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The writings of Plato consist of thirty-five dialogues, and one essay which is not cast in the dramatic form–“The Apology.” These dialogues vary in length from twenty pages, of, say, four hundred words each, to three hundred pages. In addition to these books are many quotations from Plato and references to him by contemporary writers. Plato’s work is as impersonal as that of Shakespeare. All human ideas, shades of belief, emotions and desires pass through the colander of his mind. He allows everybody to have his say.

What Plato himself thought can only be inferred, and this each reader does for himself. We construct our man Plato in our own image. A critic’s highest conception of Plato’s philosophy is the highest conception of the critic’s own. We, however, are reasonably safe in assuming that Plato’s own ideas were put into the mouth of Socrates, for the one intent of Plato’s life was to redeem Socrates from the charges that had been made against him. The characters Shakespeare loved are the ones that represent the master, not the hated and handmade rogues.

Plato’s position in life was that of a spectator rather than that of an actor. He stood and saw the procession pass by, and as it passed, commented on it. He charged his pupils no tuition and accepted no fees, claiming that to sell one’s influence or ideas was immoral.

It will be remembered that Byron held a similar position at the beginning of his literary career, and declared i’ faith, he “would not prostitute his genius for hire.” He gave his poems to the world. Later, when his income was pinched, he began to make bargains with Barabbas and became an artist in per centum, collecting close, refusing to rhyme without collateral.

Byron’s humanity is not seriously disputed. Plato also was human. He had a fixed income and so knew the worthlessness of riches. He issued no tariff, but the goodly honorarium left mysteriously on a marble bench by a rich pupil he accepted, and for it gave thanks to the gods. He said many great things, but he never said this: “I would have every man poor that he might know the value of money.”

“The Republic” is the best known and best read of any of Plato’s dialogues. It outlines an ideal form of government where everybody would be healthy, happy and prosperous. It has served as inspiration to Sir Thomas More, Erasmus, Jean Jacques Rousseau, William Morris, Edward Bellamy, Brigham Young, John Humphrey Noyes and Eugene Debs. The sub-division of labor, by setting apart certain persons to do certain things–for instance, to care for the children–has made its appeal to Upton Sinclair, who jumped from his Utopian woodshed into a rubber-plant and bounced off into oblivion.

Plato’s plan was intended to relieve marriage from the danger of becoming a form of slavery. The rulers, teachers and artists especially were to be free, and the State was to assume all responsibilities. The reason is plain: he wanted them to reproduce themselves. But whether genius is an acquirement or a natural endowment he touches on but lightly. Also, he seemingly did not realize “that no hovel is safe from it.”

If all marriage-laws were done away with, Plato thought that the men and women who were mated would still be true to each other, and that the less the police interfered in love-relations, the better.

In one respect at least, Plato was certainly right: he advocated the equality of the sexes, and declared that no woman should be owned by a man nor forced into a mode of life, either by economic exigency or marriage, that was repulsive to her. Also, that her right to bear children or not should be strictly her own affair, and to dictate to a mother as to who should father her children tended to the production of a slavish race.