Part 3

Let us next ask, which of these untrue forms of government is the least bad, and which of them is the worst? I said at the beginning, that each of the three forms of government, royalty, aristocracy, and democracy, might be divided into two, so that the whole number of them, including the best, will be seven. Under monarchy we have already distinguished royalty and tyranny; of oligarchy there were two kinds, aristocracy and plutocracy; and democracy may also be divided, for there is a democracy which observes, and a democracy which neglects, the laws. The government of one is the best and the worst--the government of a few is less bad and less good--the government of the many is the least bad and least good of them all, being the best of all lawless governments, and the worst of all lawful ones. But the rulers of all these states, unless they have knowledge, are maintainers of idols, and themselves idols--wizards, and also Sophists; for, after many windings, the term 'Sophist' comes home to them.

And now enough of centaurs and satyrs: the play is ended, and they may quit the political stage. Still there remain some other and better elements, which adhere to the royal science, and must be drawn off in the refiner's fire before the gold can become quite pure. The arts of the general, the judge, and the orator, will have to be separated from the royal art; when the separation has been made, the nature of the king will be unalloyed. Now there are inferior sciences, such as music and others; and there is a superior science, which determines whether music is to be learnt or not, and this is different from them, and the governor of them. The science which determines whether we are to use persuasion, or not, is higher than the art of persuasion; the science which determines whether we are to go to war, is higher than the art of the general. The science which makes the laws, is higher than that which only administers them. And the science which has this authority over the rest, is the science of the king or statesman.

Once more we will endeavour to view this royal science by the light of our example. We may compare the state to a web, and I will show you how the different threads are drawn into one. You would admit--would you not?--that there are parts of virtue (although this position is sometimes assailed by Eristics), and one part of virtue is temperance, and another courage. These are two principles which are in a manner antagonistic to one another; and they pervade all nature; the whole class of the good and beautiful is included under them. The beautiful may be subdivided into two lesser classes: one of these is described by us in terms expressive of motion or energy, and the other in terms expressive of rest and quietness. We say, how manly! how vigorous! how ready! and we say also, how calm! how temperate! how dignified! This opposition of terms is extended by us to all actions, to the tones of the voice, the notes of music, the workings of the mind, the characters of men. The two classes both have their exaggerations; and the exaggerations of the one are termed 'hardness,' 'violence,' 'madness;' of the other 'cowardliness,' or 'sluggishness.' And if we pursue the enquiry, we find that these opposite characters are naturally at variance, and can hardly be reconciled. In lesser matters the antagonism between them is ludicrous, but in the State may be the occasion of grave disorders, and may disturb the whole course of human life. For the orderly class are always wanting to be at peace, and hence they pass imperceptibly into the condition of slaves; and the courageous sort are always wanting to go to war, even when the odds are against them, and are soon destroyed by their enemies. But the true art of government, first preparing the material by education, weaves the two elements into one, maintaining authority over the carders of the wool, and selecting the proper subsidiary arts which are necessary for making the web. The royal science is queen of educators, and begins by choosing the natures which she is to train, punishing with death and exterminating those who are violently carried away to atheism and injustice, and enslaving those who are wallowing in the mire of ignorance. The rest of the citizens she blends into one, combining the stronger element of courage, which we may call the warp, with the softer element of temperance, which we may imagine to be the woof. These she binds together, first taking the eternal elements of the honourable, the good, and the just, and fastening them with a divine cord in a heaven-born nature, and then fastening the animal elements with a human cord. The good legislator can implant by education the higher principles; and where they exist there is no difficulty in inserting the lesser human bonds, by which the State is held together; these are the laws of intermarriage, and of union for the sake of offspring. Most persons in their marriages seek after wealth or power; or they are clannish, and choose those who are like themselves,--the temperate marrying the temperate, and the courageous the courageous. The two classes thrive and flourish at first, but they soon degenerate; the one become mad, and the other feeble and useless. This would not have been the case, if they had both originally held the same notions about the honourable and the good; for then they never would have allowed the temperate natures to be separated from the courageous, but they would have bound them together by common honours and reputations, by intermarriages, and by the choice of rulers who combine both qualities. The temperate are careful and just, but are wanting in the power of action; the courageous fall short of them in justice, but in action are superior to them: and no state can prosper in which either of these qualities is wanting. The noblest and best of all webs or states is that which the royal science weaves, combining the two sorts of natures in a single texture, and in this enfolding freeman and slave and every other social element, and presiding over them all.

