Читать книгу The Greek Philosophers (Vol.1&2) - Alfred William Benn - Страница 14

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This process was conceived by Aeschylus as a conflict between two generations of gods, ending with their complete reconciliation. In the Prometheus Bound we have the commencement of the conflict, in the Eumenides its close. Our sympathies are apparently at first intended to be enlisted on behalf of the older divinities, but at last are claimed exclusively by the younger. As opposed to Prometheus, Zeus is evidently in the wrong, and seeks to make up for his deficiencies by arbitrary violence. In the Oresteia he is the champion of justice against iniquity, and through his interpreter, Apollo, he enforces a revised moral code against the antiquated claims of the Erinyes; these latter, however, ultimately consenting to become guardians of the new social order. The Aeschylean drama shows us Greek religion at the highest level it could reach, unaided by philosophical reflection. With Sophocles a perceptible decline has already begun. We are loth to say anything that may sound like disparagement of so noble a poet. We yield to none in admiration for one who has combined the two highest qualities of art—sweetness and strength—more completely than any other singer, Homer alone excepted, and who has given the primordial affections their definitive expression for all time. But we cannot help perceiving an element of superstition in his dramas, which, so far, distinguishes them unfavourably from those of his Titanic predecessor. With Sophocles, when the gods interfere, it is to punish disrespect towards themselves, not to enforce justice between man and man. Ajax perishes by his own hand because he has neglected to ask for divine assistance in battle. Laius and Jocastê come to a tragic end through disobedience to a perfectly arbitrary oracle; and as a part of the same divine purpose Oedipus encounters the most frightful calamities by no fault of his own. The gods are, moreover, exclusively objects of fear; their sole business is to enforce the fulfilment of enigmatic prophecies; they give no assistance to the pious and virtuous characters. Antigonê is allowed to perish for having performed the last duties to her brother’s corpse. Neoptolemus receives no aid in that struggle between ambition on the one hand with truthfulness and pity on the other which makes his character one of the most interesting in all imaginative literature. When Athênê bids Odysseus exult over the degradation of Ajax, the generous Ithacan refuses to her face, and falls back on the consciousness of a common humanity uniting him in sympathy with his prostrate foe.

The rift within the lute went on widening till all its music was turned to jarring discord. With the third great Attic dramatist we arrive at a period of complete dissolution. Morality is not only separated from mythological tradition, but is openly at war with it. Religious belief, after becoming almost monotheistic, has relapsed into polytheism. With Euripides the gods do not, as with his predecessors, form a common council. They lead an independent existence, not interfering with each other, and pursuing private ends of their own—often very disreputable ones. Aphrodite inspires Phaedra with an incestuous passion for her stepson. Artemis is propitiated by human sacrifices. Hêrê causes Heraclês to kill his children in a fit of delirium. Zeus and Poseidôn are charged with breaking their own laws, and setting a bad example to mortals. Apollo, once so venerated, fares the worst of any. He outrages a noble maiden, and succeeds in palming off her child on the man whom she subsequently marries. He instigates the murder of a repentant enemy who has come to seek forgiveness at his shrine. He fails to protect Orestes from the consequences of matricide, committed at his own unwise suggestion. Political animosity may have had something to do with these attacks on a god who was believed to side with the Dorian confederacy against Athens. Doubtless, also, Euripides disbelieved many of the scandalous stories which he selected as appropriate materials for dramatic representation. But a satire on immoral beliefs would have been unnecessary had they not been generally accepted. Nor was the poet himself altogether a freethinker. One of his latest and most splendid works, the Bacchae, is a formal submission to the orthodox creed. Under the stimulus of an insane delusion, Pentheus is torn to pieces by his mother Agavê and her attendant Maenads, for having presumed to oppose the introduction of Dionysus-worship into Thebes. The antecedents of the new divinity are questionable, and the nature of his influence on the female population extremely suspicious. Yet much stress is laid on the impiety of Pentheus, and we are clearly intended to consider his fate as well-deserved.

Euripides is not a true thinker, and for that very reason fitly typifies a period when religion had been shaken to its very foundation, but still retained a strong hold on men’s minds, and might at any time reassert its ancient authority with unexpected vigour. We gather, also, from his writings, that ethical sentiment had undergone a parallel transformation. He introduces characters and actions which the elder dramatists would have rejected as unworthy of tragedy, and not only introduces them, but composes elaborate speeches in their defence. Side by side with examples of devoted heroism we find such observations as that everyone loves himself best, and that those are most prosperous who attend most exclusively to their own interests. It so happens that in one instance where Euripides has chosen a subject already handled by Aeschylus, the difference of treatment shows how great a moral revolution had occurred in the interim. The conflict waged between Eteoclês and Polyneicês for their father’s throne is the theme both of the Seven against Thebes and of the Phoenician Women. In both, Polyneicês bases his claim on grounds of right. It had been agreed that he and his brother should alternately hold sway over Thebes. His turn has arrived, and Eteoclês refuses to give way. Polyneicês endeavours to enforce his pretensions by bringing a foreign army against Thebes. Aeschylus makes him appear before the walls with an allegorical figure of Justice on his shield, promising to restore him to his father’s seat. On hearing this, Eteoclês exclaims:—

‘Aye, if Jove’s virgin daughter Justice shared

In deed or thought of his, then it might be.

