Читать книгу Feminism in Greek Literature from Homer to Aristotle - F. A. Wright - Страница 6

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Of the literature of the seventh and sixth centuries before Christ, the lyric, iambic and elegiac poetry, we have only inconsiderable fragments. There are two reasons for the disappearance. In the case of the greatest names, Alcæus and Sappho, the Romans preferred the adaptations of Horace to the originals. With most of the other poets, the general standard of morality in their verse is so low that they fell under the ban of the Early Church, and as we know—unreasonably enough in her case—Sappho was included with them, and her poems publicly burnt. But in the fragments that we do possess there appears unmistakably the same mixture of sensual desire and cynical distaste for women which disfigures the late Epic; until in this period it ends in sheer misogyny.

In nothing is Aristotle’s great doctrine of the golden mean more valuable than in matters of sex. The sexual appetite is as natural as the appetites of eating and drinking; and as necessary for that which is nature’s sole concern, the preservation of the species. If the sexual appetite is wholly starved, the result is as disastrous to the race as the total deprivation of food and drink would be to the individual: if it is unduly fostered, Nature revenges herself in the same way as she does upon those who exceed in the matter of food or drink, and abnormal perversities of every kind begin. In sex matters the normal man and woman alone should be considered—the father and the mother of a family—and their opinion alone is of any real value. But unfortunately in literature, and especially in this Ionian literature, the normal person is the exception, and most of the writers we now have to consider seem to have been unmarried and childless.

The paucity of material, probably no great loss either in an artistic or a moral sense, has obscured the facts, but there seems little doubt that in this period literature was definitely used for the first time to degrade the position of women. The iambic metre was invented for the express purpose of satirical calumny, and the three chief iambic poets of the Alexandrian canon, Archilochus, Simonides, and Hipponax, in their scanty fragments all agree on one point: the chief object of their lampoons is—woman. At the beginning of this period the two sexes are fairly equal in their opportunities; at the end the female is plainly the inferior. Sappho and Erinna mark the turning-point in literature. Living at a time when it had not been made impossible for women to write, they showed that a woman could equal or surpass the male poets of her day. The few fragments of Erinna’s verse that we possess, e.g., the epigram on the portrait of Agatharchis and the pathetic elegy on the dead Baucis, reveal a talent at least as fine and strong as that of Alcæus; while of all the Greek lyrists, Sappho, both in reputation and as far as we can judge in actual achievement, holds by far the highest place.

Later ages, indeed, found it difficult to believe that Sappho was a woman at all. The scandal of male gossip was inspired by a genuine and pathetic belief that such a genius as hers must at least have been touched with masculine vices. But in Sappho’s writings, which are our only real evidence, there is nothing distinctively ‘mannish’: she is neither gross nor tedious. In the technique of her art, metrical skill, the music of verse, she is at least the equal of any poet who has lived since her day; in thought and diction she is far superior to all her contemporaries.

In dealing with the Ionian poetry, exact dates are impossible, but the lyric age extends roughly from the middle of the seventh to the middle of the sixth century. The earliest writer in order of time, and in some ways the most important, is Archilochus, the Burns or Villon of Greece—outlaw, soldier of fortune, poet, the first man to introduce his own personal feelings into literature.

Archilochus has his own special reasons for hating women—‘Archilochum proprio rabies armavit iambo’—and, as he says, he had learned the great lesson, ‘If anyone hurts you, hurt her in return.’ Betrothed to Cleobule, the daughter of a wealthy citizen of Paros, he found his marriage forbidden by the lady’s father, Lycambes. The father’s reasons may be guessed, even from the few fragments of Archilochus that still remain. But the poet turned abruptly from amorist to misogynist, and spent the rest of his life in railing against his lost mistress and womankind in general.

Both in love and war he is uncompromisingly frank. He tells us how he threw away his shield ‘beside the bush in battle: but deuce take the shield, I will get another just as good, and at any rate I have escaped from death.’ His love poems are equally free-spoken. It is the actual image of his mistress that torments him when he cries, ‘With myrtle boughs and roses fair she used to delight herself’; and again, ‘All her back and shoulders were covered by the shadow of her hair.’ But to his fierce spirit such love brings little comfort: ‘Wretch that I am, like a dead man I lie, captive to desire, pierced with cruel anguish through all my bones’; and, ‘The longing that takes the strength from a man’s limbs, it is that which overcomes me now.’

Soon his love turns to hate and loathing, and he imputes to the woman the fault that is really his own: ‘I was wronged, I have sinned. Aye! and many another man, methinks, will fall like me to ruin.’ His mistress now for him has lost her beauty. ‘No longer does your soft flesh bloom fair; even as dry leaves it begins to wither.’ Like all women, she is false and full of guile: ‘In one hand she carries water, in the other the fire of craft.’ To marry a woman now is, ‘To take to one’s house manifest ruin.’

The folly of men and the falsity of women seem to have been the themes of the animal stories which Archilochus, like Æsop, composed. Woman is the fox; man is now the eagle, now the ape; but the fragments are too short for a certain judgment. What remains, indeed, of Archilochus is always tantalising in its incompleteness. Of his epigrams, for example, only three are left; here is a free translation of one of them: ‘Miss High-and-mighty, as soon as she became a wedded wife, kicked her bonnet over the moon.’

Fortunately, however, we have preserved for us in Herodotus a much longer specimen of Archilochus’ manner—a real Milesian tale, the story of Gyges and Candaules. The tale is handed down to us in Herodotus’ prose, and it is impossible to disentangle the shares contributed by the Ionian poet and the Ionian historian; nor is it necessary; the story is typical of both.

Candaules makes the initial mistake of being enamoured of his own wife, and the second mistake of not believing Gyges when he is enlightened on the subject of female modesty. His folly naturally brings him to a bad end.

The story is interesting, but it is especially significant when we compare it with the tale of the same Gyges as told by Plato. There the sensual elements disappear, the interest centres in the magic ring, and the seduction of the queen and murder of the king form merely the hasty conclusion of the narrative. The difference between the two stories is the measure of the difference between the feminist philosopher and the libertine turned woman-hater.

But Archilochus at least has once loved a woman. Our next poet, Simonides of Amorgos, seems to have been a misogynist from birth. His work now only exists in fragments, but it is so significant of a frame of mind that the two longest passages that survive deserve a verbatim translation. The first runs thus: