Republic, The The. Plato Читать онлайн книгу.
but simple and ideal,—the expression of the highest moral energy, whether in action or repose. To live among works of plastic art which are of this noble and simple character, or to listen to such strains, is the best of influences,—the true Greek atmosphere, in which youth should be brought up. That is the way to create in them a natural good taste, which will have a feeling of truth and beauty in all things. For though the poets are to be expelled, still art is recognized as another aspect of reason—like love in the Symposium, extending over the same sphere, but confined to the preliminary education, and acting through the power of habit; and this conception of art is not limited to strains of music or the forms of plastic art, but pervades all nature and has a wide kindred in the world. The Republic of Plato, like the Athens of Pericles, has an artistic as well as a political side.
There is hardly any mention in Plato of the creative arts; only in two or three passages does he even allude to them (Rep.; Soph.). He is not lost in rapture at the great works of Phidias, the Parthenon, the Propylea, the statues of Zeus or Athene. He would probably have regarded any abstract truth of number or figure as higher than the greatest of them. Yet it is hard to suppose that some influence, such as he hopes to inspire in youth, did not pass into his own mind from the works of art which he saw around him. We are living upon the fragments of them, and find in a few broken stones the standard of truth and beauty. But in Plato this feeling has no expression; he nowhere says that beauty is the object of art; he seems to deny that wisdom can take an external form (Phaedrus); he does not distinguish the fine from the mechanical arts. Whether or no, like some writers, he felt more than he expressed, it is at any rate remarkable that the greatest perfection of the fine arts should coincide with an almost entire silence about them. In one very striking passage he tells us that a work of art, like the State, is a whole; and this conception of a whole and the love of the newly-born mathematical sciences may be regarded, if not as the inspiring, at any rate as the regulating principles of Greek art (Xen. Mem.; and Sophist).
4. Plato makes the true and subtle remark that the physician had better not be in robust health; and should have known what illness is in his own person. But the judge ought to have had no similar experience of evil; he is to be a good man who, having passed his youth in innocence, became acquainted late in life with the vices of others. And therefore, according to Plato, a judge should not be young, just as a young man according to Aristotle is not fit to be a hearer of moral philosophy. The bad, on the other hand, have a knowledge of vice, but no knowledge of virtue. It may be doubted, however, whether this train of reflection is well founded. In a remarkable passage of the Laws it is acknowledged that the evil may form a correct estimate of the good. The union of gentleness and courage in Book ii. at first seemed to be a paradox, yet was afterwards ascertained to be a truth. And Plato might also have found that the intuition of evil may be consistent with the abhorrence of it. There is a directness of aim in virtue which gives an insight into vice. And the knowledge of character is in some degree a natural sense independent of any special experience of good or evil.
5. One of the most remarkable conceptions of Plato, because un-Greek and also very different from anything which existed at all in his age of the world, is the transposition of ranks. In the Spartan state there had been enfranchisement of Helots and degradation of citizens under special circumstances. And in the ancient Greek aristocracies, merit was certainly recognized as one of the elements on which government was based. The founders of states were supposed to be their benefactors, who were raised by their great actions above the ordinary level of humanity; at a later period, the services of warriors and legislators were held to entitle them and their descendants to the privileges of citizenship and to the first rank in the state. And although the existence of an ideal aristocracy is slenderly proven from the remains of early Greek history, and we have a difficulty in ascribing such a character, however the idea may be defined, to any actual Hellenic state—or indeed to any state which has ever existed in the world—still the rule of the best was certainly the aspiration of philosophers, who probably accommodated a good deal their views of primitive history to their own notions of good government. Plato further insists on applying to the guardians of his state a series of tests by which all those who fell short of a fixed standard were either removed from the governing body, or not admitted to it; and this 'academic' discipline did to a certain extent prevail in Greek states, especially in Sparta. He also indicates that the system of caste, which existed in a great part of the ancient, and is by no means extinct in the modern European world, should be set aside from time to time in favour of merit. He is aware how deeply the greater part of mankind resent any interference with the order of society, and therefore he proposes his novel idea in the form of what he himself calls a 'monstrous fiction.' (Compare the ceremony of preparation for the two 'great waves' in Book v.) Two principles are indicated by him: first, that there is a distinction of ranks dependent on circumstances prior to the individual: second, that this distinction is and ought to be broken through by personal qualities. He adapts mythology like the Homeric poems to the wants of the state, making 'the Phoenician tale' the vehicle of his ideas. Every Greek state had a myth respecting its own origin; the Platonic republic may also have a tale of earthborn men. The gravity and verisimilitude with which the tale is told, and the analogy of Greek tradition, are a sufficient verification of the 'monstrous falsehood.' Ancient poetry had spoken of a gold and silver and brass and iron age succeeding one another, but Plato supposes these differences in the natures of men to exist together in a single state. Mythology supplies a figure under which the lesson may be taught (as Protagoras says, 'the myth is more interesting'), and also enables Plato to touch lightly on new principles without going into details. In this passage he shadows forth a general truth, but he does not tell us by what steps the transposition of ranks is to be effected. Indeed throughout the Republic he allows the lower ranks to fade into the distance. We do not know whether they are to carry arms, and whether in the fifth book they are or are not included in the communistic regulations respecting property and marriage. Nor is there any use in arguing strictly either from a few chance words, or from the silence of Plato, or in drawing inferences which were beyond his vision. Aristotle, in his criticism on the position of the lower classes, does not perceive that the poetical creation is 'like the air, invulnerable,' and cannot be penetrated by the shafts of his logic (Pol.).
6. Two paradoxes which strike the modern reader as in the highest degree fanciful and ideal, and which suggest to him many reflections, are to be found in the third book of the Republic: first, the great power of music, so much beyond any influence which is experienced by us in modern times, when the art or science has been far more developed, and has found the secret of harmony, as well as of melody; secondly, the indefinite and almost absolute control which the soul is supposed to exercise over the body.
In the first we suspect some degree of exaggeration, such as we may also observe among certain masters of the art, not unknown to us, at the present day. With this natural enthusiasm, which is felt by a few only, there seems to mingle in Plato a sort of Pythagorean reverence for numbers and numerical proportion to which Aristotle is a stranger. Intervals of sound and number are to him sacred things which have a law of their own, not dependent on the variations of sense. They rise above sense, and become a connecting link with the world of ideas. But it is evident that Plato is describing what to him appears to be also a fact. The power of a simple and characteristic melody on the impressible mind of the Greek is more than we can easily appreciate. The effect of national airs may bear some comparison with it. And, besides all this, there is a confusion between the harmony of musical notes and the harmony of soul and body, which is so potently inspired by them.
The second paradox leads up to some curious and interesting questions—How far can the mind control the body? Is the relation between them one of mutual antagonism or of mutual harmony? Are they two or one, and is either of them the cause of the other? May we not at times drop the opposition between them, and the mode of describing them, which is so familiar to us, and yet hardly conveys any precise meaning, and try to view this composite creature, man, in a more simple manner? Must we not at any rate admit that there is in human nature a higher and a lower principle, divided by no distinct line, which at times break asunder and take up arms against one another? Or again, they are reconciled and move together, either unconsciously in the ordinary work of life, or consciously in the pursuit of some noble aim, to be attained not without an effort, and for which every thought and nerve are strained. And then the body becomes the good friend or ally, or servant or instrument of the mind. And the