We shall pass over the general course of later Greek medicine with great rapidity. A definite medical school was established at Alexandria and others perhaps at Pergamon and elsewhere. Athens, after the death of Aristotle and his pupils, passes entirely into the background and is of no importance so far as medicine is concerned. At Alexandria, where a great medical library was collected, anatomy began to be studied and two men whose discoveries were of primary importance for the history of that subject, Erasistratus and Herophilus, early practised there. With anatomy as a basis medical education could become much more systematic. It is a very great misfortune that the works of these two eminent men have disappeared. Of Herophilus fragments have survived embedded in the works of Galen (A. D. 130-201), Caelius Aurelianus (fifth century), and others. These fragments have been the subject of one of the earliest, most laborious, and most successful attempts made in modern times to reconstruct the lost work of an ancient author.[86] For Erasistratus our chief source of information are two polemical treatises directed against him by Galen. Recently, too, a little more information concerning the works of both men has become available from the Menon papyrus.

[86] K. F. H. Marx, Herophilus, ein Beitrag zur Geschichte der Medizin, Karlsruhe, 1838.

It has been found possible to reconstruct especially a treatise on anatomy by Herophilus with a considerable show of probability. He opened by giving general directions for the process of dissection and followed with detailed descriptions of the various systems, nervous, vascular, glandular, digestive, generative, and osseous. There was a separate section on the liver, a small part of which has survived. It is of his account of the nervous system that we have perhaps the best record, and it is evident that he has advanced far beyond the Hippocratic position. In the braincase he saw the membranes that cover the brain and distinguished between the cerebrum and cerebellum. He attained to some knowledge of the ventricles of the brain, the cranial and spinal nerves, the nerves of the heart, and the coats of the eye. He distinguished the blood sinuses of the skull, and the torcular Herophili (winepress of Herophilus), a sinus described by him, has preserved his name in modern anatomical nomenclature. He even made out more minute structures, such as the little depression in the fourth ventricle of the brain, known to modern anatomists as the calamus scriptorius, which still bears the name which he gave it ( {kalamos hô graphomen}), because it seemed to him, as Galen tells us, to resemble the pens then in use in Alexandria.[87] We still use, too, his term duodenum ( {dôdekadaktylos ekphysis} = twelve-finger extension), for as Galen assures us, Herophilus 'so named the first part of the intestine before it is rolled into folds'.[88] The duodenum is a U-shaped section of the intestine following immediately on the stomach. Being fixed down behind the abdominal cavity it cannot be further convoluted, and this accounts for Galen's description of it. It is about twelve fingers' breadth long in the animals dissected by Herophilus.

[87] Galen, {peri anatomikôn encheirêseôn}, On anatomical preparations, ix. 5 (last sentence).

[88] Galen, {peri phlebôn kai artêriôn anatomês}, On the anatomy of veins and arteries, i.

Erasistratus, the slightly younger Alexandrian contemporary of Herophilus, has the credit of further anatomical discoveries. He described correctly the action of the epiglottis in preventing the entrance of food and drink into the windpipe during the act of swallowing, he saw the lacteal vessels in the mesentery, and pursued further the anatomy of the brain. He improved on the anatomy of the heart, and described the auriculo-ventricular valves and their mode of closure. He distinguished clearly the motor and sensory nerves. He seems to have adopted a definitely experimental attitude—a very rare thing among ancient physicians—and a description of an experiment made by him has recently been recovered. 'If', he says, 'you take an animal, a bird, for example, and keep it for a time in a jar without giving it food and then weigh it together with its excreta you will find that there is a considerable loss of weight.'[89] The experiment is a simple one, but it was about nineteen hundred years before a modern professor, Sanctorio Santorio (1561-1636), thought of repeating it.[90]

[89] The quotation is from chapter xxxiii, line 44 of the Anonymus Londinensis. H. Diels, Anonymus Londinensis in the Supplementum Aristotelicum, vol. iii, pars 1, Berlin, 1893.

[90] Sanctorio Santorio, Oratio in archilyceo patavino anno 1612 habita; de medicina statica aphorismi. Venice, 1614.

The anatomical advances made by the Alexandrian school naturally reacted on surgical efficiency. The improvement so effected may be gathered, for instance, from an account of the anatomical relationships in certain cases of dislocation of the hip given by the Alexandrian surgeon Hegetor, who lived about 100 B. C. In his book {peri aitiôn}, On causes [of disease], he asks 'why (certain surgeons) do not seek another way of reducing a luxation of the hip.... If the joints of the jaw, shoulder, elbow, knee, finger, &c., can be replaced, the same, they think, must be true of all parts, nor can they give an account of why the femur cannot be put back into its place.... They might have known, however, that from the head of the femur arises a ligament which is inserted into the socket of the hip bone ... and if this ligament is once ruptured the thigh bone cannot be retained in place'.[91] This passage contains the first description of the structure known to modern anatomists as the ligamentum teres, a strong fibrous band which unites the head of the femur with the socket into which it fits in the hip bone, like the string that binds the cup and ball of a child's toy. This ligament is ruptured in certain severe cases of dislocation of the hip.