'Your picture, Stranger, of the king and statesman, no less than of the Sophist, is quite perfect.'

...

The principal subjects in the Statesman may be conveniently embraced under six or seven heads:--(1) the myth; (2) the dialectical interest; (3) the political aspects of the dialogue; (4) the satirical and paradoxical vein; (5) the necessary imperfection of law; (6) the relation of the work to the other writings of Plato; lastly (7), we may briefly consider the genuineness of the Sophist and Statesman, which can hardly be assumed without proof, since the two dialogues have been questioned by three such eminent Platonic scholars as Socher, Schaarschmidt, and Ueberweg.

I. The hand of the master is clearly visible in the myth. First in the connection with mythology;--he wins a kind of verisimilitude for this as for his other myths, by adopting received traditions, of which he pretends to find an explanation in his own larger conception (compare Introduction to Critias). The young Socrates has heard of the sun rising in the west and setting in the east, and of the earth-born men; but he has never heard the origin of these remarkable phenomena. Nor is Plato, here or elsewhere, wanting in denunciations of the incredulity of 'this latter age,' on which the lovers of the marvellous have always delighted to enlarge. And he is not without express testimony to the truth of his narrative;--such testimony as, in the Timaeus, the first men gave of the names of the gods ('They must surely have known their own ancestors'). For the first generation of the new cycle, who lived near the time, are supposed to have preserved a recollection of a previous one. He also appeals to internal evidence, viz. the perfect coherence of the tale, though he is very well aware, as he says in the Cratylus, that there may be consistency in error as well as in truth. The gravity and minuteness with which some particulars are related also lend an artful aid. The profound interest and ready assent of the young Socrates, who is not too old to be amused 'with a tale which a child would love to hear,' are a further assistance. To those who were naturally inclined to believe that the fortunes of mankind are influenced by the stars, or who maintained that some one principle, like the principle of the Same and the Other in the Timaeus, pervades all things in the world, the reversal of the motion of the heavens seemed necessarily to produce a reversal of the order of human life. The spheres of knowledge, which to us appear wide asunder as the poles, astronomy and medicine, were naturally connected in the minds of early thinkers, because there was little or nothing in the space between them. Thus there is a basis of philosophy, on which the improbabilities of the tale may be said to rest. These are some of the devices by which Plato, like a modern novelist, seeks to familiarize the marvellous.

The myth, like that of the Timaeus and Critias, is rather historical than poetical, in this respect corresponding to the general change in the later writings of Plato, when compared with the earlier ones. It is hardly a myth in the sense in which the term might be applied to the myth of the Phaedrus, the Republic, the Phaedo, or the Gorgias, but may be more aptly compared with the didactic tale in which Protagoras describes the fortunes of primitive man, or with the description of the gradual rise of a new society in the Third Book of the Laws. Some discrepancies may be observed between the mythology of the Statesman and the Timaeus, and between the Timaeus and the Republic. But there is no reason to expect that all Plato's visions of a former, any more than of a future, state of existence, should conform exactly to the same pattern. We do not find perfect consistency in his philosophy; and still less have we any right to demand this of him in his use of mythology and figures of speech. And we observe that while employing all the resources of a writer of fiction to give credibility to his tales, he is not disposed to insist upon their literal truth. Rather, as in the Phaedo, he says, 'Something of the kind is true;' or, as in the Gorgias, 'This you will think to be an old wife's tale, but you can think of nothing truer;' or, as in the Statesman, he describes his work as a 'mass of mythology,' which was introduced in order to teach certain lessons; or, as in the Phaedrus, he secretly laughs at such stories while refusing to disturb the popular belief in them.

