Читать книгу The Greek Philosophers (Vol.1&2) - Alfred William Benn - Страница 10

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And now, looking back at the whole course of early Greek thought, presenting as it does a gradual development and an organic unity which prove it to be truly a native growth, a spontaneous product of the Greek mind, let us take one step further and enquire whether before the birth of pure speculation, or parallel with but apart from its rudimentary efforts, there were not certain tendencies displayed in the other great departments of intellectual activity, fixed forms as it were in which the Hellenic genius was compelled to work, which reproduce themselves in philosophy and determine its distinguishing characteristics. Although the materials for a complete Greek ethology are no longer extant, it can be shown that such tendencies did actually exist.

It is a familiar fact, first brought to light by Lessing, and generalised by him into a law of all good literary composition, that Homer always throws his descriptions into a narrative form. We are not told what a hero wore, but how he put on his armour; when attention is drawn to a particular object we are made acquainted with its origin and past history; even the reliefs on a shield are invested with life and movement. Homer was not impelled to adopt this method either by conscious reflection or by a profound poetic instinct. At a certain stage of intellectual development, every Greek would find it far easier to arrange the data of experience in successive than in contemporaneous order; the one is fixed, the other admits of indefinite variation. Pictorial and plastic art also begin with serial presentations, and only arrive at the construction of large centralised groups much later on. We have next to observe that, while Greek reflection at first followed the order of time, it turned by preference not to present or future, but to past time. Nothing in Hellenic literature reminds us of Hebrew prophecy. To a Greek all distinct prevision was merged in the gloom of coming death or the glory of anticipated fame. Of course, at every great crisis of the national fortunes much curiosity prevailed among the vulgar as to what course events would take; but it was sedulously discouraged by the noblest minds. Herodotus and Sophocles look on even divine predictions as purposely ambiguous and misleading. Pindar often dwells on the hopeless uncertainty of life.35 Thucydides treats all vaticination as utterly delusive. So, when a belief in the soul’s separate existence first obtained acceptance among the Greeks, it interested them far less as a pledge of never-ending life and progress hereafter, than as involving a possible revelation of past history, of the wondrous adventures which each individual had passed through before assuming his present form. Hence the peculiar force of Pindar’s congratulation to the partaker in the Eleusinian mysteries; after death he knows not only ‘the end of life,’ but also ‘its god-given beginning.’36 Even the present was not intelligible until it had been projected back into the past, or interpreted by the light of some ancient tale. Sappho, in her famous ode to Aphroditê, recalls the incidents of a former passion precisely similar to the unrequited love which now agitates her heart, and describes at length how the goddess then came to her relief as she is now implored to come again. Modern critics have spoken of this curious literary artifice as a sign of delicacy and reserve. We may be sure that Sappho was an utter stranger to such feelings; she ran her thoughts into a predetermined mould just as a bee builds its wax into hexagonal cells. Curtius, the German historian, has surmised with much plausibility that the entire legend of Troy owes its origin to this habit of throwing back contemporary events into a distant past. According to his view, the characters and scenes recorded by Homer, although unhistorical as they now stand, had really a place in the Achaean colonisation of Asia Minor.37 But, apart from any disguised allusions, old stories had an inexhaustible charm for the Greek imagination. Even during the stirring events of the Peloponnesian war, elderly Athenian citizens in their hours of relaxation talked of nothing but mythology.38 When a knowledge of reading became universally diffused, and books could be had at a moderate price, ancient legends seem to have been the favourite literature of the lower classes, just as among ourselves in Caxton’s time. Still more must the same taste have prevailed a century earlier. A student who opens Pindar’s epinician