[91] This is the only passage of Hegetor's writing that has survived. It has been preserved in the work of Apollonius of Citium.

After the establishment of the school at Alexandria, medical teaching rapidly became organized, but throughout the whole course of antiquity it suffered from the absence of anything in the nature of a state diploma. Any one could practise, with the result that many quacks, cranks, and fanatics were to be found among the ranks of the practitioners who often were or had been slaves. The great Alexandrian school, however, did much to preserve some sort of professional standard, and above all its anatomical discipline helped to this end.

Between the founding of the Alexandrian school and Galen we are not rich in medical writings. Apart from fragments and minor productions, the works of only five authors have survived from this period of over four hundred years, namely, Celsus, Dioscorides, Aretaeus of Cappadocia, and two Ephesian authors bearing the names of Rufus and Soranus.

The work of Celsus of the end of the first century B. C. is a Latin treatise, probably translated from Greek, and is the surviving medical volume of a complete cyclopaedia of knowledge. In spite of its unpromising origin it is an excellent compendium of its subject and shows a good deal of advance in many respects beyond the Hippocratic position. The moral tone too is very high, though without the lofty and detached beauty of Hippocrates. Anatomy has greatly improved, and with it surgical procedure, and the work is probably representative of the best Alexandrian practice. The pharmacopia is more copious, but has not yet become burdensome. The general line of treatment is sensible and humane and the language concise and clear. Among other items he describes dental practice, with the indications for and methods of tooth extraction, the wiring of teeth, and perhaps a dental mirror. There is an excellent account of what might be thought to be the modern operation for removal of the tonsils. Celsus is still commemorated in modern medicine by the area Celsi, a not uncommon disease of the skin. The De re medica is in fact one of the very best medical text-books that have come down to us from antiquity. It has had a romantic history. Forgotten during the Middle Ages, it was brought to light by the classical scholar Guarino of Verona (1374-1460) in 1426, and a better copy was discovered by his friend Lamola in 1427. Another copy was found by Thomas Parentucelli (1397-1455), afterwards Pope Nicholas V in 1443, and the text was later studied by Politian (1454-94). Though one of the latest of the great classical medical texts to be discovered, it was one of the first to be printed (Florence, 1478), and it ran through very many early editions and had great influence on the medical renaissance.



After Celsus comes Dioscorides in the first century A. D. He was a Greek military surgeon of Cilician origin who served under Nero, and in him the Greek intellect is obviously beginning to flag. His work is prodigiously important for the history of botany, yet so far as rational medicine is concerned he is almost negligible. He begins at the wrong end, either giving lists of drugs with the symptoms that they are said to cure or to relieve, or lists of symptoms with a series of named drugs. Clinical observation and record are wholly absent, and the spirit of Hippocrates has departed from this elaborate pharmacopia.

With the second century of the Christian era we terminate the creative period of Greek medicine. We are provided with the works of four important writers of this century, of whom three, Rufus of Ephesus, Soranus of Ephesus, and Aretaeus of Cappadocia, though valuable for forming a picture of the state of medicine in their day, were without substantial influence on the course of medicine in later ages.

Rufus of Ephesus, a little junior to Dioscorides, has left us the first formal work on human anatomy and is of some importance in the history of comparative anatomy. In medicine he is memorable as the first to have described bubonic plague, and in surgery for his description of the methods of arresting haemorrhage and his knowledge of the anatomy of the eye. A work by him On gout was translated into Latin in the sixth century, but remained unknown till modern times.

Soranus of Ephesus (A. D. c. 90-c. 150), an acute writer on gynaecology, has left a book which illustrates well the anatomy of his day. It exercised an influence for many centuries to come, and a Latin abstract of it prepared about the sixth century by one Moschion has come down to us in an almost contemporary manuscript.[92] It is interesting as opposing the Hippocratic theory that the male embryo is originated in the right and the female in the left half of the womb, a fallacy derived originally from Empedocles and Parmenides, but perpetuated by Latin translations of the Hippocratic treatises until the seventeenth century. His work was adorned by figures, and some of these, naturally greatly altered by copyists, but still not infinitely removed from the facts, have survived in a manuscript of the ninth century, and give us a distant idea of the appearance of ancient anatomical drawings.[93] We may assist our imagination a little further, in forming an idea of what such diagrams were like, with the help of certain other mediaeval figures representing the form and distribution of the various anatomical 'systems', veins, arteries, nerves, bones, and muscles which are probably traceable to an Alexandrian origin.[94]

[92] Leyden Voss 4° 9^{*} of the sixth century is a fragment of this work.

[93] V. Rose, Sorani Ephesii vetus translatio Latina cum additis Graeci textus reliquiis, Leipzig, 1882; F. Weindler, Geschichte der gynäkologisch-anatomischen Abbildung, Dresden, 1908.

