Читать книгу The Destiny of the Soul - William Rounseville Alger - Страница 16

The Etruscans were accustomed to bury their deceased outside their walls; and sometimes the city of the living was thus surrounded by a far reaching city of the dead. At this day the decaying fronts of the houses of the departed, for miles upon miles along the road, admonish the living traveller. These stone hewn sepulchres crowd nearly every hill and glen. Whole acres of them are also found upon the plains, covered by several feet of earth, where every spring the plough passes over them, and every autumn the harvest waves; but the dust beneath reposes well, and knows nothing of this.

"Time buries graves. How strange! a buried grave! Death cannot from more death its own dead empire save."

The houses of the dead were built in imitation of the houses of the living, only on a smaller scale; and the interior arrangements were so closely copied that it is said the resemblance held in all but the light of day and the sound and motion of life. The images

1 Mrs. Gray, Sepulchres of Etruria.

painted or etched on the urns and sarcophagi that fill the sepulchres were portraits of the deceased, accurate likenesses, varying with age, sex, features, and expression. These personal portraits were taken and laid up here, doubtless, to preserve their remembrance when the original had crumbled to ashes. What a touching voice is this from antiquity, telling us that our poor, fond human nature was ever the same! The heart longed to be kept still in remembrance when the mortal frame was gone. But how vain the wish beyond the vanishing circle of hearts that returned its love! For, as we wander through those sepulchres now, thousands of faces thus preserved look down upon us with a mute plea, when every vestige of their names and characters is forever lost, and their very dust scattered long ago.

Along the sides of the burial chamber were ranged massive stone shelves, or sometimes benches, or tables, upon which the dead were laid in a reclining posture, to sleep their long sleep. It often happens that on these rocky biers lie the helmet, breastplate, greaves, signet ring, and weapons, or, if it be a female, the necklace, ear rings, bracelet, and other ornaments, each in its relative place, when the body they once encased or adorned has not left a single fragment behind. An antiquary once, digging for discoveries, chanced to break through the ceiling of a tomb. He looked in; and there, to quote his own words, "I beheld a warrior stretched on a couch of rock, and in a few minutes I saw him vanish under my eyes; for, as the air entered the cemetery, the armor, thoroughly oxydized, crumbled away into most minute particles, and in a short time scarcely a trace of what I had seen was left on the couch. It is impossible to express the effect this sight produced upon me."

An important element in the religion of Etruria was the doctrine of Genii, a system of household deities who watched over the fortunes of individuals and families, and who are continually shown on the engravings in the sepulchres as guiding, or actively interested in, all the incidents that happen to those under their care. It was supposed that every person had two genii allotted to him, one inciting him to good deeds, the other to bad, and both accompanying him after death to the judgment to give in their testimony and turn the scales of his fate. This belief, sincerely held, would obviously wield a powerful influence over their feelings in the conduct of life.

The doctrine concerning the gods that prevailed in this ancient nation is learned partly from the classic authors, partly from sepulchral monumental remains. It was somewhat allied to that of Egypt, but much more to that of Rome, who indeed derived a considerable portion of her mythology from this source. As in other pagan countries, a multitude of deities were worshipped here, each having his peculiar office, form of representation, and cycle of traditions. It would be useless to specify all.2 The goddess of Fate was pictured with wings, showing her swiftness, and with a hammer and nail, to typify that her decrees were unalterably fixed. The name of the supreme god was Tinia. He was the central power of the world of divinities, and was always represented, like Jupiter Tonans, with a thunderbolt in his hand. There were twelve great "consenting gods," composing the council of Tinia, and called "The Senators of Heaven." They were pitiless beings, dwelling in the inmost recesses

