Finding Plato in the Cave

Justin Stone February 28, 2012

The ancient philosopher Plato has many great writings that have survived over the millennia and maintained their importance to the study of philosophy, but the Republic is probably the most studied and most well-known. Many controversial ideas are contained within the 10 books that make up the Republic but one section of the dialect stands out. The allegory of the cave, found in book VII, is perhaps the most studied portion of Platos entire catalog of works. Platos cave has garnered more attention than his texts about women, social classes, religion, or any other of his debated topics. Petrarch climbed out of the cave when ascending Mount Ventoux. Dante explored the cavern in his Inferno. M. Night Shyamalan brought the famous allegory to the silver screen with The Village. Platos allegory has remained a hot topic through the centuries with writers and scholars of all ages. The question then becomes, why? Why has this particular piece of literature become such a landmark text? I will argue over the next few pages what inspired Platos allegory. This will then aid in my interpretation of the story of the cave and lead me to another question; what importance does Plato put on art in mans quest for wisdom? I hope to make clear the reasons why we must first explore the cave in order to understand Platos confusing banishment of art in book X of the Republic. It is my belief that through understanding where the cave came from and what the allegory means, we can then truly understand Platos stance on art and its role in mans search for wisdom. To begin, in 1765, an exploration of a hill known as Rappasna near the Greek village of Vari produces the discovery of an ancient cave once inhabited by humans.1 The cave is stationed near the ancient home of Anagyrus in Attica and is found near the top of the southern face of Mount Hymettus. In this time since this initial exploration, many archeologists have returned to Weller, Charles Heald The Cave at Vari. I. Description, Account of Excavation, and History. American Journal of Archaeology, Vol.7, No.3 (1903): 263-264
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the site to continue excavations. Chief among them, archeologist Charles Heald Weller explores the site in the early 1900s. His reason for exploring the cave is its possible connection to Plato. Weller describes the cave as a steep decline with two landings inside of it.2 One can reach the first landing by way of a staircase created out of the very rock that makes up the floor. Here, many reliefs of Pan and Apollo along with the Nymphs and Graces, are found etched into the cave walls. Along with the reliefs, etchings are also found that suggest this cave was used to honor Pan and Apollo in ancient times.3 The floor descends even more rapidly after the first landing into the second and lowest room of the cave. It is very dark and desolate. Evidence is found on the first landing that fires were often lit and used to light the second landing. Weller believes that this cave might be connected to Platos thoughts. John Henry Wright, a Classics professor at Harvard around the turn of the 20th century, also believes this cave has ties to Plato. His description of the cave causes one to see the similarities to Platos famous cave in the Republic. He claims that there is nothing found in Platos cave that is not also found in the cave at Vari. One who ascends from the floor of the cave to its mouth, so as to come out into the light of the day, must climb up a steep and difficult slope, Wright proclaims.4 He then states that the cave is very dark and a person would need torch light or a fire to navigate within it, The [fire] would need to burn, not at the foot of the cave, whence its smoke rising upward toward the opening would be suffocating, but rather part

Weller, Charles Heald The Cave at Vari. I. Description, Account of Excavation, and History. American Journal of Archaeology, Vol.7, No.3 (1903): 265 3 Weller, Charles Heald The Cave at Vari. I. Description, Account of Excavation, and History. American Journal of Archaeology, Vol.7, No.3 (1903): 266 4 Wright, John Henry The Origin of Platos Cave. Harvard Studies in Classical Philology, Vol.17 (1906): 140
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way up the slope.5 Wright, just as Weller, points to the evidence of man-made fires at just such a point in the cave. Along with the location of and the use of fire, both Wright and Weller point out the properties of the second and lowest room of the cave and how it is similar to that of Platos description. Wrights account of the second landing begins with its relation to the first. At the edge of the first landing is a stone alter that is about seven feet high and eight feet long. Past this alter, the cave drops nearly vertically, forming a wall about fourteen feet high.6 This sounds very much like the divide between the prisoners and the fire found in Platos cave. If one sat against the wall of the second landing in the cave of Vari, one would not be able to see the fire behind him or any other part of the cave except the wall in front of ones eyes. No light from the sun would reach such a position, and the shadows of those participating in rituals on the first floor would dance across the lower far side wall of the second landing. As in Platos cave, this would be the only thing a person could see sitting against the near side wall of the second landing at the cave at Vari. The similarities of the cave at Vari to the one found in the seventh book of the Republic is not the only evidence used to tie the cave at Vari to Plato. Its location and the caves use to ancient man play the biggest role. According to Claudius Aelianus, a Roman author and teacher of rhetoric in the 2nd century, Plato was brought by his parents to Hymettus. There, his father,