[94] The discovery and attribution of these figures is the work of K. Sudhoff. A bibliography of his writings on the subject will be found in a 'Study in Early Renaissance Anatomy' in C. Singer's Studies in the History and Method of Science, vol. i, Oxford, 1917.

Aretaeus of Cappadocia was probably a contemporary of Galen (second half of the second century A. D.). As a clinical author his reputation stands high, perhaps too high, his descriptions of pneumonia, empyema, diabetes, and elephantiasis having especially drawn attention. In treatment he uses simple remedies, is not affected by polypharmacy, and suggests many ingenious mechanical devices. It would appear that Aretaeus is not an independent writer, but mainly a compiler. He relies largely on Archigenes, a distinguished physician contemporary with Juvenal, whose works have perished save the fragments preserved in this manner by Aretaeus and Aetius. Aretaeus was a very popular writer among the Greeks in all ages, but he was not translated into Latin, and was unknown in the West until the middle of the sixteenth century.[95] He is philologically interesting as still using the Ionic dialect.

[95] First Latin edition Venice, 1552; first Greek edition Paris, 1554.

There remains the huge overshadowing figure of Galen. The enormous mass of the surviving work of this man, the dictator of medicine until the revival of learning and beyond, tends to throw out of perspective the whole of Greek medical records. The works of Galen alone form about half of the mass of surviving Greek medical writings, and occupy, in the standard edition, twenty-two thick, closely-printed volumes. These cover every department of medicine, anatomy, physiology, pathology, medical theory, therapeutics, as well as clinical medicine and surgery. In style they are verbose and heavy and very frequently polemical. They are saturated with a teleology which, at times, becomes excessively tedious. In the anatomical works, masses of teleological explanation dilute the account of often imperfectly described structures. Yet to this element we owe the preservation of the mass of Galen's works, for his intensely teleological point of view appealed to the theological bias both of Western Christianity and of Eastern Islam. Intolerable as literature, his works are a valuable treasure house of medical knowledge and experience, custom, tradition, and history.

As in the case of the Hippocratic corpus, so in the case of the Galenic corpus we are dealing to some extent with material from various sources. In the case of Galen, however, we have a good standard of genuineness, for he has left us a list of his books which can be checked off against those which we actually possess. The general standpoint of the Galenic is not unlike that of the Hippocratic writings, but the noble vision of the lofty-minded, pure-souled physician has utterly passed away. In his place we have an acute, honest, very contentious fellow, bristling with energy and of prodigious industry, not unkindly, but loving strife, a thoroughly 'aggressive' character. He loves truth, but he loves argument quite as much. The value of his philosophical writings, of which some have survived, cannot be discussed here, but it is evident that he is frequently satisfied with purely verbal explanations. An ingenious physiologist, a born experimenter, an excellent anatomist and eager to improve, possessing a good knowledge of the human skeleton and an accurate acquaintance with the internal parts so far as this can be derived from a most industrious devotion to dissection of animals, equipped with all the learning of the schools of Pergamon, Smyrna, and Alexandria, and rich with the experience of a vast practice at Rome, Galen is essentially an 'efficient' man. He has the grace to acknowledge constantly and repeatedly his indebtedness to the Hippocratic writings. Such was the man whose remains, along with the Hippocratic collection, formed the main medical legacy of Greece to the Western world.

Some of Galen's works are mere drug lists, little superior to those of Dioscorides;[96] with the depression of the intelligence that corresponded with the break up of the Roman Empire, it was these that were chiefly seized on and distributed in the West. Attractive too to the debased intellect of the late Roman world were certain spurious, superstitious, and astrological works that circulated in the name of Galen and Hippocrates.[97] The Greek medical writers after Galen were but his imitators and abstractors, but through some of them Galen's works reached the West at a very early period in the Middle Ages. Such abstractors who were early translated into Latin were Oribasius (325-403), Paul of Aegina (625-690), and Alexander of Tralles (525-605). Of the best and most scientific of Galen's works the Middle Ages knew little or nothing.

[96] e. g. {peri kraseôs kai dynameôs tôn hapantôn pharmakôn} and the {pharmaka}.

[97] e. g. De dinamidiis Galeni, Secreta Hippocratis and many astrological tracts.

Later Galen and Hippocrates became a little more accessible, not by translation from the Greek, but by translation from the Arabic of a Syriac version. The first work to be so rendered was a version of Aphorisms of Hippocrates which, however, as we have seen, were already available in Latin dress, together with the Hippocratic Regimen in acute diseases, and certain works of Galen as corruptly interpreted by Isaac Judaeus. These were rendered from Arabic into Latin by Constantine, an African adventurer who became a monk at Monte Cassino and died there in 1087. Constantine was a wretched craftsman with an imperfect knowledge of both Arabic and Latin. More effective was the great twelfth-century translator from the Arabic, Gerard of Cremona (died 1185), who turned many medical works into Latin from Arabic, and who was followed by a whole host of imitators. Yet more important for the advance of medicine, however, was the learned revival of the thirteenth century. In the main that revival was based on translations from Arabic, but a certain number of works were also rendered direct from the Greek. During the thirteenth century Aristotle's scientific works began to be treated in this way, but more important for the course of medicine were those of Galen, and they had to wait till the following century. The long treatise of Galen, {peri chreias tôn en anthrôpou sômati moriôn}, On the uses of the bodily parts in man, was translated from the Greek into Latin by Nicholas of Reggio in the earlier part of the fourteenth century. This work, with all its defects, was by far the best account of the human body then available. Many manuscripts of the Latin version have survived, and it was translated into several vernaculars, including English, and profoundly influenced surgery. The rendering into Latin of this treatise, and its wide distribution, may be regarded as the starting-point of modern scientific medicine. Its appearance is moreover a part of the phenomenon of the revived interest in dissection which had begun to be practised in the Universities in the thirteenth century,[98] and was a generally accepted discipline in the fourteenth and fifteenth.[99]

