II How to Solve the Social Problem

TO understand Plato one must remember the Pythagorean motif: harmony is the heart of Plato’s metaphysics, of his psychological and educational theory, of his ethics and his politics. To feel such harmony as there is, and to make such harmony as may be,—that to Plato is the meaning of philosophy.

We observe this at the outset in the more-mystified-than mystifying theory of ideas. Obviously, the theory of ideas belongs to Socrates; the Platonic element is a theory not of ideas so much as of ideals. Socrates wants truth, but Plato wants beauty, harmony. Socrates is bent on argument, and points you to a concept; Plato is a poet with a vision, and points you to the picture that he sees. Understanding, says Plato, is of the earth earthly; but poetic vision is divine.¹ Hence the maze of quibbling in the dialogues; it is Plato and not Socrates who is culprit here. Reasoning was an alien art to Plato; try as he might to become a mathematician he remained always a poet,—and perhaps most so when he dealt with numbers. Dialectic was in Plato’s day a recent invention; he plays with it like a youth in the breakers, letting it now raise him to heights of ecstatic vision and now bury him in the deadliest logic-chopping. But—let us not doubt it—he knows when he is logic-chopping; he goes on, partly that he may paint his picture, partly for the mere joy of parrying pros and cons; this new game, he feels, is a sport for the gods.

Let us smile at the heavy seriousness of those who suppose that this man meant everything he said. No one does, but least of all men Plato, who hardly taught except in parables. What is the “heaven” of the ideas but a poet’s way of saying that the constancies observable in the relations among things are not identical with the things themselves, but have a reality and permanence of their own? So we phrase it in our own distinguished verbiage; but Plato prefers, as ever, to draw a picture. And notice, in this picture, the ever present reference to social needs. What is a concept, after all, but a scheme for the conservation of mental resources, an instrument of prediction, a method of control? Without the power to form concepts we could never turn experience to use, it would slip between our fingers; we should be like the maidens condemned to carry water in a sieve. The idea of anything is the sum of its observed constancies of behavior; hence the medium of our adaptation and control. To have ideas of things is to know the map or plan of things; it is to see tendencies, directions, and results; it is to know how to use things. That is why knowledge is power; every idea is a tool with which to bend the world to serve our will. And that too is why the Ideas are real: they have power, and “anything which possesses any sort of power is real.”²

All this, as was said, is but an embellishment of the Socratic doctrine that salvation lies in brains. But Plato rushes on. Not only may everything be brought under a concept, an Idea, but it may be brought under a perfect Form, an Ideal. Things are not what they might be. Men are not such as men might be, states are often sorry states, beds might be more ideal beds, even dirt could be more perfectly dirt. To all things that are, there correspond perfect Ideals of what they might be, in a thoroughly harmonious world. To say that these Ideals are real, that they exist, is only to claim for them that they are operative, and get results. Whether his supernaturalism was only part of his political theory, others may dispute; let it suffice us at present that Plato believed that the Ideals could and did operate through human agency. The distinctive thing about man is that perceiving the thing that is, he can conceive the thing that might be. He is the forward-looking, ideal-making animal; through him, if he but will it, proceeds creation. The brute may be a thinker, but man may be also an artist. Out of the abundance of the sexual instinct (as Plato implies in the Symposium) emerges this ideal-seeking and -making quality; from which come art and ethics and religion. William Morris looks at a slum and conceives Utopia; and forthwith begins to make for Utopia even though the road lead him through a jail. Is it that William Morris loves “humanity”? Not at all; he loves beauty and his dream; he is uncomfortable with all this dirt and despair before him; it is his fortune or misfortune that he cannot see these slums without falling thrall to a vision of better things. So with most of us “reformers”: we wish to change things, not because we love our fellows much more than “conservatives” do, nor because we believe that happiness varies with income; but because we hear the call of the beautiful, and see in the mind’s eye another form wherein the world might come more pleasingly to sight.

What we have to do, says Plato, is to make people conceive a better world, so that they may see this world as ugly, and may strive to reshape it. We must conceive the perfect Forms of things, and batter this poor world till it reform itself and take these perfect shapes. To learn to see—and seeing learn to make—these perfect Forms: that is the task of philosophers. To make philosophers: that is the social problem.