2 Muller, Die Etrusker, buch iii. kap. iv. sects. 7–14.

of heaven, whose names it was not lawful to pronounce. Yet they were not deemed eternal, but were supposed to rise and fall together. There was another class, called "The Shrouded Gods," still more awful, potent, and mysterious, ruling all things, and much like the inscrutable Necessity that filled the dark background of the old Greek religion. Last, but most feared and most prominent in the Etruscan mind, were the rulers of the lower regions, Mantus and Mania, the king and queen of the under world. Mantus was figured as an old man, wearing a crown, with wings at his shoulders, and a torch reversed in his hand. Mania was a fearful personage, frequently propitiated with human sacrifices. Macrobius says boys were offered up at her annual festival for a long time, till the heads of onions and poppies were substituted.3 Intimately connected with these divinities was Charun, their chief minister, the conductor of souls into the realm of the future, whose dread image, hideous as the imagination could conceive, is constantly introduced in the sepulchral pictures, and who with his attendant demons well illustrates the terrible character of the superstition which first created, then deified, and then trembled before him. Who can become acquainted with such horrors as these without drawing a freer breath, and feeling a deeper gratitude to God, as he remembers how, for many centuries now, the religion of love has been redeeming man from subterranean darkness, hatred, and fright, to the happiness and peace of good will and trust in the sweet, sunlit air of day!

That a belief in a future existence formed a prominent and controlling feature in the creed of the Etruscans4 is abundantly shown by the contents of their tombs. They would never have produced and preserved paintings, tracings, types, of such a character and in such quantities, had not the doctrines they shadow forth possessed a ruling hold upon their hopes and fears. The symbolic representations connected with this subject may be arranged in several classes. First, there is an innumerable variety of death bed scenes, many of them of the most touching and pathetic character, such as witnesses say can scarcely be looked upon without tears, others of the most appalling nature, showing perfect abandonment to fright, screams, sobbing, and despair. The last hour is described under all circumstances, coming to all sorts of persons, prince, priest, peasant, man, mother, and child. Patriarchs are dying surrounded by groups in every posture of grief; friends are waving a mournful farewell to their weeping lovers; wives are torn from the embrace of their husbands; some seem resigned and willingly going, others reluctant and driven in terror.

The next series of engravings contain descriptions and emblems of the departure of the soul from this world, and of its passage into the next. There are various symbols of this mysterious transition: one is a snake with a boy riding upon its back, its amphibious nature plainly typifying the twofold existence allotted to man. The soul is also often shown muffled in a veil and travelling garb, seated upon a horse, and followed by a slave carrying a large sack of provisions, an emblem of the long and dreary journey about to be taken. Horses are depicted harnessed to cars in which disembodied spirits are seated, a token of the swift ride

3 Saturnal. lib. i. cap. 7.

4 Dennis, Cities and Cemeteries of Etruria, ch. xii.

of the dead to their doom. Sometimes the soul is gently invited, or led, by a good spirit, sometimes beaten, or dragged away, by the squalid and savage Charun, the horrible death king, or one of his ministers; sometimes a good and an evil spirit are seen contending for the soul; sometimes the soul is seen, on its knees, beseeching the aid of its good genius and grasping at his departing wing, as, with averted face, he is retiring; and sometimes the good and the evil spirits are leading it away together, to abide the sentence of the tribunal of Mantus. Whole companies of souls are also set forth marching in procession, under the guidance of a winged genius, to their subterranean abode.

Finally, there is a class of representations depicting the ultimate fate of souls after judgment has been passed. Some are shown seated at banquet, in full enjoyment, according to their ideas of bliss. Some are shown undergoing punishment, beaten with hammers, stabbed and torn by black demons. There are no proofs that the Etruscans believed in the translation of any soul to the abode of the gods above the sky, no signs of any path rising to the supernal heaven; but they clearly expected just discriminations to be made in the under world. Into that realm many gates are shown leading, some of them peaceful, inviting, surrounded by apparent emblems of deliverance, rest, and blessedness; others yawning, terrific, engirt by the heads of gnashing beasts and furies threatening their victim.

"Shown is the progress of the guilty soul

From earth's worn threshold to the throne of doom;

Here the black genius to the dismal goal

Drags the wan spectre from the unsheltering tomb,

While from the side it never more may warn

The better angel, sorrowing, flees forlorn.

There (closed the eighth) seven yawning gates reveal

The sevenfold anguish that awaits the lost.

Closed the eighth gate, for there the happy dwell.

No glimpse of joy beyond makes horror less."

In these lines, from Bulwer's learned and ornate epic of King Arthur, the dire severity of the Etruscan doctrine of a future life is well indicated, with the local imagery of some parts of it, and the impenetrable obscurity which enwraps the great sequel.