[98] Dissection of animals was practised at Salerno as early as the eleventh century.

[99] The sources of the anatomical knowledge of the Middle Ages are discussed in detail in the following works: R. R. von Töply, Studien zur Geschichte der Anatomie im Mittelalter, Vienna, 1898; K. Sudhoff, Tradition und Naturbeobachtung, Leipzig, 1907; and also numerous articles in the Archiv für Geschichte der Medizin und Naturwissenschaften; Charles Singer, 'A Study in Early Renaissance Anatomy', in Studies in the History and Method of Science, vol. i, Oxford, 1917.

Until the end of the fifteenth century progress in anatomy was almost imperceptible. During the fifteenth century more Galenic and Hippocratic texts were recovered and gradually turned into Latin, but still without vitally affecting the course of Anatomy. The actual printing of collected editions of Hippocrates and Galen came rather late, for the debased taste of the Renaissance physicians continued to prefer Dioscorides and the Arabs, of whom numerous editions appeared, so that medicine made no advance corresponding to the progress of scholarship. The Hippocratic works were first printed in 1525, and an isolated edition of the inferior Galen in 1490, but the real advance in Medicine was not made by direct study of these works. So long as they were treated in the old scholastic spirit such works were of no more value than those of the Arabists or others inherited from the Middle Ages. Even Hippocrates can be spoilt by a commentary, and it was not until the investigator began actually to compare his own observations with those of Hippocrates and Galen that the real value of these works became apparent. The department in which this happened first was Anatomy, and such revolutionaries as Leonardo da Vinci (1452-1518), who never published, and Vesalius (1514-1564), whose great work appeared in 1543, were really basing their work on Galen, though they were much occupied in proving Galen's errors. Antonio Benivieni (died 1502), an eager prophet of the new spirit, revived the Hippocratic tradition by actually collecting notes of a few cases with accompanying records of deaths and post-mortem findings, among which it is interesting to observe a case of appendicitis.[100] His example was occasionally followed during the sixteenth century, as for instance, by the Portuguese Jewish physician Amatus Lusitanus (1511-c. 1562), who printed no fewer than seven hundred cases; but the real revival of the Hippocratic tradition came in the next century with Sydenham (1624-1689) and Boerhaave (1668-1738), who were consciously working on the Hippocratic basis and endeavouring to extend the Hippocratic experience.

[100] Benivieni's notes were published posthumously. Some of the spurious Greek works of the Hippocratic collection have also case notes.

Lastly surgery came to profit by the revival. The greatest of the sixteenth-century surgeons, the lovable and loving Ambroise Paré (1510-1590), though he was, as he himself humbly confessed, an ignorant man knowing neither Latin nor Greek, can be shown to have derived much from the works of antiquity, which were circulating in translation in his day and were thus filtering down to the unlearned.

Texts of Hippocrates and of Galen had formed an integral part in the medical instruction of the universities from their commencement in the thirteenth century. The first Greek text of the Aphorisms of Hippocrates appeared in 1532, edited by no less a hand than that of François Rabelais. With the further recovery of the Greek texts and preparation of better translations, these became almost the sole mode of instruction during the fifteenth and sixteenth centuries. The translators became legion and their competence varied. One highly skilled translator, however, is of special interest to English readers. Thomas Linacre (1460?-1524), Physician to Henry VIII, Tutor to the Princess Mary, founder and first president of the College of Physicians, a benefactor of both the ancient Universities and one of the earliest, ablest, most typical, and most exasperating of the English humanists, spent much energy on this work of translation for which his abilities peculiarly fitted him. He was responsible for no less than six important works of Galen, of which one, the De temperamentis et de inaequali intemperie, printed at Cambridge in 1521, was among the earliest books impressed in that town and is said to be the first printed in England for which Greek types were used. It has been honoured by reproduction in facsimile in modern times. Such works as these, purely literary efforts, had great vogue for a century and more, and were much in use in the Universities. These humanistic products sometimes produced, among the advocates of the new scientific method, a degree of fury which was only rivalled by that of some of the humanists themselves towards the translators from the Arabic. But these are now dead fires. As the clinical and scientific methods of teaching gained ground, textual studies receded in medical education, as Hippocrates and Galen themselves would have wished them to recede.

