nights in the year. He is desirous of proclaiming that the interval between them is immeasurable, and invents a formula to give expression to his idea. Those who spoke of justice as a cube, of virtue as an art of measuring (Prot.), saw no inappropriateness in conceiving the soul under the figure of a line, or the pleasure of the tyrant as separated from the pleasure of the king by the numerical interval of 729. And in modern times we sometimes use metaphorically what Plato employed as a philosophical formula. ‘It is not easy to estimate the loss of the tyrant, except perhaps in this way,’ says Plato. So we might say, that although the life of a good man is not to be compared to that of a bad man, yet you may measure the difference between them by valuing one minute of the one at an hour of the other (‘One day in thy courts is better than a thousand’), or you might say that ‘there is an infinite difference.’ But this is not so much as saying, in homely phrase, ‘They are a thousand miles asunder.’ And accordingly Plato finds the natural vehicle of his thoughts in a progression of numbers; this arithmetical formula he draws out with the utmost seriousness, and both here and in the number of generation seems to find an additional proof of the truth of his speculation in forming the number into a geometrical figure; just as persons in our own day are apt to fancy that a statement is verified when it has been only thrown into an abstract form. In speaking of the number 729 as proper to human life, he probably intended to intimate that one year of the tyrannical = 12 hours of the royal life.
The simple observation that the comparison of two similar solids is effected by the comparison of the cubes of their sides, is the mathematical groundwork of this fanciful expression. There is some difficulty in explaining the steps by which the number 729 is obtained; the oligarch is removed in the third degree from the royal and aristocratical, and the tyrant in the third degree from the oligarchical; but we have to arrange the terms as the sides of a square and to count the oligarch twice over, thus reckoning them not as = 5 but as = 9. The square of 9 is passed lightly over as only a step towards the cube. 3. Towards the close of the Republic, Plato seems to be more and more convinced of the ideal character of his own speculations. At the end of the 9th Book the pattern which is in heaven takes the place of the city of philosophers on earth. The vision which has received form and substance at his hands, is now discovered to be at a distance. And yet this distant kingdom is also the rule of man’s life. (‘Say not lo! here, or lo! there, for the kingdom of God is within you.’) Thus a note is struck which prepares for the revelation of a future life in the following Book. But the future life is present still; the ideal of politics is to be realized in the individual.
BOOK X. Many things pleased me in the order of our State, but there was nothing which I liked better than the regulation about poetry. The division of the soul throws a new light on our exclusion of imitation. I do not mind telling you in confidence that all poetry is an outrage on the understanding, unless the hearers have that balm of knowledge which heals error. I have loved Homer ever since I was a boy, and even now he appears to me to be the great master of tragic poetry. But much as I love the man, I love truth more, and therefore I must speak out: and first of all, will you explain what is imitation, for really I do not understand? ‘How likely then that I should understand!’ That might very well be, for the duller often sees better than the keener eye. ‘True, but in your presence I can hardly venture to say what I think.’ Then suppose that we begin in our old fashion, with the doctrine of universals. Let us assume the existence of beds and tables.
There is one idea of a bed, or of a table, which the maker of each had in his mind when making them; he did not make the ideas of beds and tables, but he made beds and tables according to the ideas. And is there not a maker of the works of all workmen, who makes not only vessels but plants and animals, himself, the earth and heaven, and things in heaven and under the earth? He makes the Gods also. ‘He must be a wizard indeed!’ But do you not see that there is a sense in which you could do the same? You have only to take a mirror, and catch the reflection of the sun, and the earth, or anything else—there now you have made them. ‘Yes, but only in appearance.’ Exactly so; and the painter is such a creator as you are with the mirror, and he is even more unreal than the carpenter; although neither the carpenter nor any other artist can be supposed to make the absolute bed. ‘Not if philosophers may be believed.’ Nor need we wonder that his bed has but an imperfect relation to the truth.
Reflect:—Here are three beds; one in nature, which is made by God; another, which is made by the carpenter; and the third, by the painter. God only made one, nor could he have made more than one; for if there had been two, there would always have been a third—more absolute and abstract than either, under which they would have been included. We may therefore conceive God to be the natural maker of the bed, and in a lower sense the carpenter is also the maker; but the painter is rather the imitator of what the other two make; he has to do with a creation which is thrice removed from reality. And the tragic poet is an imitator, and, like every other imitator, is thrice removed from the king and from the truth. The painter imitates not the original bed, but the bed made by the carpenter. And this, without being really different, appears to be different, and has many points of view, of which only one is caught by the painter, who represents everything because he represents a piece of everything, and that piece an image. And he can paint any other artist, although he knows nothing of their arts; and this with sufficient skill to deceive children or simple people.