Wright, John Henry The Origin of Platos Cave. Harvard Studies in Classical Philology, Vol.17 (1906): 140 6 Wright, John Henry The Origin of Platos Cave. Harvard Studies in Classical Philology, Vol.17 (1906): 140
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Aristo, sacrificed to the Muses and Nymphs.7 Olympiodorus of Alexandria writes a similar account in the 6th century in his work Vita Platonis. Weller points out that according to the tale, there is only one place known on Earth that such a sacrifice could be made.8 While neither Olympiodorus nor Aelianus mentions anything of a cave, they do mention Mount Hymettus and a place of worship for the Muses and Nymphs. Only one such alter has been found in the region, and that is at the cave at Vari. While Weller finds this evidence still too weak to be conclusive, Wright is willing to proclaim that this is indeed Platos inspiration, and that Plato himself has visited the site. Wright states that the raised platform and several of the reliefs found in the cave can be dated back to Platos lifetime, Hence, when he came to use the simile of a cave, in the Republic, the recollection of the vision of the cave on Mount Hymettus and its strange spectacle of shadows of things themselves as it were but shadows, removed by two stages from reality, crowded in on his mind and shaped and colored his development of the simile.9 For the purposes of my argument, I too am willing to proclaim that Platos cave is not an image borrowed from another myth, but an actual physical place that he once visited. However, inspiration alone is not enough to warrant a need for Plato to create his cave analogyhe also had a philosophical reason to do so. The story of the cave is found at the beginning of the seventh book, right after Socrates explains another complicated simile called the Perictione carried Plato in her arms. Aristo sacrificing in Hymettus to the Muses or the Nymphs, whilest they were performing the divine Rites, she laid Plato down among certain thick and shady Myrtle-trees that grew near to the place. A Swarm of Hymettian Bees lighted about his mouth as he slept, thereby signifying the future sweetness of Platos Tongue. Aelian: Various Histories University of Chicago, accessed February 21, 2012, http://penelope.uchicago.edu/aelian/varhist10.xhtml#chap21 8 Weller, Charles Heald The Cave at Vari. I. Description, Account of Excavation, and History. American Journal of Archaeology, Vol.7, No.3 (1903): 287 9 Wright, John Henry The Origin of Platos Cave. Harvard Studies in Classical Philology, Vol.17 (1906): 141
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Divided Line.10 Here, the world is broken up into two different realms; the visible world and the intelligible world. Furthermore, Socrates bisects these two worlds and places opinions (shadows of the real world) and beliefs about physical objects in the visible world and mathematical abstracts (such as lines and numbers) and the Forms (mostly the Form of the Good) in the intelligible world. Wright points out the importance of the divided line theory in the allegory of the cave. Socrates explains his two world theory and its parts leading up to the seventh book and the cave gives this theory a visible counterpart.11 Furthermore, the light sources of the analogy help the reader to understand the divided line. The cave and its shadows are made visible by a fire, while the world above (the world of the visible) is brightened by the sun. The ideal world is illuminated by the Form of the Good.12 It is also important to note that the shadows and the puppets are made visible by the fire inside the cave, and the reflection of objects in the lake and the objects themselves are seen because of the light created by the sun. To follow this point further, it would seem then that the cave might be creating a visual for more than just the divided line, but also the metaphor of the sun found before it.13 In this metaphor, Socrates establishes the importance of sight and light in how a human learns. He also claims that it is the Form of the Good that illuminates all other Forms and gives man the ability to understand his surroundings.