But neither when he left the darkling womb,

Nor in his childhood, nor in youth, nor when

The clustering hair first gathered round his chin,

Hath Justice turned approving eyes on him;

Nor deem I that she comes as his ally,

Now that he wastes his native land with war,

Or Justice most unjustly were she called

If ruthless hearts could claim her fellowship.’56

Euripides, with greater dramatic skill, brings the two brothers together in presence of their mother, Jocastê. When Polyneicês has spoken, Eteoclês replies:—

‘Honour and wisdom are but empty names

That mortals use, each with a different meaning,

Agreeing in the sound, not in the sense.

Hear, mother, undisguised my whole resolve!

Were Sovereignty, chief goddess among gods,

Far set as is the rising of a star,

Or buried deep in subterranean gloom,

There I would seek and win her for mine own.

Come fire, come sword, yoke horses to the car,

And fill the plain with armed men, for I

Will not give up my royalty to him!

Let all my life be guiltless save in this:

I dare do any wrong for sovereign power—

The splendid guerdon of a splendid sin.’57

The contrast is not only direct, but designed, for Euripides had the work of his predecessor before him, and no doubt imagined that he was improving on it.

We perceive a precisely similar change of tone on comparing the two great historians who have respectively recorded the struggle of Greece against Persia, and the struggle of imperial Athens against Sparta and her allies. Though born within fifteen years of one another, Herodotus and Thucydides are virtually separated by an interval of two generations, for while the latter represents the most advanced thought of his time, the former lived among traditions inherited from the age preceding his own. Now, Herodotus is not more remarkable for the earnest piety than for the clear sense of justice which runs through his entire work. He draws no distinction between public and private morality. Whoever makes war on his neighbours without provocation, or rules without the consent of the governed, is, according to him, in the wrong, although he is well aware that such wrongs are constantly committed. Thucydides knows nothing of supernatural interference in human affairs. After relating the tragical end of Nicias, he observes, not without a sceptical tendency, that of all the Greeks then living, this unfortunate general least deserved such a fate, so far as piety and respectability of character went. If there are gods they hold their position by superior strength. That the strong should enslave the weak is a universal and necessary law of Nature. The Spartans, who among themselves are most scrupulous in observing traditional obligations, in their dealings with others most openly identify gain with honour, and expediency with right. Even if the historian himself did not share these opinions, it is evident that they were widely entertained by his contemporaries, and he expressly informs us that Greek political morality had deteriorated to a frightful extent in consequence of the civil discords fomented by the conflict between Athens and Sparta; while, in Athens at least, a similar corruption of private morality had begun with the great plague of 430, its chief symptom being a mad desire to extract the utmost possible enjoyment from life, for which purpose every means was considered legitimate. On this point Thucydides is confirmed and supplemented by the evidence of another contemporary authority. According to Aristophanes, the ancient discipline had in his time become very much relaxed. The rich were idle and extravagant; the poor mutinous; young men were growing more and more insolent to their elders; religion was derided; all classes were animated by a common desire to make money and to spend it on sensual enjoyment. Only, instead of tracing back this profound demoralisation to a change in the social environment, Aristophanes attributes it to demagogues, harassing informers, and popular poets, but above all to the new culture then coming into vogue. Physical science had brought in atheism; dialectic training had destroyed the sanctity of ethical restraints. When, however, the religious and virtuous Socrates is put forward as a type of both tendencies, our confidence in the comic poet’s accuracy, if not in his good faith, becomes seriously shaken; and his whole tone so vividly recalls the analogous invectives now hurled from press and pulpit against every philosophic theory, every scientific discovery, every social reform at variance with traditional beliefs or threatening the sinister interests which have gathered round iniquitous institutions, that at first we feel tempted to follow Grote in rejecting his testimony altogether. So far, however, as the actual phenomena themselves are concerned, and apart from their generating antecedents, Aristophanes does but bring into more picturesque prominence what graver observers are content to indicate, and what Plato, writing a generation later, treats as an unquestionable reality. Nor is the fact of a lowered moral tone going along with accelerated mental activity either incredible or unparalleled. Modern history knows of at least two periods remarkable for such a conjunction, the Renaissance and the eighteenth century, the former stained with every imaginable crime, the latter impure throughout, and lapsing into blood-thirsty violence at its close. Moral progress, like every other mode of motion, has its appropriate rhythm—its epochs of severe restraint followed by epochs of rebellious license. And when, as an aggravation of the reaction from which they periodically suffer, ethical principles have become associated with a mythology whose decay, at first retarded, is finally hastened by their activity, it is still easier to understand how they may share in its discredit, and only regain their ascendency by allying themselves with a purified form of the old religion, until they can be disentangled from the compromising support of all unverified theories whatever. We have every reason to believe that Greek life and thought did pass through such a crisis during the second half of the fifth century B.C., and we have now to deal with the speculative aspects of that crisis, so far as they are represented by the Sophists.