The greater interest of the myth consists in the philosophical lessons which Plato presents to us in this veiled form. Here, as in the tale of Er, the son of Armenius, he touches upon the question of freedom and necessity, both in relation to God and nature. For at first the universe is governed by the immediate providence of God,--this is the golden age,--but after a while the wheel is reversed, and man is left to himself. Like other theologians and philosophers, Plato relegates his explanation of the problem to a transcendental world; he speaks of what in modern language might be termed 'impossibilities in the nature of things,' hindering God from continuing immanent in the world. But there is some inconsistency; for the 'letting go' is spoken of as a divine act, and is at the same time attributed to the necessary imperfection of matter; there is also a numerical necessity for the successive births of souls. At first, man and the world retain their divine instincts, but gradually degenerate. As in the Book of Genesis, the first fall of man is succeeded by a second; the misery and wickedness of the world increase continually. The reason of this further decline is supposed to be the disorganisation of matter: the latent seeds of a former chaos are disengaged, and envelope all things. The condition of man becomes more and more miserable; he is perpetually waging an unequal warfare with the beasts. At length he obtains such a measure of education and help as is necessary for his existence. Though deprived of God's help, he is not left wholly destitute; he has received from Athene and Hephaestus a knowledge of the arts; other gods give him seeds and plants; and out of these human life is reconstructed. He now eats bread in the sweat of his brow, and has dominion over the animals, subjected to the conditions of his nature, and yet able to cope with them by divine help. Thus Plato may be said to represent in a figure--(1) the state of innocence; (2) the fall of man; (3) the still deeper decline into barbarism; (4) the restoration of man by the partial interference of God, and the natural growth of the arts and of civilised society. Two lesser features of this description should not pass unnoticed:--(1) the primitive men are supposed to be created out of the earth, and not after the ordinary manner of human generation--half the causes of moral evil are in this way removed; (2) the arts are attributed to a divine revelation: and so the greatest difficulty in the history of pre-historic man is solved. Though no one knew better than Plato that the introduction of the gods is not a reason, but an excuse for not giving a reason (Cratylus), yet, considering that more than two thousand years later mankind are still discussing these problems, we may be satisfied to find in Plato a statement of the difficulties which arise in conceiving the relation of man to God and nature, without expecting to obtain from him a solution of them. In such a tale, as in the Phaedrus, various aspects of the Ideas were doubtless indicated to Plato's own mind, as the corresponding theological problems are to us. The immanence of things in the Ideas, or the partial separation of them, and the self-motion of the supreme Idea, are probably the forms in which he would have interpreted his own parable.

He touches upon another question of great interest--the consciousness of evil--what in the Jewish Scriptures is called 'eating of the tree of the knowledge of good and evil.' At the end of the narrative, the Eleatic asks his companion whether this life of innocence, or that which men live at present, is the better of the two. He wants to distinguish between the mere animal life of innocence, the 'city of pigs,' as it is comically termed by Glaucon in the Republic, and the higher life of reason and philosophy. But as no one can determine the state of man in the world before the Fall, 'the question must remain unanswered.' Similar questions have occupied the minds of theologians in later ages; but they can hardly be said to have found an answer. Professor Campbell well observes, that the general spirit of the myth may be summed up in the words of the Lysis: 'If evil were to perish, should we hunger any more, or thirst any more, or have any similar sensations? Yet perhaps the question what will or will not be is a foolish one, for who can tell?' As in the Theaetetus, evil is supposed to continue,--here, as the consequence of a former state of the world, a sort of mephitic vapour exhaling from some ancient chaos,--there, as involved in the possibility of good, and incident to the mixed state of man.

Once more--and this is the point of connexion with the rest of the dialogue--the myth is intended to bring out the difference between the ideal and the actual state of man. In all ages of the world men have dreamed of a state of perfection, which has been, and is to be, but never is, and seems to disappear under the necessary conditions of human society. The uselessness, the danger, the true value of such political ideals have often been discussed; youth is too ready to believe in them; age to disparage them. Plato's 'prudens quaestio' respecting the comparative happiness of men in this and in a former cycle of existence is intended to elicit this contrast between the golden age and 'the life under Zeus' which is our own. To confuse the divine and human, or hastily apply one to the other, is a 'tremendous error.' Of the ideal or divine government of the world we can form no true or adequate conception; and this our mixed state of life, in which we are partly left to ourselves, but not wholly deserted by the gods, may contain some higher elements of good and knowledge than could have existed in the days of innocence under the rule of Cronos. So we may venture slightly to enlarge a Platonic thought which admits of a further application to Christian theology. Here are suggested also the distinctions between God causing and permitting evil, and between his more and less immediate government of the world.

