A critical history of Greek philosophy

by W. T. Stace

In Sicily he attended the court of Dionysius the Elder, tyrant of Syracuse. But here his conduct seems to have given grave offence. Dionysius was so angered by his moralizings and philosophical diatribes that he put Plato up to auction in the slave market. Plato narrowly escaped the fate of slavery, but was ransomed by Anniceris, the Cyrenaic. He then returned to Athens, his travels having occupied a period of about ten years.

With the return of Plato to Athens we enter upon the third and last period of his life. With the exception of two journeys to be mentioned shortly, he never again left Athens. He now appeared for the first time as a professional teacher and philosopher. He chose for the scene of his activities a gymnasium, called the Academy. Here he gradually collected round him a circle of pupils and disciples. For the rest of his life, a period of about forty years, he occupied himself in literary activity, and in the management of the school which he had founded. His manner of life was in strong contrast to that of Socrates. Only in one respect did he resemble his master. He took no fees for his teaching. Otherwise the lives of the two great men bear no resemblance to each other. Socrates had gone out into the highways and byways in search of wisdom. He had wrangled in [{168}] the market-place with all comers. Plato withdrew himself into the seclusion of a school, protected from the hubbub of the world by a ring of faithful disciples. It was not to be expected that a man of Plato's refinement, culture, and aristocratic feelings, should appreciate, as Socrates, the man of the people, had done, the rough-and-tumble life of the Athenian market-place. Nor was it desirable for the advancement of philosophy that it should be so. The Socratic philosophy had suffered from the Socratic manner of life. It was unmethodical and inchoate. Systematic thought is not born of disputes at the street corner. For the development of a great world-system, such as that of Plato, laborious study and quiet seclusion were essential.

This period of Plato's mastership was broken only by two journeys to Sicily, both undertaken with political objects. Plato knew well that the perfect State, as depicted in his "Republic," was not capable of realization in the Greece of his own time. Nevertheless, he took his political philosophy very seriously. Though the perfect republic was an unattainable ideal, yet, he thought, any real reform of the State must at least proceed in the direction of that ideal. One of the essential principles of the "Republic" was that the rulers must also be philosophers. Not till philosopher and ruler were combined in one and the same person could the State be governed upon true principles. Now, in the year 368 B.C., Dionysius the Elder died, and Dionysius the younger became tyrant of Syracuse. Dionysius despatched an invitation to Plato to attend his court and give him the benefit of his advice. Here was an opportunity to experiment. Plato could train and educate a [{169}] philosopher-king. He accepted the invitation. But the expedition ended disastrously. Dionysius received him with enthusiasm, and interested himself in the philosophical discourses of his teacher. But he was young, impetuous, hot-headed, and without genuine philosophic bent. His first interest gave place to weariness and irritation. Plato left Syracuse a disappointed man; and returned to Athens. Nevertheless, after the lapse of a few years, Dionysius again invited him to Syracuse, and again he accepted the invitation. But the second journey ended in disaster like the first, and Plato was even in danger of his life, but was rescued by the intervention of the Pythagoreans. He returned to Athens in his seventieth year, and lived till his death in the seclusion of his school, never again attempting to intervene in practical politics.

For more than another decade he dwelt and taught in Athens. His life was serene, quiet, and happy. He died peacefully at the age of eighty-two.

Plato's writings take the form of dialogues. In the majority of these, the chief part is taken by Socrates, into whose mouth Plato puts the exposition of his own philosophy. In a few, as for example the "Parmenides," other speakers enunciate the Platonic teaching, but even in these Socrates always plays an important rôle. Plato was not only a philosopher, but a consummate literary artist. The dialogues are genuinely dramatic, enlivened by incident, humour, and life-like characterization. Not only is the portrait of Socrates drawn with loving affection, but even the minor characters are flesh and blood.