The texts of Hippocrates and Galen have now ceased to occupy a place in any medical curriculum. Yet all who know these writings, know too, not only that their spirit is still with us, but that the works themselves form the background of modern practice, and that their very phraseology is still in use at the bedside. Modern medicine may be truly described as in essence a creation of the Greeks. To realize the nature of our medical system, some knowledge of its Greek sources is essential. It would indeed be a bad day for medicine if ever this debt to the Greeks were forgotten, and the loss would be at least as much ethical as intellectual. But there is happily no fear of this, for the figure and spirit of Hippocrates are more real and living to-day than they have been since the great collapse of the Greek scientific intellect in the third and fourth centuries of the Christian era.

CHARLES SINGER.

The author has to thank Mr. R. W. Livingstone, Dr. E. T. Withington, Prof. A. Platt, and Mr. J. D. Beazley for corrections and suggestions.



LITERATURE

A man walking down Shaftesbury Avenue from Piccadilly to Charing Cross Road passes the Lyric Theatre. If it is the evening, a dramatic performance is probably taking place inside. It may be a tragedy, or some form of comedy. If it is a musical comedy and he enters, he will see elaborate scenery and a play which may open with a prologue and which is partly composed of dialogue between the various characters, partly of songs in various metres sung by a chorus to the accompaniment of an orchestra. As the words in italics indicate, our imaginary passer-by will have seen, though he may not have suspected it, a symbol of the indelible mark which the Greeks have set on the aesthetic and intellectual life of Europe, and of the living presence of Greece in the twentieth century. An ancient Athenian might be startled at the sight of a musical comedy and its chorus, but he would be looking at his own child, a descendant, however distant, degenerate, and hard to recognize, of that chorus which with dance and song moved round the altar of Dionysus in the theatre of his home.

The same imprint, clear or faint, is on all our literary forms, except perhaps one. Epic, lyric, elegiac, dramatic, didactic, poetry, history, biography, rhetoric and oratory, the epigram, the essay, the sermon, the novel, letter writing and literary criticism are all Greek by origin, and in nearly every case their name betrays their source. Rome raises a doubtful claim to satire, but the substance of satire is present in the Old Comedy, and the form seems to have existed in writings now lost. There are even one or two genres, such as the imaginary speech, which Greece invented and which are not, fortunately, found in modern literature. When the curtain rose on Homer, European literature did not exist: long before it falls on the late Byzantines, the lines were laid on which it has moved up to our own day. This is the entire work of a single people, politically weak, numerically small, materially poor—according to the economy of nature which in things of the mind and the spirit gives a germinating power to few. The Greeks are justly admired for individual poems, plays, and pieces of writing; but it was something even greater to have explored the possibilities of literature so far that posterity, while it has developed Greek genres, has not hitherto been able to add to them. This is one part of the Greek Legacy to literature.

Another part are the works themselves. Literature can only be judged by reading it, and certainly it cannot be characterized in a few pages. But a man ignorant of Greek and anxious to estimate its value might form some idea by inquiring the opinions of qualified judges. He would find them unanimous: I suppose it is true that no man of eminence qualified to speak has ever spoken of Greek literature in any tone but one. The first testimony is that of the Romans. It is borne by their literature, starting in translations from Greek, adopting one after another of their genres, permeated through and through (and most of all in the greatest writers) by imitations, reminiscences, influences of Greek, confessing and glorying in the debt. 'In learning,' says Cicero, 'and in every branch of literature, the Greeks are our masters.'[101] A Roman boy should begin his studies with Greek, Quintilian thought, 'because Latin learning is derived from Greek.'[102] The same note is repeated in the literature of the Renaissance, and re-echoed by the most various voices of our own century.

[101] Tusc. 1. 1. 2.

[102] Inst. Or. I. 1. 12.

'Though one of the Greek tragedians may seem rather greater and more complete than another, their work as a whole has a single pervading quality. It is marked by grandeur, excellence, sanity, complete humanity, a high philosophy of life, a lofty way of thinking, a powerful intuition (Anschauung). We find these qualities in their surviving lyric and epic poetry as well as in their drama: we find them in their philosophers, orators, and historians and, to an equally high degree, in their surviving sculpture.'[103]

[103] Goethe, Gespräche, 3. 387.

'Beside the great Attic poets, like Aeschylus and Sophocles, I am absolutely nothing.'[104]

[104] Ibid., 3. 443.

'He spoke with great animation of the advantage of classical study, Greek especially. "Where," he said, "would one look for a greater orator than Demosthenes; or finer dramatic poetry, next to Shakspere, than that of Aeschylus or Sophocles, not to speak of Euripides." Herodotus he thought "the most interesting and instructive book, next to the Bible, which had ever been written".'[105]

[105] Wordsworth, Table-talk.