II. The dialectical interest of the Statesman seems to contend in Plato's mind with the political; the dialogue might have been designated by two equally descriptive titles--either the 'Statesman,' or 'Concerning Method.' Dialectic, which in the earlier writings of Plato is a revival of the Socratic question and answer applied to definition, is now occupied with classification; there is nothing in which he takes greater delight than in processes of division (compare Phaedr.); he pursues them to a length out of proportion to his main subject, and appears to value them as a dialectical exercise, and for their own sake. A poetical vision of some order or hierarchy of ideas or sciences has already been floating before us in the Symposium and the Republic. And in the Phaedrus this aspect of dialectic is further sketched out, and the art of rhetoric is based on the division of the characters of mankind into their several classes. The same love of divisions is apparent in the Gorgias. But in a well-known passage of the Philebus occurs the first criticism on the nature of classification. There we are exhorted not to fall into the common error of passing from unity to infinity, but to find the intermediate classes; and we are reminded that in any process of generalization, there may be more than one class to which individuals may be referred, and that we must carry on the process of division until we have arrived at the infima species.

These precepts are not forgotten, either in the Sophist or in the Statesman. The Sophist contains four examples of division, carried on by regular steps, until in four different lines of descent we detect the Sophist. In the Statesman the king or statesman is discovered by a similar process; and we have a summary, probably made for the first time, of possessions appropriated by the labour of man, which are distributed into seven classes. We are warned against preferring the shorter to the longer method;--if we divide in the middle, we are most likely to light upon species; at the same time, the important remark is made, that 'a part is not to be confounded with a class.' Having discovered the genus under which the king falls, we proceed to distinguish him from the collateral species. To assist our imagination in making this separation, we require an example. The higher ideas, of which we have a dreamy knowledge, can only be represented by images taken from the external world. But, first of all, the nature of example is explained by an example. The child is taught to read by comparing the letters in words which he knows with the same letters in unknown combinations; and this is the sort of process which we are about to attempt. As a parallel to the king we select the worker in wool, and compare the art of weaving with the royal science, trying to separate either of them from the inferior classes to which they are akin. This has the incidental advantage, that weaving and the web furnish us with a figure of speech, which we can afterwards transfer to the State.

There are two uses of examples or images--in the first place, they suggest thoughts--secondly, they give them a distinct form. In the infancy of philosophy, as in childhood, the language of pictures is natural to man: truth in the abstract is hardly won, and only by use familiarized to the mind. Examples are akin to analogies, and have a reflex influence on thought; they people the vacant mind, and may often originate new directions of enquiry. Plato seems to be conscious of the suggestiveness of imagery; the general analogy of the arts is constantly employed by him as well as the comparison of particular arts--weaving, the refining of gold, the learning to read, music, statuary, painting, medicine, the art of the pilot--all of which occur in this dialogue alone: though he is also aware that 'comparisons are slippery things,' and may often give a false clearness to ideas. We shall find, in the Philebus, a division of sciences into practical and speculative, and into more or less speculative: here we have the idea of master-arts, or sciences which control inferior ones. Besides the supreme science of dialectic, 'which will forget us, if we forget her,' another master-science for the first time appears in view--the science of government, which fixes the limits of all the rest. This conception of the political or royal science as, from another point of view, the science of sciences, which holds sway over the rest, is not originally found in Aristotle, but in Plato.

The doctrine that virtue and art are in a mean, which is familiarized to us by the study of the Nicomachean Ethics, is also first distinctly asserted in the Statesman of Plato. The too much and the too little are in restless motion: they must be fixed by a mean, which is also a standard external to them. The art of measuring or finding a mean between excess and defect, like the principle of division in the Phaedrus, receives a particular application to the art of discourse. The excessive length of a discourse may be blamed; but who can say what is excess, unless he is furnished with a measure or standard? Measure is the life of the arts, and may some day be discovered to be the single ultimate principle in which all the sciences are contained. Other forms of thought may be noted--the distinction between causal and co-operative arts, which may be compared with the distinction between primary and co-operative causes in the Timaeus; or between cause and condition in the Phaedo; the passing mention of economical science; the opposition of rest and motion, which is found in all nature; the general conception of two great arts of composition and division, in which are contained weaving, politics, dialectic; and in connexion with the conception of a mean, the two arts of measuring.