Suppose now that somebody came to us and told us, how he had met a man who knew all that everybody knows, and better than anybody:—should we not infer him to be a simpleton who, having no discernment of truth and falsehood, had met with a wizard or enchanter, whom he fancied to be all-wise? And when we hear persons saying that Homer and the tragedians know all the arts and all the virtues, must we not infer that they are under a similar delusion? they do not see that the poets are imitators, and that their creations are only imitations. ‘Very true.’ But if a person could create as well as imitate, he would rather leave some permanent work and not an imitation only; he would rather be the receiver than the giver of praise? ‘Yes, for then he would have more honour and advantage.’
Let us now interrogate Homer and the poets. Friend Homer, say I to him, I am not going to ask you about medicine, or any art to which your poems incidentally refer, but about their main subjects—war, military tactics, politics. If you are only twice and not thrice removed from the truth—not an imitator or an image-maker, please to inform us what good you have ever done to mankind? Is there any city which professes to have received laws from you, as Sicily and Italy have from Charondas, Sparta from Lycurgus, Athens from Solon? Or was any war ever carried on by your counsels? or is any invention attributed to you, as there is to Thales and Anacharsis? Or is there any Homeric way of life, such as the Pythagorean was, in which you instructed men, and which is called after you? ‘No, indeed; and Creophylus (Flesh-child) was even more unfortunate in his breeding than he was in his name, if, as tradition says, Homer in his lifetime was allowed by him and his other friends to starve.’ Yes, but could this ever have happened if Homer had really been the educator of Hellas? Would he not have had many devoted followers?
If Protagoras and Prodicus can persuade their contemporaries that no one can manage house or State without them, is it likely that Homer and Hesiod would have been allowed to go about as beggars—I mean if they had really been able to do the world any good?—would not men have compelled them to stay where they were, or have followed them about in order to get education? But they did not; and therefore we may infer that Homer and all the poets are only imitators, who do but imitate the appearances of things. For as a painter by a knowledge of figure and colour can paint a cobbler without any practice in cobbling, so the poet can delineate any art in the colours of language, and give harmony and rhythm to the cobbler and also to the general; and you know how mere narration, when deprived of the ornaments of metre, is like a face which has lost the beauty of youth and never had any other. Once more, the imitator has no knowledge of reality, but only of appearance. The painter paints, and the artificer makes a bridle and reins, but neither understands the use of them—the knowledge of this is confined to the horseman; and so of other things. Thus we have three arts: one of use, another of invention, a third of imitation; and the user furnishes the rule to the two others. The flute-player will know the good and bad flute, and the maker will put faith in him; but the imitator will neither know nor have faith—neither science nor true opinion can be ascribed to him. Imitation, then, is devoid of knowledge, being only a kind of play or sport, and the tragic and epic poets are imitators in the highest degree.
And now let us enquire, what is the faculty in man which answers to imitation. Allow me to explain my meaning: Objects are differently seen when in the water and when out of the water, when near and when at a distance; and the painter or juggler makes use of this variation to impose upon us. And the art of measuring and weighing and calculating comes in to save our bewildered minds from the power of appearance; for, as we were saying, two contrary opinions of the same about the same and at the same time, cannot both of them be true. But which of them is true is determined by the art of calculation; and this is allied to the better faculty in the soul, as the arts of imitation are to the worse. And the same holds of the ear as well as of the eye, of poetry as well as painting. The imitation is of actions voluntary or involuntary, in which there is an expectation of a good or bad result, and present experience of pleasure and pain. But is a man in harmony with himself when he is the subject of these conflicting influences? Is there not rather a contradiction in him?
Let me further ask, whether he is more likely to control sorrow when he is alone or when he is in company. ‘In the latter case.’ Feeling would lead him to indulge his sorrow, but reason and law control him and enjoin patience; since he cannot know whether his affliction is good or evil, and no human thing is of any great consequence, while sorrow is certainly a hindrance to good counsel. For when we stumble, we should not, like children, make an uproar; we should take the measures which reason prescribes, not raising a lament, but finding a cure. And the better part of us is ready to follow reason, while the irrational principle is full of sorrow and distraction at the recollection of our troubles. Unfortunately, however, this latter furnishes the chief materials of the imitative arts. Whereas reason is ever in repose and cannot easily be displayed, especially to a mixed multitude who have no experience of her. Thus the poet is like the painter in two ways: first he paints an inferior degree of truth, and secondly, he is concerned with an inferior part of the soul. He indulges the feelings, while he enfeebles the reason; and we refuse to allow him to have authority over the mind of man; for he has no measure of greater and less, and is a maker of images and very far gone from truth.