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Plato, Republic, trans. Joe Sachs. Newbury: Focus Publishing, 2007, 509D-511E Wright, John Henry The Origin of Platos Cave. Harvard Studies in Classical Philology, Vol.17 (1906): 131 12 Wright, John Henry The Origin of Platos Cave. Harvard Studies in Classical Philology, Vol.17 (1906): 132 13 Plato, Republic, trans. Joe Sachs. Newbury: Focus Publishing, 2007, 507B-509C

J.E. Raven also believes that the metaphor of the sun, the divided line, and the analogy of the cave should be viewed as an organic and indivisible whole.14 The copy of the Republic that he cites is translated by F.M. Cornford who states in the preface that the break between books VI and VII is an accidental expedient of ancient book-production, having little more to do with the structure of the argument than the division of every Victorian novel into three volumes had to do with the structure of the stories.15 Looking at books VI and VII this way, the divided line suddenly becomes a bridge between the two allegories. Raven also points out that the analogy of the sun highlights the importance of the Form of the Good and how the human mind endeavors to understand it. The divided line gives us a better idea of the visible world, but lacks explanation as to how one reaches the intelligible world. It helps one to understand the contrast between opinion and knowledge, which the reader will need once they have entered the cave. In the cave, Plato finally brings us back to the world of sight, and shows the reader how to reach the intelligible world, starting from the visible world.16 Plato has come full circle with his theory of the human condition and how human beings learn. Furthermore, going back to Platos division of the universe, it is important to understand that the division is that of two parts and there are four phases of progress from ignorance to knowledge. John Ferguson describes them as First, the uneducated man takes his sensations for objective realities; next, he becomes aware of their subjectivity; thirdly, he studies the one and the many in the so-called sciences or arts; and lastly, he will, it is hoped, attain to dialectic, which is a coping stone to his former achievements.17 Both of these worlds are seen in the cave

Raven, J.E. Sun, Line, and Cave. The Classical Quarterly, Vol.3, No.1 (1953): 22 Raven, J.E. Sun, Line, and Cave. The Classical Quarterly, Vol.3, No.1 (1953): 22 16 Raven, J.E. Sun, Line, and Cave. The Classical Quarterly, Vol.3, No.1 (1953): 32 17 Ferguson, John Sun, Line, and Cave Again. The Classical Quarterly, Vol.13, No.2 (1963): 189
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and help the reader to go through this process themselves in coming to an understanding of the Form of the Good and how man gains knowledge. Platos ideas about the Forms and the Form of the Good, as well as the separation of the two worlds, does not become clear until they are all placed together in the cave. Socrates then ends with a warning that those who gain wisdom will wish only to gain more and the world around them will seek to harm them because of their want of knowledge.18 These ideas were also clearly illustrated in the allegory of the cave. Nevertheless, the cave allegory is not the only story told in the Republic that helps Plato illustrate a point. The myth of metals and the myth of Er are also original stories used in the Republic to clarify and give the reader a simplified version of a more complicated idea. Upon reading book X, one might find it odd that these myths are included in the Republic. Socrates states that poets and imitative art are dishonest and must be cast out of the good city he has created. Many scholars have summarize Platos opinion on art in the same way as scholar Melissa Laneas something that comes from the part of the soul that lusts for the erotic. Bad art is like pleasant masturbation, but good art is even more dangerous.19 Good art is a reflection of what is ethical and just. Because of this, plays are evil as it is easier to watch righteousness than it is to actually act righteously. Therefore, art is a diversion from, and a blasphemy of, the true Form of Good.20 Such strong words against the poets and art must not bode well for its future according to Plato. But there is a loose end, an asterisk to this ruling that Plato hangs out like a carrot, begging his reader to reach, Nevertheless, let it be said that if poetic imitation aiming at

