Abstract

In 1962 I offered an analysis of the Line and Cave which maintained that the four main divisions of each are parallel and interpreted the three stages of ascent in the Cave allegory as representing the three stages in Plato's educational programme: music and gymnastic, mathematics and dialectic. At that time a major portion of my task was to counter arguments which purported to show that the Line and Cave could not be parallel. The present situation is quite different since recent writers, for the most part, not only take the four main divisions of the Cave as parallel to those of the Line, but also accept the restriction of the Cave allegory to moral and mathematical education as a crucial step in the establishing of this fact. This last move, which is clearly in harmony with the form and content of the Republic, enables us to allow for the ordinary unenlightened man to be at the bottom level of the Cave without our having to suggest that he confuses the shadows of visual objects with their originals, which could well be the case if the Cave were taken to represent all sense perception as such. Despite fairly general agreement on these basic points of interpretation there remains, however, a wide divergence of opinion as to the significance of the various levels of education or moral awareness portrayed by the Cave. In keeping with several recent papers on this topic I shall focus my attention on the bottom two stages of this allegory: the state of the prisoners viewing shadows on the cave wall and that of the released prisoners, still in the cave, but turned around and looking at the puppets which cast these shadows