Temperance or Wisdom, as the connection seemed to require: for in the
philosophy of Plato (Greek) still retains an intellectual element (as
Socrates is also said to have identified (Greek) with (Greek): Xen. Mem.)
and is not yet relegated to the sphere of moral virtue, as in the
Nicomachean Ethics of Aristotle.
The beautiful youth, Charmides, who is also the most temperate of human
beings, is asked by Socrates, 'What is Temperance?' He answers
characteristically, (1) 'Quietness.' 'But Temperance is a fine and noble
thing; and quietness in many or most cases is not so fine a thing as
quickness.' He tries again and says (2) that temperance is modesty. But
this again is set aside by a sophistical application of Homer: for
temperance is good as well as noble, and Homer has declared that 'modesty
is not good for a needy man.' (3) Once more Charmides makes the attempt.
This time he gives a definition which he has heard, and of which Socrates
conjectures that Critias must be the author: 'Temperance is doing one's
own business.' But the artisan who makes another man's shoes may be
temperate, and yet he is not doing his own business; and temperance defined
thus would be opposed to the division of labour which exists in every
temperate or well-ordered state. How is this riddle to be explained?
Critias, who takes the place of Charmides, distinguishes in his answer
between 'making' and 'doing,' and with the help of a misapplied quotation
from Hesiod assigns to the words 'doing' and 'work' an exclusively good
sense: Temperance is doing one's own business;--(4) is doing good.
Still an element of knowledge is wanting which Critias is readily induced
to admit at the suggestion of Socrates; and, in the spirit of Socrates and
of Greek life generally, proposes as a fifth definition, (5) Temperance is
self-knowledge. But all sciences have a subject: number is the subject of
arithmetic, health of medicine--what is the subject of temperance or
wisdom? The answer is that (6) Temperance is the knowledge of what a man
knows and of what he does not know. But this is contrary to analogy; there
is no vision of vision, but only of visible things; no love of loves, but
only of beautiful things; how then can there be a knowledge of knowledge?
That which is older, heavier, lighter, is older, heavier, and lighter than
something else, not than itself, and this seems to be true of all relative
notions--the object of relation is outside of them; at any rate they can
only have relation to themselves in the form of that object. Whether there
are any such cases of reflex relation or not, and whether that sort of
knowledge which we term Temperance is of this reflex nature, has yet to be
determined by the great metaphysician. But even if knowledge can know
itself, how does the knowledge of what we know imply the knowledge of what
we do not know? Besides, knowledge is an abstraction only, and will not
inform us of any particular subject, such as medicine, building, and the
like. It may tell us that we or other men know something, but can never
tell us what we know.
Admitting that there is a knowledge of what we know and of what we do not
know, which would supply a rule and measure of all things, still there
would be no good in this; and the knowledge which temperance gives must be
of a kind which will do us good; for temperance is a good. But this
universal knowledge does not tend to our happiness and good: the only kind
of knowledge which brings happiness is the knowledge of good and evil. To
this Critias replies that the science or knowledge of good and evil, and
all the other sciences, are regulated by the higher science or knowledge of
knowledge. Socrates replies by again dividing the abstract from the
concrete, and asks how this knowledge conduces to happiness in the same
definite way in which medicine conduces to health.
And now, after making all these concessions, which are really inadmissible,
we are still as far as ever from ascertaining the nature of temperance,
which Charmides has already discovered, and had therefore better rest in
the knowledge that the more temperate he is the happier he will be, and not
trouble himself with the speculations of Socrates.