A most important element of Plato's style is his use of myths. He does not always explain his meaning in [{170}] the form of direct scientific exposition. He frequently teaches by allegories, fables, and stories, all of which may be included under the one general appellation of Platonic myths. These are often of great literary beauty, but in spite of this they involve grave disadvantages. Plato slips so easily from scientific exposition into myth, that it is often no easy matter to decide whether his statements are meant literally or allegorically. Moreover, the myths usually signify a defect in his thought itself. The fact is that the combination of poet and philosopher in one man is an exceedingly dangerous combination. I have explained before that the object of philosophy is, not merely to feel the truth, as the poet and mystic feel it, but intellectually to comprehend it, not merely to give us a series of pictures and metaphors, but a reasoned explanation of things upon scientific principles. When a man, who is at once a poet and a philosopher, cannot rationally explain a thing, it is a terrible temptation to him to substitute poetic metaphors for the explanation which is lacking. We saw, for example, that the writers of the Upanishads, who believed that the whole world issues forth from the one, absolute, imperishable, being, which they called Brahman, being unable to explain why the One thus differentiates itself into the many, took refuge in metaphors. As the sparks from the substantial fire, so, they say, do all finite beings issue forth from the One. But this explains nothing, and the aim of the philosopher is not thus vaguely to feel, but rationally to understand. Now this is not merely my view of the functions of philosophy. It is emphatically Plato's own view. In fact Plato was the originator of it. He is perpetually insisting that [{171}] nothing save full rational comprehension deserves the names of knowledge and philosophy. No writer has ever used such contemptuous language as Plato used of the mere mystic and poet, who says wise and beautiful things, without in the least understanding why they are wise and beautiful. No man has formed such a low estimate of the functions of the poet and mystic. Plato is, in theory at least, the prince of rationalists and intellectualists. In practice, however, he must be convicted of the very fault he so severely censured in others. This, in fact, is the explanation of most of the Platonic myths. Wherever Plato is unable to explain anything, he covers up the gap in his system with a myth. This is particularly noticeable, for example, in the "Timaeus." Plato having, in other dialogues, developed his theory of the nature of the ultimate reality, arrives, in the "Timaeus," at the problem how the actual world is to be explained from that ultimate reality. At this point, as we shall see, Plato's system breaks down. His account of the absolute reality is defective, and in consequence, it affords no principle whereby the actual universe can be explained. In the "Timaeus," therefore, instead of a reasoned explanation, he gives us a series of wholly fanciful myths about the origin of the world. Wherever we find myths in Plato's dialogues, we may suspect that we have arrived at one of the weak points of the system.

If we are to study Plato intelligently, it is essential that we should cease to regard the dialogues as if they were all produced en bloc from a single phase of their author's mind. His literary activity extended over a period of not less than fifty years. During that time, he did not stand still. His thought, and his mode of [{172}] expression, were constantly developing. If we are to understand Plato, we must obtain some clue to enable us to trace this development. And this means that we must know something of the order in which the dialogues were written. Unfortunately, however, they have not come down to us dated and numbered. It is a matter of scholarship and criticism to deduce the period at which any dialogue was written from internal evidences. Many minor points are still undecided, as well as a few questions of importance, such as the date of the "Phaedrus," [Footnote 11] which some critics place quite early and some very late in Plato's life. Neglecting these points, however, we may say in general that unanimity has been reached, and that we now know enough to be able to trace the main lines of development.

[Footnote 11: The same remark applies to the "Symposium," the "Republic," and the "Theaetetus.">[

The dialogues fall into three main groups, which correspond roughly to the three periods of Plato's life. Those of the earliest group were written about the time of the death of Socrates, and before the author's journey to Megara. Some of them may have been written before the death of Socrates. This group includes the "Hippias Minor," the "Lysis," the "Charmides," the "Laches," the "Euthyphro," the "Apology," the "Crito," and the "Protagoras." The "Protagoras" is the longest, the most complex in thought, and the most developed. It is probably the latest, and forms the bridge to the second group.

All these early dialogues are short and simple, and are still, as regards their thought, entirely under the influence of Socrates. Plato has not as yet developed [{173}] any philosophy of his own. He propounds the philosophy of Socrates almost unaltered. Even so, however, he is no mere plagiarist. There are throughout these dialogues evidences of freshness and originality, but these qualities exhibit themselves rather in the literary form than in the philosophical substance. We find here all the familiar Socratic propositions, that virtue is knowledge, is one, is teachable; that all men seek the good, but that men differ as to what the good is; that a man who does wrong deliberately is better than a man who does it unintentionally; and so on. Moreover, just as Socrates had occupied himself in attempting to fix the concepts of the virtues, asking "what is prudence?", "what is temperance?", and the like, so in many of these dialogues Plato pursues similar inquiries. The "Lysis" discusses the concept of friendship, the "Charmides" of temperance, the "Laches" of bravery. On the whole, the philosophical substance of these early writings is thin and meagre. There is a preponderance of incident and much biographical detail regarding Socrates. There is more art than matter. Consequently, from a purely literary point of view, these are among the most charming of Plato's dialogues, and many of them, such as the "Apology" and the "Crito," are especially popular with those who care for Plato rather as an artist than as a philosopher.