'The period which intervened between the birth of Pericles and the death of Aristotle is undoubtedly, whether considered in itself or with reference to the effects which it has produced upon the subsequent destinies of civilized man, the most memorable in the history of the world.... The wrecks and fragments of these subtle and profound minds, like the ruins of a fine statue, obscurely suggest to us the grandeur and perfection of the whole. Their very language ... in variety, in simplicity, in flexibility, and in copiousness, excels every other language of the western world.' Then, after some words on their sculpture, he adds: 'their poetry seems to maintain a very high, though not so disproportionate a rank, in the comparison' (with other literatures).[106]

[106] Shelley, On the Manners of the Ancients.

'The Greeks are the most remarkable people who have yet existed.... They were the beginners of nearly everything, Christianity excepted, of which the modern world makes its boast.... They were the first people who had a historical literature; as perfect of its kind (though not the highest kind) as their oratory, their sculpture, and their architecture. They were the founders of mathematics, of physics, of the inductive study of politics, of the philosophy of human nature and life. In each they made the indispensable first steps, which are the foundation of all the rest.'[107]

[107] Mill, Dissertations, ii. 283 f.

'I have gone back to Greek literature with a passion quite astonishing to myself.... I felt as if I had never known before what intellectual enjoyment was. Oh that wonderful people! There is not one art, not one science, about which we may not use the same expression which Lucretius has employed about the victory over superstition "Primum Graius homo". I think myself very fortunate in having been able to return to these great masters while still in the full vigour of life and when my taste and judgement are mature. Most people read all the Greek that they ever read before they are five-and-twenty.... A young man, whatever his genius may be, is no judge of such a writer as Thucydides. I had no high opinion of him ten years ago. I have now been reading him with a mind accustomed to historical researches and to political affairs; and I am astonished at my own former blindness, and at his greatness. I could not bear Euripides at college. I now read my recantation. He has faults undoubtedly. But what a poet!'[108]

[108] Macaulay, Life and Letters, i. 43.

These men—and there is no difficulty in adding to their number—are not only qualified but unprejudiced witnesses. They have no parti pris. They cannot be accused, as schoolmasters and dons are sometimes accused, of holding shares in a great Trading Bank of Greece and Rome Unlimited, and having a personal motive for their enthusiasm. Nor can it be said that they admired Greece because they knew nothing better. All—Goethe no less than the others—had English literature in their hands, knew it well and appreciated its greatness. Yet this, given in their own words, is the impression which Greek made on them. Securus iudicat orbis terrarum; and the verdict here is plain. It is clear that we have in Greek a surviving body of poetry and prose which is of unique interest to any one who cares for literature.

* * * * *

I have tried to give a summary answer to the question, What did the Greeks achieve? They invented every literary genre which we know, they laid the lines which European literature has followed, they created a body of prose and poetry which has won the homage of the world. The further question, What can the world still learn from them, is less easy to answer. The answer lies in Greek literature, and the essence of a literature cannot be extracted and bottled in a number of abstract formulae. No literature is great in virtue of its qualities, which are always something less than the literature itself, but only in so far as it expands to the breadth of the universe and climbs to its height. This is the final test which must be applied. How far Greek literature satisfies it, can be judged from the testimonies which have been quoted above.

Remembering this let us deliberately narrow our view and talk of qualities: and here, narrowing it again, let us confine the discussion to certain qualities, which are found indeed in all literatures, but are elsewhere neither so universal nor carried to so high a power. No one can think of Greek literature without thinking of them; they live on the lips of its admirers, and in them the inspiration of Greek literature is chiefly enshrined. These essential qualities are Simplicity, Perfection of Form, Truth and Beauty. Greek literature is much more than these qualities. The Agamemnon, the Oedipus, the Bacchae are not to be explained wholly by them. The greatness of these plays is partly something individual, and partly it is what makes King Lear or Faust or Brand great: and that is neither entirely nor mainly simplicity or beauty or truth or form. But my object is to emphasize qualities for which Greek is exceptional, and though some critics may have talked of the beauty of Greek literature till beauty was absurdly supposed to be its chief or only quality, they were right to recognize the prominence of beauty there, and though truth is a mark of the greatest writing in all languages, it is more universal in Greek than in any other literature.

