Republic Page #5

								


Too much, however, has been made of this question both in ancient and modern times. There is a stage of criticism in which all works, whether of nature or of art, are referred to design. Now in ancient writings, and indeed in literature generally, there remains often a large element which was not comprehended in the original design. For the plan grows under the author's hand; new thoughts occur to him in the act of writing; he has not worked out the argument to the end before he begins. The reader who seeks to find some one idea under which the whole may be conceived, must necessarily seize on the vaguest and most general. Thus Stallbaum, who is dissatisfied with the ordinary explanations of the argument of the Republic, imagines himself to have found the true argument 'in the representation of human life in a State perfected by justice, and governed according to the idea of good.' There may be some use in such general descriptions, but they can hardly be said to express the design of the writer. The truth is, that we may as well speak of many designs as of one; nor need anything be excluded from the plan of a great work to which the mind is naturally led by the association of ideas, and which does not interfere with the general purpose. What kind or degree of unity is to be sought after in a building, in the plastic arts, in poetry, in prose, is a problem which has to be determined relatively to the subject-matter. To Plato himself, the enquiry 'what was the intention of the writer,' or 'what was the principal argument of the Republic' would have been hardly intelligible, and therefore had better be at once dismissed (cp. the Introduction to the Phaedrus).

Is not the Republic the vehicle of three or four great truths which, to Plato's own mind, are most naturally represented in the form of the State? Just as in the Jewish prophets the reign of Messiah, or 'the day of the Lord,' or the suffering Servant or people of God, or the 'Sun of righteousness with healing in his wings' only convey, to us at least, their great spiritual ideals, so through the Greek State Plato reveals to us his own thoughts about divine perfection, which is the idea of good--like the sun in the visible world;--about human perfection, which is justice--about education beginning in youth and continuing in later years--about poets and sophists and tyrants who are the false teachers and evil rulers of mankind--about 'the world' which is the embodiment of them--about a kingdom which exists nowhere upon earth but is laid up in heaven to be the pattern and rule of human life. No such inspired creation is at unity with itself, any more than the clouds of heaven when the sun pierces through them. Every shade of light and dark, of truth, and of fiction which is the veil of truth, is allowable in a work of philosophical imagination. It is not all on the same plane; it easily passes from ideas to myths and fancies, from facts to figures of speech. It is not prose but poetry, at least a great part of it, and ought not to be judged by the rules of logic or the probabilities of history. The writer is not fashioning his ideas into an artistic whole; they take possession of him and are too much for him. We have no need therefore to discuss whether a State such as Plato has conceived is practicable or not, or whether the outward form or the inward life came first into the mind of the writer. For the practicability of his ideas has nothing to do with their truth; and the highest thoughts to which he attains may be truly said to bear the greatest 'marks of design'--justice more than the external frame-work of the State, the idea of good more than justice. The great science of dialectic or the organisation of ideas has no real content; but is only a type of the method or spirit in which the higher knowledge is to be pursued by the spectator of all time and all existence. It is in the fifth, sixth, and seventh books that Plato reaches the 'summit of speculation,' and these, although they fail to satisfy the requirements of a modern thinker, may therefore be regarded as the most important, as they are also the most original, portions of the work.
								Rate this book:
0.0 / 0 votes