odes for the first time is surprised to find so little about the victorious combatants and the struggles in which they took part, so much about mythical adventures seemingly unconnected with the ostensible subject of the poem. Furthermore, we find that genealogies were the framework by which these distant recollections were held together. Most noble families traced their descent back to a god or to a god-like hero. The entire interval separating the historical period from the heroic age was filled up with more or less fictitious pedigrees. A man’s ancestry was much the most important part of his biography. It is likely that Herodotus had just as enthusiastic an admiration as we can have for Leonidas. Yet one fancies that a historian of later date would have shown his appreciation of the Spartan king in a rather different fashion. We should have been told something about the hero’s personal appearance, and perhaps some characteristic incidents from his earlier career would have been related. Not so with Herodotus. He pauses in the story of Thermopylae to give us the genealogy of Leonidas up to Heraclês; no more and no less. That was the highest compliment he could pay, and it is repeated for Pausanias, the victor of Plataea.39 The genealogical method was capable of wide extension, and could be applied to other than human or animal relationships. Hesiod’s Theogony is a genealogy of heaven and earth, and all that in them is. According to Aeschylus, gain is bred from gain, slaughter from slaughter, woe from woe. Insolence bears a child like unto herself, and this in turn gives birth to a still more fatal progeny.40 The same poet terminates his enumeration of the flaming signals that sped the message of victory from Troy to Argos, by describing the last beacon as ‘not ungrandsired by the Idaean fire.’41 Now, when the Greek genius had begun to move in any direction, it rushed forward without pausing until arrested by an impassable limit, and then turned back to retraverse at leisure the whole interval separating that limit from its point of departure. Thus, the ascending lines of ancestry were followed up until they led to a common father of all; every series of outrages was traced through successive reprisals back to an initial crime; and more generally every event was affiliated to a preceding event, until the whole chain had been attached to an ultimate self-existing cause. Hence the records of origination, invention, spontaneity were long sought after with an eagerness which threw almost every other interest into the shade. ‘Glory be to the inventor,’ sings Pindar, in his address to victorious Corinth; ‘whence came the graces of the dithyrambic hymn, who first set the double eagle on the temples of the gods?’42 The Prometheus of Aeschylus tells how civilisation began, and the trilogy to which it belongs was probably intended to show how the supremacy of Zeus was first established and secured. A great part of the Agamemnon deals with events long anterior to the opening of the drama, but connected as ultimate causes with the terrible catastrophe which it represents. In the Eumenides we see how the family, as it now exists, was first constituted by the substitution of paternal for maternal headship, and also how the worship of the Avenging Goddesses was first introduced into Athens, as well as how the Areopagite tribunal was founded. It is very probable that Sophocles’s earliest work, the Triptolemus, represented the origin of agriculture under a dramatic form; and if the same poet’s later pieces, as well as all those of Euripides, stand on quite different ground, occupied as they are with subjects of contemporaneous, or rather of eternal interest, we must regard this as a proof that the whole current of Greek thought had taken a new direction, corresponding to that simultaneously impressed on philosophy by Socrates and the Sophists. We may note further that the Aeginetan sculptures, executed soon after Salamis, though evidently intended to commemorate that victory, represent a conflict waged long before by the tutelary heroes of Aegina against an Asiatic foe. We may also see in our own British Museum how the birth of Athênê was recorded in a marble group on one pediment of the Parthenon, and the foundation of her chosen city on the other. The very temple which these majestic sculptures once adorned was a petrified memorial of antiquity, and, by the mere form of its architecture, must have carried back men’s thoughts to the earliest Hellenic habitation, the simple structure in which a gabled roof was supported by cross-beams on a row of upright wooden posts.

