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Dialogos con el diablo Taylor Caldwell
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Carranza Maite Wojna czarowni Przeklenstwo Odi

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.Morgenstern and others have asked whether the definition of justice, which is the professed aim, or the construction of the State is the principal argument of the work.The answer is, that the two blend in one, and are two faces of the same truth; for justice is the order of the State, and the State is the visible embodiment of justice under the conditions of human society.The one is the soul and the other is the body, and the Greek ideal of the State, as of the individual, is a fair mind in a fair body.In Hegelian phraseology the state is the reality of which justice is the idea.Or, described in Christian language, the kingdom of God is within, and yet developes into a Church or external kingdom; ‘the house not made with hands, eternal in the heavens,’ is reduced to the proportions of an earthly building.Or, to use a Platonic image, justice and the State are the warp and the woof which run through the whole texture.And when the constitution of the State is completed, the conception of justice is not dismissed, but reappears under the same or different names throughout the work, both as the inner law of the individual soul, and finally as the principle of rewards and punishments in another life.The virtues are based on justice, of which common honesty in buying and selling is the shadow, and justice is based on the idea of good, which is the harmony of the world, and is reflected both in the institutions of states and in motions of the heavenly bodies (cp.Tim.47).The Timaeus, which takes up the political rather than the ethical side of the Republic, and is chiefly occupied with hypotheses concerning the outward world, yet contains many indications that the same law is supposed to reign over the State, over nature, and over man.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, vol.i.).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 (v.472 D); 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.It is not necessary to discuss at length a minor question which has been raised by Boeckh, respecting the imaginary date at which the conversation was held (the year 411 B.C.which is proposed by him will do as well as any other); for a writer of fiction, and especially a writer who, like Plato, is notoriously careless of chronology (cp.Rep.i.336, Symp.193 A, etc.), only aims at general probability.Whether all the persons mentioned in the Republic could ever have met at any one time is not a difficulty which would have occurred to an Athenian reading the work forty years later, or to Plato himself at the time of writing (any more than to Shakespeare respecting one of his own dramas); and need not greatly trouble us now.Yet this may be a question having no answer ‘which is still worth asking,’ because the investigation shows that we cannot argue historically from the dates in Plato; it would be useless therefore to waste time in inventing far-fetched reconcilements of them in order to avoid chronological difficulties, such, for example, as the conjecture of C.F.Hermann, that Glaucon and Adeimantus are not the brothers but the uncles of Plato (cp.Apol.34 A), or the fancy of Stallbaum that Plato intentionally left anachronisms indicating the dates at which some of his Dialogues were written.The principal characters in the Republic are Cephalus, Polemarchus, Thrasymachus, Socrates, Glaucon, and Adeimantus [ Pobierz całość w formacie PDF ]