But we have not yet mentioned the heaviest count in the indictment—the power which poetry has of injuriously exciting the feelings. When we hear some passage in which a hero laments his sufferings at tedious length, you know that we sympathize with him and praise the poet; and yet in our own sorrows such an exhibition of feeling is regarded as effeminate and unmanly (Ion). Now, ought a man to feel pleasure in seeing another do what he hates and abominates in himself? Is he not giving way to a sentiment which in his own case he would control?—he is off his guard because the sorrow is another’s; and he thinks that he may indulge his feelings without disgrace, and will be the gainer by the pleasure. But the inevitable consequence is that he who begins by weeping at the sorrows of others, will end by weeping at his own. The same is true of comedy,—you may often laugh at buffoonery which you would be ashamed to utter, and the love of coarse merriment on the stage will at last turn you into a buffoon at home. Poetry feeds and waters the passions and desires; she lets them rule instead of ruling them. And therefore, when we hear the encomiasts of Homer affirming that he is the educator of Hellas, and that all life should be regulated by his precepts, we may allow the excellence of their intentions, and agree with them in thinking Homer a great poet and tragedian. But we shall continue to prohibit all poetry which goes beyond hymns to the Gods and praises of famous men. Not pleasure and pain, but law and reason shall rule in our State.
These are our grounds for expelling poetry; but lest she should charge us with discourtesy, let us also make an apology to her. We will remind her that there is an ancient quarrel between poetry and philosophy, of which there are many traces in the writings of the poets, such as the saying of ‘the she-dog, yelping at her mistress,’ and ‘the philosophers who are ready to circumvent Zeus,’ and ‘the philosophers who are paupers.’ Nevertheless we bear her no ill-will, and will gladly allow her to return upon condition that she makes a defence of herself in verse; and her supporters who are not poets may speak in prose. We confess her charms; but if she cannot show that she is useful as well as delightful, like rational lovers, we must renounce our love, though endeared to us by early associations. Having come to years of discretion, we know that poetry is not truth, and that a man should be careful how he introduces her to that state or constitution which he himself is; for there is a mighty issue at stake—no less than the good or evil of a human soul. And it is not worth while to forsake justice and virtue for the attractions of poetry, any more than for the sake of honour or wealth. ‘I agree with you.’
And yet the rewards of virtue are greater far than I have described. ‘And can we conceive things greater still?’ Not, perhaps, in this brief span of life: but should an immortal being care about anything short of eternity? ‘I do not understand what you mean?’ Do you not know that the soul is immortal? ‘Surely you are not prepared to prove that?’ Indeed I am. ‘Then let me hear this argument, of which you make so light.’ You would admit that everything has an element of good and of evil. In all things there is an inherent corruption; and if this cannot destroy them, nothing else will. The soul too has her own corrupting principles, which are injustice, intemperance, cowardice, and the like. But none of these destroy the soul in the same sense that disease destroys the body. The soul may be full of all iniquities, but is not, by reason of them, brought any nearer to death. Nothing which was not destroyed from within ever perished by external affection of evil. The body, which is one thing, cannot be destroyed by food, which is another, unless the badness of the food is communicated to the body. Neither can the soul, which is one thing, be corrupted by the body, which is another, unless she herself is infected. And as no bodily evil can infect the soul, neither can any bodily evil, whether disease or violence, or any other destroy the soul, unless it can be shown to render her unholy and unjust. But no one will ever prove that the souls of men become more unjust when they die.
If a person has the audacity to say the contrary, the answer is—Then why do criminals require the hand of the executioner, and not die of themselves? ‘Truly,’ he said, ‘injustice would not be very terrible if it brought a cessation of evil; but I rather believe that the injustice which murders others may tend to quicken and stimulate the life of the unjust.’ You are quite right. If sin which is her own natural and inherent evil cannot destroy the soul, hardly will anything else destroy her. But the soul which cannot be destroyed either by internal or external evil must be immortal and everlasting. And if this be true, souls will always exist in the same number. They cannot diminish, because they cannot be destroyed; nor yet increase, for the increase of the immortal must come from something mortal, and so all would end in immortality. Neither is the soul variable and diverse; for that which is immortal must be of the fairest and simplest composition. If we would conceive her truly, and so behold justice and injustice in their own nature, she must be viewed by the light of reason pure as at birth, or as she is reflected in philosophy when holding converse with the divine and immortal and eternal. In her present condition we see her only like the sea-god Glaucus, bruised and maimed in the sea which is the world, and covered with shells and stones which are incrusted upon her from the entertainments of earth.
Ideas discussed in this chapter
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