THE COMPLETE WORKS OF PLATO. Plato

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СКАЧАТЬ completely developed. Whether the belief in immortality can be attributed to Socrates or not is uncertain; the silence of the Memorabilia, and of the earlier Dialogues of Plato, is an argument to the contrary. Yet in the Cyropaedia Xenophon has put language into the mouth of the dying Cyrus which recalls the Phaedo, and may have been derived from the teaching of Socrates. It may be fairly urged that the greatest religious interest of mankind could not have been wholly ignored by one who passed his life in fulfilling the commands of an oracle, and who recognized a Divine plan in man and nature. (Xen. Mem.) And the language of the Apology and of the Crito confirms this view.

      The Phaedo is not one of the Socratic Dialogues of Plato; nor, on the other hand, can it be assigned to that later stage of the Platonic writings at which the doctrine of ideas appears to be forgotten. It belongs rather to the intermediate period of the Platonic philosophy, which roughly corresponds to the Phaedrus, Gorgias, Republic, Theaetetus. Without pretending to determine the real time of their composition, the Symposium, Meno, Euthyphro, Apology, Phaedo may be conveniently read by us in this order as illustrative of the life of Socrates. Another chain may be formed of the Meno, Phaedrus, Phaedo, in which the immortality of the soul is connected with the doctrine of ideas. In the Meno the theory of ideas is based on the ancient belief in transmigration, which reappears again in the Phaedrus as well as in the Republic and Timaeus, and in all of them is connected with a doctrine of retribution. In the Phaedrus the immortality of the soul is supposed to rest on the conception of the soul as a principle of motion, whereas in the Republic the argument turns on the natural continuance of the soul, which, if not destroyed by her own proper evil, can hardly be destroyed by any other. The soul of man in the Timaeus is derived from the Supreme Creator, and either returns after death to her kindred star, or descends into the lower life of an animal. The Apology expresses the same view as the Phaedo, but with less confidence; there the probability of death being a long sleep is not excluded. The Theaetetus also describes, in a digression, the desire of the soul to fly away and be with God—'and to fly to him is to be like him.' The Symposium may be observed to resemble as well as to differ from the Phaedo. While the first notion of immortality is only in the way of natural procreation or of posthumous fame and glory, the higher revelation of beauty, like the good in the Republic, is the vision of the eternal idea. So deeply rooted in Plato's mind is the belief in immortality; so various are the forms of expression which he employs.

      As in several other Dialogues, there is more of system in the Phaedo than appears at first sight. The succession of arguments is based on previous philosophies; beginning with the mysteries and the Heracleitean alternation of opposites, and proceeding to the Pythagorean harmony and transmigration; making a step by the aid of Platonic reminiscence, and a further step by the help of the nous of Anaxagoras; until at last we rest in the conviction that the soul is inseparable from the ideas, and belongs to the world of the invisible and unknown. Then, as in the Gorgias or Republic, the curtain falls, and the veil of mythology descends upon the argument. After the confession of Socrates that he is an interested party, and the acknowledgment that no man of sense will think the details of his narrative true, but that something of the kind is true, we return from speculation to practice. He is himself more confident of immortality than he is of his own arguments; and the confidence which he expresses is less strong than that which his cheerfulness and composure in death inspire in us.

      Difficulties of two kinds occur in the Phaedo—one kind to be explained out of contemporary philosophy, the other not admitting of an entire solution. (1) The difficulty which Socrates says that he experienced in explaining generation and corruption; the assumption of hypotheses which proceed from the less general to the more general, and are tested by their consequences; the puzzle about greater and less; the resort to the method of ideas, which to us appear only abstract terms,—these are to be explained out of the position of Socrates and Plato in the history of philosophy. They were living in a twilight between the sensible and the intellectual world, and saw no way of connecting them. They could neither explain the relation of ideas to phenomena, nor their correlation to one another. The very idea of relation or comparison was embarrassing to them. Yet in this intellectual uncertainty they had a conception of a proof from results, and of a moral truth, which remained unshaken amid the questionings of philosophy. (2) The other is a difficulty which is touched upon in the Republic as well as in the Phaedo, and is common to modern and ancient philosophy. Plato is not altogether satisfied with his safe and simple method of ideas. He wants to have proved to him by facts that all things are for the best, and that there is one mind or design which pervades them all. But this 'power of the best' he is unable to explain; and therefore takes refuge in universal ideas. And are not we at this day seeking to discover that which Socrates in a glass darkly foresaw?

      Some resemblances to the Greek drama may be noted in all the Dialogues of Plato. The Phaedo is the tragedy of which Socrates is the protagonist and Simmias and Cebes the secondary performers, standing to them in the same relation as to Glaucon and Adeimantus in the Republic. No Dialogue has a greater unity of subject and feeling. Plato has certainly fulfilled the condition of Greek, or rather of all art, which requires that scenes of death and suffering should be clothed in beauty. The gathering of the friends at the commencement of the Dialogue, the dismissal of Xanthippe, whose presence would have been out of place at a philosophical discussion, but who returns again with her children to take a final farewell, the dejection of the audience at the temporary overthrow of the argument, the picture of Socrates playing with the hair of Phaedo, the final scene in which Socrates alone retains his composure—are masterpieces of art. And the chorus at the end might have interpreted the feeling of the play: 'There can no evil happen to a good man in life or death.'

      'The art of concealing art' is nowhere more perfect than in those writings of Plato which describe the trial and death of Socrates. Their charm is their simplicity, which gives them verisimilitude; and yet they touch, as if incidentally, and because they were suitable to the occasion, on some of the deepest truths of philosophy. There is nothing in any tragedy, ancient or modern, nothing in poetry or history (with one exception), like the last hours of Socrates in Plato. The master could not be more fitly occupied at such a time than in discoursing of immortality; nor the disciples more divinely consoled. The arguments, taken in the spirit and not in the letter, are our arguments; and Socrates by anticipation may be even thought to refute some 'eccentric notions; current in our own age. For there are philosophers among ourselves who do not seem to understand how much stronger is the power of intelligence, or of the best, than of Atlas, or mechanical force. How far the words attributed to Socrates were actually uttered by him we forbear to ask; for no answer can be given to this question. And it is better to resign ourselves to the feeling of a great work, than to linger among critical uncertainties.

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