* * * * *

If a reader turned from Milton to Homer, from Shakespeare to Sophocles, from Plato or Aristotle to some modern work on ethics, politics, or literary criticism, he would find one point of difference between the earlier and the later writers in the greater simplicity of the former. They are briefer: the Oedipus Tyrannus has 1530 lines while the first two acts of Hamlet alone have more than 1600, and Greek histories and philosophical writings are correspondingly shorter than their modern counterparts. The whole of Thucydides could be printed in a twenty-four page issue of The Times, and leave room to spare; the essay of Aristotle on Poetry, which for generations dictated the principles of dramatic writing, has forty-five short pages; the Republic of Plato, which has influenced thought more than any other philosophic work, has a little over three hundred. Brevity indeed is not always simplicity, and it is possible to be at once simple and lengthy. But any one who examines these Greek writers will find that they are brief, because, avoiding bypaths and by-plots, elaboration or minute detail, they strike out the central features of their picture with an effortless economy of line. Their writing has a double quality. It shows a firm hold on the central and fundamental things: and it presents them unmixed with and unconfused by minor issues, so that they stand out like forest trees which no undergrowth of brushwood masks. It is important to make this distinction, for all great literature has the first of these qualities; the second is largely an accident of time. As civilization moves further from its origin, it cannot but receive a thousand tributaries that continually augment its volume, and colour and confuse its streams: at the sources it flows clear and untroubled. The interests of an early age are the primal and essential interests of human nature and the literature of such an age presents them unalloyed and uncomplicated by lesser issues. In the thinkers the main and fundamental problems stand clearly out, and Plato and Thucydides take us straight to them. The poets make their poetry from emotions and interests that are as old as man, and have none of the refinements and complications which education and a long inheritance of culture superadd to the essential stuff of human nature. 'You Greeks are always children,' said the Egyptian priest to Solon; and he spoke the truth in a sense which he did not mean. The Greeks' feelings were not dulled or sophisticated by the damnosa hereditas of the past. Neither their life nor their mental atmosphere was complicated. They had not 'thought themselves into weariness'. They were the children of the world, and they united the startling acuteness, directness, and simplicity of children to the intellects of men.

Pater took La Gioconda of Leonardo da Vinci to symbolize the difference of modern and ancient art, and to illustrate the intricacy and complication of the former, as compared with the simplicity of the latter. 'Hers is the head,' he writes of the Monna Lisa, 'upon which all "the ends of the world are come", and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed! All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form.... She is older than the rocks among which she sits; like the vampire, she has been dead many times and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her ...; and all this lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands. The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern thought has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life. Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea.' Slightly fanciful and Pateresque as these words are, they are substantially true, as any one who sets Monna Lisa by a piece of fifth-century sculpture can easily see. There is the same contrast between Greek literature and our own. How 'troubled' would Homer or Sophocles be by the writings of Browning or Meredith, of Henry James or Conrad, in whom so many eddies and cross-currents of thought and experience unite.

Compare the story of Hector and Andromache with some famous passage from any of these writers. 'So spake glorious Hector and stretched out his arm to his boy. But the child shrunk crying to the bosom of his fair-girdled nurse, dismayed at the look of his dear father and in fear of the bronze and the horsehair crest that nodded fiercely from his helmet's top. Then his dear father and his lady mother laughed aloud: forthwith glorious Hector took the helmet from his head and laid it, all gleaming, on the earth; then kissed he his dear son and danced him in his arms, and spoke in prayer to Zeus and all the gods, "O Zeus and all ye gods, grant that this my son may be as I am, pre-eminent among the Trojans, and as valiant in might, and may he be a great king of Troy." So he spoke and laid his son in his dear wife's arms; and she took him to her fragrant bosom, smiling through tears. And her husband had pity to see her and caressed her with his hand, and spoke and called her by her name: "Dear one, I pray thee be not of oversorrowful heart; no man against my fate shall send me to my death; but destiny, I ween, no man hath escaped." So spake glorious Hector and took up his horsehair-crested helmet; and his dear wife departed to her home, often looking back and letting fall great tears. And she came to the well-built house of man-slaying Hector, and found therein her many handmaidens, and stirred lamentation in them all. So they wept for Hector, while he yet lived, in his house; for they thought that he would no more come back to them from battle.'[109] These are emotions shared by mankind twenty centuries before Christ and twenty centuries after him, common equally to Shakespeare or Napoleon and to the stupidest and least educated of mankind; and these emotions are expressed with a simplicity as elemental as themselves. Subjects as simple may be found in our literature; expression as direct would be hard to find. Even a primitive like Chaucer is the heir of dimly apprehended inheritances from Greece and Rome, and is haunted by fancies from lost and living fairylands of literature. It is in our Bible that we find the elemental feelings of Homer and an expression even more direct. 'And she departed and wandered in the wilderness of Beersheba. And the water was spent in the bottle, and she cast the child under one of the shrubs. And she went and sat her down over against him a good way off, as it were a bowshot: for she said, Let me not see the death of the child. And she sat down over against him, and lift up her voice, and wept.'[110]

[109] Homer, Iliad, vi. 466 ff. (with omissions: chiefly from the translation of Lang, Leaf, and Myers). It should be remembered that, of the three figures in this scene, the husband will be dead in a few days, while within a year the wife will be a slave and the child thrown from the city wall.

[110] Genesis xxi. 14 f.