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Plato, Republic, trans. Joe Sachs. Newbury: Focus Publishing, 2007, 517A-D Lane, Melissa, Platos Progeny: How Plato and Socrates Still Captivate the Modern Mind. London: Biddles Limited, 2001, 87 20 Lane, Melissa, Platos Progeny: How Plato and Socrates Still Captivate the Modern Mind. London: Biddles Limited, 2001, 87

pleasure should have any argument to make to the effect that she should be present in a city with good laws, wed gladly take her back in, since were well aware that we ourselves are enchanted by her.21 This is clearly a challengea reason must exist to keep poetry and imitative art. Platos own student, Aristotle, takes up the challenge in his Poetics. The difference between the historian and the poet is not merely that one writes verse and the other proseone could turn Herodotus work into verse and it would be just as much history as before; the essential difference is that the one tells us what happened and the other the sort of thing that would happen. This is why poetry is at once more like philosophy and more worth while than history.22 This is a strong statement, seemingly against his former teacher. But is Aristotles opinion on poets and art so different from his teachers opinion? Perhaps Plato never actually condemns all poetry and art. R.G. Collingwood believes that Plato never fails to understand the important nature of art, nor does he ever truly make the kind of statement that Melissa Lane and many other scholars accredit to his works. Collingwood states that Plato has made no such error, and that the blunder lies wholly on the side of his interpreters.23 Collingwood backs up this claim by pointing out the many myths found in the Republic and that Plato would have regarded them as works of art, There is no condemnation of the use of such myths, in so far as the mythologizing philosopher understands the nature of the weapon he is using.24 This does seem to strike at the heart of the matter. Socrates states in book X that one would not go to a poet to lead a war, or replace a doctor with an artist, as they are unskilled in these crafts. What they are skilled in is depicting an ideal. Plato himself quotes

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Plato, Republic, trans. Joe Sachs. Newbury: Focus Publishing, 2007, 607C Aristotle, A New Aristotle Reader, trans. J.L. Ackrill. New Jersey: Princeton University Press, 1987, 1451A 23 Collingwood, R.G. Platos Philosophy of Art. Mind, Vol.34, No.134 (1925): 154 24 Collingwood, R.G. Platos Philosophy of Art. Mind, Vol.34, No.134 (1925): 155

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Homer and other poets many times to prove generalities about humanity throughout the Republic. Furthermore, we do not see the complete damnation of poetry and art in his other works, such as Ion and Phaedrus. Conclusively, Plato clearly grasps and understands the role of art. The cave is a story told to help his reader understand not only the dangers of art, but its positive role in the quest for wisdom as well. Collingwood claims that reality for Plato is not subject, but substancefor human beings to know reality it must come through a progression of educative experiences.25 In the journey through the cave, art is a step toward enlightenment. Before the released prisoner sees the actual objects in the real world, he turns from the shadows and sees the artful depiction of the objects paraded in front of the fire. These artistic representations are not the object themselves, nor are they one of the Forms that give the actual objects their inspiration to exist. Instead, art is the low and early phase of knowledge. Art then is an act of the human mind attempting to know and give a visual presence to something that only exists in the intelligible world. Collingwood furthers this idea by stating, the act of imagining is an essential phase of the activity of coming to know.26 The possible evil that such art could create comes when one only wants to admire the art (the shadows on the wall) instead of searching for what the art represents. Because art is found in the cave, and art as a whole no longer appears to be distained by Plato, what kind of art could be allowed in the good city? The outright banishment of all poetry and other art forms now seems like a foolish translation of the argument Socrates makes in book X of the Republic. What Plato appears to have a problem with is purely imitative art that is unaware of the fabrications it is portraying about its subject matter. Charles Karelis states, Thus
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Collingwood, R.G. Platos Philosophy of Art. Mind, Vol.34, No.134 (1925): 171 Collingwood, R.G. Platos Philosophy of Art. Mind, Vol.34, No.134 (1925): 172