In this Dialogue may be noted (1) The Greek ideal of beauty and goodness,
the vision of the fair soul in the fair body, realised in the beautiful
Charmides; (2) The true conception of medicine as a science of the whole as
well as the parts, and of the mind as well as the body, which is playfully
intimated in the story of the Thracian; (3) The tendency of the age to
verbal distinctions, which here, as in the Protagoras and Cratylus, are
ascribed to the ingenuity of Prodicus; and to interpretations or rather
parodies of Homer or Hesiod, which are eminently characteristic of Plato
and his contemporaries; (4) The germ of an ethical principle contained in
the notion that temperance is 'doing one's own business,' which in the
Republic (such is the shifting character of the Platonic philosophy) is
given as the definition, not of temperance, but of justice; (5) The
impatience which is exhibited by Socrates of any definition of temperance
in which an element of science or knowledge is not included; (6) The
beginning of metaphysics and logic implied in the two questions: whether
there can be a science of science, and whether the knowledge of what you
know is the same as the knowledge of what you do not know; and also in the
distinction between 'what you know' and 'that you know,' (Greek;) here too
is the first conception of an absolute self-determined science (the claims
of which, however, are disputed by Socrates, who asks cui bono?) as well as
the first suggestion of the difficulty of the abstract and concrete, and
one of the earliest anticipations of the relation of subject and object,
and of the subjective element in knowledge--a 'rich banquet' of
metaphysical questions in which we 'taste of many things.' (7) And still
the mind of Plato, having snatched for a moment at these shadows of the
future, quickly rejects them: thus early has he reached the conclusion
that there can be no science which is a 'science of nothing' (Parmen.).
(8) The conception of a science of good and evil also first occurs here, an
anticipation of the Philebus and Republic as well as of moral philosophy in
later ages.
The dramatic interest of the Dialogue chiefly centres in the youth
Charmides, with whom Socrates talks in the kindly spirit of an elder. His
childlike simplicity and ingenuousness are contrasted with the dialectical
and rhetorical arts of Critias, who is the grown-up man of the world,
having a tincture of philosophy. No hint is given, either here or in the
Timaeus, of the infamy which attaches to the name of the latter in Athenian
history. He is simply a cultivated person who, like his kinsman Plato, is
ennobled by the connection of his family with Solon (Tim.), and had been
the follower, if not the disciple, both of Socrates and of the Sophists.
In the argument he is not unfair, if allowance is made for a slight
rhetorical tendency, and for a natural desire to save his reputation with
the company; he is sometimes nearer the truth than Socrates. Nothing in
his language or behaviour is unbecoming the guardian of the beautiful
Charmides. His love of reputation is characteristically Greek, and
contrasts with the humility of Socrates. Nor in Charmides himself do we
find any resemblance to the Charmides of history, except, perhaps, the
modest and retiring nature which, according to Xenophon, at one time of his
life prevented him from speaking in the Assembly (Mem.); and we are
surprised to hear that, like Critias, he afterwards became one of the
thirty tyrants. In the Dialogue he is a pattern of virtue, and is
therefore in no need of the charm which Socrates is unable to apply. With
youthful naivete, keeping his secret and entering into the spirit of
Socrates, he enjoys the detection of his elder and guardian Critias, who is
easily seen to be the author of the definition which he has so great an
interest in maintaining. The preceding definition, 'Temperance is doing
one's own business,' is assumed to have been borrowed by Charmides from
another; and when the enquiry becomes more abstract he is superseded by
Critias (Theaet.; Euthyd.). Socrates preserves his accustomed irony to the
end; he is in the neighbourhood of several great truths, which he views in
various lights, but always either by bringing them to the test of common
sense, or by demanding too great exactness in the use of words, turns aside
from them and comes at last to no conclusion.
The definitions of temperance proceed in regular order from the popular to
the philosophical. The first two are simple enough and partially true,
like the first thoughts of an intelligent youth; the third, which is a real
contribution to ethical philosophy, is perverted by the ingenuity of
Socrates, and hardly rescued by an equal perversion on the part of Critias.