Turning back once more from art and literature to philosophy, is it not abundantly clear that if the Greeks speculated at all, they must at first have speculated according to some such method as that which history proves them to have actually followed? They must have begun by fixing their thoughts, as Thales and his successors did, on the world’s remotest past; they must have sought for a first cause of things, and conceived it, not as any spiritual power, but as a kind of natural ancestor homogeneous with the forms which issued from it, although greater and more comprehensive than they were; in short, as an elemental body—water, air, fire, or, more vaguely, as an infinite substance. Did not the steady concatenation of cause and effect resemble the unrolling of a heroic genealogy? And did not the reabsorption of every individual existence in a larger whole translate into more general terms that subordination of personal to family and civic glory which is the diapason of Pindar’s music?

Nor was this all. Before philosophising, the Greeks did not think only in the order of time; they learned at a very early period to think also in the order of space, their favourite idea of a limit being made especially prominent here. Homer’s geographical notions, however erroneous, are, for his age, singularly well defined. Aeschylus has a wide knowledge of the earth’s surface, and exhibits it with perhaps unnecessary readiness. Pindar delights to follow his mythological heroes about on their travels. The same tendency found still freer scope when prose literature began. Hecataeus, one of the earliest prose-writers, was great both as a genealogist and as a geographer; and in this respect also Herodotus carried out on a great scale the enquiries most habitually pursued by his countrymen. Now, it will be remembered that we have had occasion to characterise early Ionian speculation as being, to a great extent, cosmography. The element from which it deduced all things was, in fact, that which was supposed to lie outside and embrace the rest. The geographical limit was conceived as a genealogical ancestor. Thus, the studies which men like Hecataeus carried on separately, were combined, or rather confused, in a single bold generalisation by Anaximenes and Heracleitus.

Yet, however much may be accounted for by these considerations, they still leave something unexplained. Why should one thinker after another so unhesitatingly assume that the order of Nature as we know it has issued not merely from a different but from an exactly opposite condition, from universal confusion and chaos? Their experience was far too limited to tell them anything about those vast cosmic changes which we know by incontrovertible evidence to have already occurred, and to be again in course of preparation. We can only answer this question by bringing into view what may be called the negative moment of Greek thought. The science of contraries is one, says Aristotle, and it certainly was so to his countrymen. Not only did they delight to bring together the extremes of weal and woe, of pride and abasement, of security and disaster, but whatever they most loved and clung to in reality seemed to interest their imagination most powerfully by its removal, its reversal, or its overthrow. The Athenians were peculiarly intolerant of regal government and of feminine interference in politics. In Athenian tragedy the principal actors are kings and royal ladies. The Athenian matrons occupied a position of exceptional dignity and seclusion. They are brought upon the comic stage to be covered with the coarsest ridicule, and also to interfere decisively in the conduct of public affairs. Aristophanes was profoundly religious himself, and wrote for a people whose religion, as we have seen, was pushed to the extreme of bigotry. Yet he shows as little respect for the gods as for the wives and sisters of his audience. To take a more general example still, the whole Greek tragic drama is based on the idea of family kinship, and that institution was made most interesting to Greek spectators by the violation of its eternal sanctities, by unnatural hatred, and still more unnatural love; or by a fatal misconception which causes the hands of innocent persons, more especially of tender women, to be armed against their nearest and dearest relatives in utter unconsciousness of the awful guilt about to be incurred. By an extension of the same psychological law to abstract speculation we are enabled to understand how an early Greek philosopher who had come to look on Nature as a cosmos, an orderly whole, consisting of diverse but connected and interdependent parts, could not properly grasp such a conception until he had substituted for it one of a precisely opposite character, out of which he reconstructed it by a process of gradual evolution. And if it is asked how in the first place did he come by the idea of a cosmos, our answer must be that he found it in Greek life, in societies distinguished by a many-sided but harmonious development of concurrent functions, and by voluntary obedience to an impersonal law. Thus, then, the circle is complete; we have returned to our point of departure, and again recognise in Greek philosophy a systematised expression of the Greek national genius.

We must now bring this long and complicated, but it is hoped not uninteresting, study to a close. We have accompanied philosophy to a point where it enters on a new field, and embraces themes sufficiently important to form the subject of a separate chapter. The contributions made by its first cultivators to our positive knowledge have already been summarised. It remains to mention that there was nothing of a truly transcendental character about their speculations. Whatever extension we may give to that terrible bugbear, the Unknowable, they did not trespass on its domain. Heracleitus and his compeers, while penetrating far beyond the horizon of their age and country, kept very nearly within the limits of a possible experience. They confused some conceptions which we have learned to distinguish, and separated others which we have learned to combine; but they were the lineal progenitors of our highest scientific thought; and they first broke ground on a path where we must continue to advance, if the cosmos which they won for us is not to be let lapse into chaos and darkness again.