Plato developed his allegory of the cave in Book VII of “The Republic”.  The dialogue here is between Socrates, who seems to give voice to Plato’s own thoughts, and Glaucon, Plato’s older brother. Socrates sets the scene, describing a group of prisoners who have been held underground seeing only shadows for many years, before asking what would happen if one escaped and made his way outside.  The allegory represents Plato’s view of reality, whereby the world we experience through the senses is only one of appearances, whereas ultimate reality is metaphysical and beyond ordinary experience. Despite being influential for many centuries and still capturing creative imaginations today, the explanation of reality it conveys is antiquated, unduly complicated and communicated unclearly so overall, Plato’s allegory is a poor explanation of reality.

Firstly, through the allegory of the cave Plato suggests that ultimate reality is metaphysical.  The world outside the cave represents Plato’s “world of the forms” in which a hierarchy of universals exist eternally.  The escaped prisoner represents the philosopher, who escapes from the world of appearances through reason, gradually and painfully realising that things are not the way they first seem as they come to terms with the forms through the light of the sun, which represents reason.  While Plato’s explanation of reality is immediately attractive – Iris Murdoch rightly praised Plato’s “blazing imagery” – in practice his suggestion that universal forms have a separate existence in a higher world goes well beyond the evidence. Aristotle, Plato’s pupil, agreed that universal forms were needed to explain our experience of particulars in the world, but he stopped short of suggesting that “formal causes” could be separated from the “material causes” which instantiate them and make them real. This explanation of reality is more persuasive than that communicated by Plato’s allegory of the cave. Further, even Aristotle’s explanation of reality through the four causes has been improved upon through modern philosophy, which casts doubt on the existence of universal forms altogether.  Is there really a separate form of the chair, whether it is separable as Plato suggested or not separable as Aristotle suggested, or is the “form” only an idea or concept in somebody’s mind, subjectively rather than objectively real?  This shows that the explanation of reality communicated by Plato’s allegory of the cave is antiquated.

Secondly, Plato is vague and inconsistent in his explanation of the world of the forms.  as Julia Annas observes, Plato sees no need to argue for the existence of the forms, so that there is no properly worked out “theory of forms”.  He just alludes the forms in his dialogues as if their existence was beyond dispute, while giving contradictory accounts of what they are.  For example, in the Republic through the allegory of the cave and later in Book X Plato suggests that multiple forms exist with the form of the good (the sun in the allegory of the cave) as the top of a hierarchy of forms, but elsewhere he suggests that there might be only forms of ideals such as beauty and truth or even only one form, the form of the good. Even Plato was aware that the forms did not provide a clear solution to the problem of universals.  He failed to explain what exactly forms are made of and, as he admitted in the Parmenides, to limit the number of forms that would be needed to explain any particular thing.  As Aristotle later explained through his famous “third man” argument, to explain a great man a form of greatness and a form of man would be needed, but also a form of the form of greatness, a form of the form of the form of greatness and so on into infinity.  By Ockham’s Razor we can conclude that any explanation of reality makes reality infinitely more complicated than it appears is far from being useful.

On the other hand, Plato’s allegory of the cave gestures towards an explanation of reality that dominated European Philosophy through to the Early Modern Period. Descartes Meditations provides a persuasive argument for the rationalism and substance dualism that Plato’s allegories and analogies evoke, and scholarly support for these positions has persisted.  For example, GE Moore and Iris Murdoch advanced “Platonist” positions in the first half of the 20^th Century and David Chalmers identifies as a substance dualist today. Nevertheless, while Plato’s basic ideas influenced these later philosophers, none has accepted the explanation of reality communicated by the allegory of the cave uncritically and all have had to do a great deal of work in arguing for their positions.  In addition, Plato’s allegory of the cave has been associated with a new theory that our “reality” is in fact an AR projection or hologram.  Cosmology has undermined the “standard model” of physics just as it did the Newtonian steady-state universe; the absence of a clear and appealing model to replace it has made it fashionable to speculate about the nature of ultimate reality again, casting doubt on the view that the universe really is what it appears to be through the empirical senses.  Nevertheless, this doesn’t make Plato’s allegory of the cave or the explanation of reality that it conveys more credible, it only demonstrates that the human inclination to speculate as Plato did persists despite scientific and technological advances. Further, Plato’s use of allegories like the cave, as well as analogies like the sun and the divided line to communicate his ideas shows how his approach was more literary and creative than a serious attempt to explain reality. The fact that the allegory of the cave with its theme of voyage and return has become one of the seven basic plots, influencing religion as well as books and films from Narnia to the Matrix, only supports this. Plato’s allegory grips the imagination and changes our perception of reality rather than describing it.  So therefore, Plato’s allegory of the cave is a poor explanation of reality. 

In conclusion, despite being influential for many centuries and still capturing creative imaginations today, the explanation of reality conveyed by Plato’s allegory of the cave is antiquated, unduly complicated and communicated unclearly.