Chariot Allegory

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Plato, in his dialogue, Phaedrus (sections 246a - 254e), uses the Chariot Allegory to explain his view of the human soul. He does this in the dialogue through the character of Socrates, who uses it in a discussion of the merit of Love as "divine madness".

1 The chariot
2 The journey
3 Notes
4 External links

[edit] The chariot

Plato paints the picture of a Charioteer driving a chariot pulled by two horses. One horse is white and long necked, well bred, well behaved, and runs without a whip. The other is black and short-necked, badly bred, troublesome, and needs the whip laid on hard to make it behave.

The Charioteer represents intellect, reason, or the part of the soul that must guide the soul to truth; the white horse represents rational or moral impulse or the positive part of passionate nature (e.g., righteous indignation); the black horse represents the soul's irrational passions, appetites, or concupiscent nature. The Charioteer directs the entire chariot/soul, trying to stop the horses from going different ways, and to proceed to towards enlightenment.

[edit] The journey

Plato describes a "great circuit" which souls make as they follow the gods in the path of enlightenment. Those few souls which are fully enlightened are able to see the world of the forms in all its glory. Some souls have difficulty controlling the black horse, even with the help of the white horse. They may bob up into the world of the forms, but at other times enlightenment is hidden from them. If overcome by the black horse or forgetfulness, the soul loses its wings and is pulled down to earth.

Should that happen, the soul is incarnated into one of nine kinds of person, according to how much truth it beheld. In order of decreasing levels of truth seen, the categories are: (1) philosophers, lovers of beauty, men of culture, or those dedicated to love; (2) law-abiding kings or civic leaders; (3) politicians, estate-managers or buisinessmen; (4) ones who specialize in bodily health; (5) prophets or mystery cult participants; (6) poets or imitative artists; (7) craftsmen or farmers; (8) sophists or demagogues; and (9) tyrants.¹.

One need not suppose, of course, that Plato intended this as a literal discussion of metempsychosis or reincarnation; it seems more likely he meant it as figurative.²

Plato does not see the human soul as a sort of patchwork of emotions and concepts; this differs from the views of many philosophers of his time. Instead he views the soul as a sort of composite, in which many different elements blend together and affect each other. He uses the allegory of the charioteer to explain that love is a reflection of love of the forms, and is thus a "divine madness".