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[Platos] condemnation and banishment from the ideal state of all imitative art leaves room for a finer, non-imitative kind of representational art.27 This truth is alluded to many times in the Republic and also in the cave. Homer is used as a representation of the human condition on many occasions throughout the Republic. One such place is found at 441b, Striking his chest, he scolded his heart with words.28 It is this verse, written by Homer, that Plato calls upon to illustrate what he means by proclaiming that man has an irrational part to his spirit. Homers poetry is representational of the human spirit, and therefore would be allowed inside of the good city. Furthermore, a careless reading of 595e-599a of the Republic might lead one to believe that all artists and poets are imitators. It would seem that imitation is a part of art and poetry by nature, but the imitation isnt what is important to the artist. An accurate representation of an Ideal or Form is what causes art to be meaningful in society. Karelis states, We may conclude that Plato is prepared to sanction and admit into the state any poetry that accurately depicts instances of excellence.29 Homer is often given the stamp of approval by Plato as accurately depicting excellence. And, Plato himself gives further examples of acceptable art through his own myths and allegories. In conclusion, through attempting to trace the footsteps of Plato, the cave at Vari has provided many clues in finding the inspiration behind the allegory of the cave. The evidence seems to suggest that the cave is not borrowed from a poet, but springs forth from Platos own imagination. Plato creates images that represent his theories on the human condition and how

Karelis, Charles Plato on Art and Reality. The Journal of Aesthetics and Art Criticism, Vol.34, No.3 (1976): 315 28 Plato, Republic, trans. Joe Sachs. Newbury: Focus Publishing, 2007, 441B 29 Karelis, Charles Plato on Art and Reality. The Journal of Aesthetics and Art Criticism, Vol.34, No.3 (1976): 321
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mankind learns. The journey one must make to find wisdom is best illustrated by Plato not through mere words, but through an allegory. The story of the cave leads us through a visual journey of self realization. The concept of the Form of Good and the Divided Line are confusing on their own, but made tangible through the cave. It is through poetry and other art forms that Plato guides us out of the cave. Upon seeing Plato in this light, one can understand why poets like Dante and Petrarch turn to Plato for inspiration. The ancient philosopher is not thumbing his nose at all art and poetry. He is merely sounding a warning against unrealistic art and poetry that does not understand or accurately portray the Good. It would seem that Dante understands Platos grievances when he sends a human soul through the Inferno. Petrarch recognizes what the allegory of the cave states about the human condition when he ascends Mount Ventoux. The entire point of the Republic is captured by M. Night Shyamalans The Village, his retelling of Platos dialogue. These artists and poets would not be cast out of the good city because they accurately depict the excellence that is the human soul.

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Works Cited Aelian: Various Histories University of Chicago, accessed February 21, 2012, http://penelope.uchicago.edu/aelian/varhist10.xhtml#chap21 Aristotle. A New Aristotle Reader, trans. J.L. Ackrill. New Jersey: Princeton University Press, 1987 Collingwood, R.G. Platos Philosophy of Art. Mind, Vol. 34, No. 134 (1925): 154-172 Ferguson, John. Sun, Line, and Cave Again. The Classical Quarterly, Vol. 13, No. 2 (1963): 188-193 Karelis, Charles. Plato on Art and Reality. The Journal of Aesthetics and Art Criticism, Vol. 34, No. 3 (1976): 315-321 Lane, Melissa. Platos Progeny: How Plato and Socrates Still Captivate the Modern Mind. London: Biddles Limited, 2001 Plato. Republic, trans. Joe Sachs. Newbury: Focus Publishing, 2007 Raven, J.E. Sun, Line, and Cave. The Classical Quarterly, Vol. 3, No. 1 (1953): 22-32 Weller, Charles Heald. The Cave at Vari. I. Description, Account of Excavation, and History. American Journal of Archaeology, Vol. 7, No. 3 (1903): 263-288 Wright, John Henry. The Origin of Platos Cave. Harvard Studies in Classical Philology, Vol. 17 (1906): 131-142