The remaining definitions have a higher aim, which is to introduce the
element of knowledge, and at last to unite good and truth in a single
science. But the time has not yet arrived for the realization of this
vision of metaphysical philosophy; and such a science when brought nearer
to us in the Philebus and the Republic will not be called by the name of
(Greek). Hence we see with surprise that Plato, who in his other writings
identifies good and knowledge, here opposes them, and asks, almost in the
spirit of Aristotle, how can there be a knowledge of knowledge, and even if
attainable, how can such a knowledge be of any use?
The difficulty of the Charmides arises chiefly from the two senses of the
word (Greek), or temperance. From the ethical notion of temperance, which
is variously defined to be quietness, modesty, doing our own business, the
doing of good actions, the dialogue passes onto the intellectual conception
of (Greek), which is declared also to be the science of self-knowledge, or
of the knowledge of what we know and do not know, or of the knowledge of
good and evil. The dialogue represents a stage in the history of
philosophy in which knowledge and action were not yet distinguished. Hence
the confusion between them, and the easy transition from one to the other.
The definitions which are offered are all rejected, but it is to be
observed that they all tend to throw a light on the nature of temperance,
and that, unlike the distinction of Critias between (Greek), none of them
are merely verbal quibbles, it is implied that this question, although it
has not yet received a solution in theory, has been already answered by
Charmides himself, who has learned to practise the virtue of self-knowledge
which philosophers are vainly trying to define in words. In a similar
spirit we might say to a young man who is disturbed by theological
difficulties, 'Do not trouble yourself about such matters, but only lead a
good life;' and yet in either case it is not to be denied that right ideas
of truth may contribute greatly to the improvement of character.
The reasons why the Charmides, Lysis, Laches have been placed together and
first in the series of Platonic dialogues, are: (i) Their shortness and
simplicity. The Charmides and the Lysis, if not the Laches, are of the
same 'quality' as the Phaedrus and Symposium: and it is probable, though
far from certain, that the slighter effort preceded the greater one. (ii)
Their eristic, or rather Socratic character; they belong to the class
called dialogues of search (Greek), which have no conclusion. (iii) The
absence in them of certain favourite notions of Plato, such as the doctrine
of recollection and of the Platonic ideas; the questions, whether virtue
can be taught; whether the virtues are one or many. (iv) They have a want
of depth, when compared with the dialogues of the middle and later period;
and a youthful beauty and grace which is wanting in the later ones. (v)
Their resemblance to one another; in all the three boyhood has a great
part. These reasons have various degrees of weight in determining their
place in the catalogue of the Platonic writings, though they are not
conclusive. No arrangement of the Platonic dialogues can be strictly
chronological. The order which has been adopted is intended mainly for the
convenience of the reader; at the same time, indications of the date
supplied either by Plato himself or allusions found in the dialogues have
not been lost sight of. Much may be said about this subject, but the
results can only be probable; there are no materials which would enable us
to attain to anything like certainty.
The relations of knowledge and virtue are again brought forward in the
companion dialogues of the Lysis and Laches; and also in the Protagoras and
Euthydemus. The opposition of abstract and particular knowledge in this
dialogue may be compared with a similar opposition of ideas and phenomena
which occurs in the Prologues to the Parmenides, but seems rather to belong
to a later stage of the philosophy of Plato.
CHARMIDES, OR TEMPERANCE
by
Plato
Translated by Benjamin Jowett
PERSONS OF THE DIALOGUE: Socrates, who is the narrator, Charmides,
Chaerephon, Critias.
SCENE: The Palaestra of Taureas, which is near the Porch of the King
Archon.
Yesterday evening I returned from the army at Potidaea, and having been a
good while away, I thought that I should like to go and look at my old
haunts. So I went into the palaestra of Taureas, which is over against the
temple adjoining the porch of the King Archon, and there I found a number
of persons, most of whom I knew, but not all. My visit was unexpected, and
no sooner did they see me entering than they saluted me from afar on all
sides; and Chaerephon, who is a kind of madman, started up and ran to me,
seizing my hand, and saying, How did you escape, Socrates?--(I should
explain that an engagement had taken place at Potidaea not long before we