Like the writer of the Pentateuch, Homer lived in a world whose emotions were elemental, and writing of this kind came naturally to him. The weight of tradition began to weigh on succeeding ages, but it never became heavy, because the accumulations were small and the world was still comparatively simple. Also its poets and prose writers moved in the fields of action as soldiers and politicians, continually confronting the realities of life, and knowing them as they are, not as they appear in a study. Thus their topics are central, the writing is simple. The subjects of the Oedipus Tyrannus or the Hercules Furens might be called morbid; but not the handling of them by Sophocles and Euripides. The unnatural element is in the background and almost unnoticed; the interest lies in the spectacle of great men in overwhelming disaster—an elemental theme and belonging to the general life of man. The treatment is as simple as in Homer, the figures few, subordinate interests out of sight, the light thrown full on the central tragedy. Hence comes a rare intensity, an immediacy of impression, a sense of nearness to the thing described, which will strike anyone who reads the messenger's speech in the Hercules Furens, or the scene where the identity of Oedipus is discovered, or indeed any great passage in Greek Drama. This simplicity of treatment persists, when with Menander and the Alexandrians we pass into a world more like our own and find literature, still simple in form, but more artistic, more intellectual, more literary, less centrally and fundamentally human.

It would be foolish to demand that modern writers should have the simplicity of Homer or the age of Pericles, or to pretend that they cannot be great without it. Every age must and will have its own literature, reflecting the minds and circumstances of those who write it. Nor is the advantage entirely on the side of the Greeks. A drama of Shakespeare or a novel of Tolstoi, with their long roll of dramatis personae, are more like life than a Greek tragedy with its absence of byplot and its few, central, characters. A modern historian would have recorded and discussed aspects of the history of fifth-century Greece which Thucydides ignores. Modern literature may claim that, with less intensity, it has greater amplitude and a more faithful presentation of the complexity of life. On the other hand the Greeks are free from that dominance of the abnormal which is one danger of modern literature; they do not explore sexual and other aberrations or encourage their readers to explore them. They are also free from that dominance of the unessential, which, in life as in literature, is a more innocent but more subtle and perhaps equally ruinous vice. That is why their simplicity is refreshing and salutary. Porro unum necessarium. In life human beings return from a distracting variety of interests to a few simple things; or, if they do not return, run the risk of losing their souls. In literature, which is the shadow of life, they need to do the same.

* * * * *

The simplicity of Greek literature is accompanied by the highest literary art. Nothing could be more surprising. The primitive conditions that preserve simplicity are apparently incompatible with technical perfection, which is a late-born child of literature and the creation of matured taste, long experiment, and patient work. But in Greek, and perhaps only in Greek, naïveté and art go hand in hand. There is something almost uncanny in Homer's union of the two: it is a paradox that the character of Achilles, the death of Hector, the primitive cunning of Odysseus, should be portrayed in such a metre and such a vocabulary; it seems unnatural that so highly wrought and refined a medium should be used to depict the life and ideas of a society which is nearer to savagery than to civilization. But unnatural or not, so it is.

The most obvious quality of Greek literature is its form, the high level of its technique. There are exceptions: the earlier plays of Aeschylus are crude in conception, the prose of Gorgias is as fantastic as that of Lyly, the sentences of Thucydides are often awkward and ungrammatical; Aeschylus stands at the origin of drama, Gorgias and Thucydides are the creators of periodic prose, and they have the weaknesses of pioneers. But in general, Greek work in poetry and prose is highly wrought and finely finished; and so rapidly did their art find itself, that within the lifetime of Aeschylus Sophocles reached the highest level of dramatic and literary technique, and within a generation from Thucydides Plato evolved his unequalled style. An artistic instinct was in the blood of the Greeks, and betrays itself throughout their literature, in the choric odes with their complicated respondencies and subtle variations; in Plato arranging and rearranging the first eight words of his Republic; in the interest which the Greeks took in the theory of literary art, seeking here as elsewhere {logon didonai}, to give an account of their practice. How much more they reflected on it than we do, the Rhetoric of Aristotle, the De Compositione of Dionysius and the endless writings of the rhetoricians show.

This is universally admitted, but justice is more rarely done to even clearer evidence of the Greek gift for technique. Other nations have understood the art of writing, and left those monuments in words which are as unsubstantial and fleeting as air, yet more imperishable than brass or stone; but no nation has created literary art in the sense in which the Greeks created it, or developed, as they did, the various literary genres out of nothing. They had no models or guides or external help. Rome had Greek literature to follow and herself gave patterns to her successors; but the Greeks made what they made out of nothing, and are thus creators in the true sense of the word, and as no other people have been. Two instances, Homer and the Greek Drama, will serve to show this.

In the dawn of a literature at least, we expect roughness and crudity, an uncertain judgement and a faltering hand; but the first known Greek poem, like Athena in the myth, is born full grown and mature. Yet its makers made the story and the rich language and the elaborate and unrivalled metre for themselves. It does not lessen this achievement that the Homeric poems may have been the fine flower of a period of poetic growth; the work that went to form them was done by Greeks. But it needs imagination to appreciate the difficulty of the task which they undertook unconsciously and performed without theory or deliberate purpose by the mere light of nature.

It is hard to create even a primitive poetic vocabulary, where one does not exist, and there is nothing primitive about

' ' ' ,

{hoi d' hôs t' aigypioi gampsônyches ankylocheilai petrê eph' hypsêlê megala klazonte machôntai,}

or

' , , .[111]

{hosson d' êeroeides anêr iden ophthalmoisin hêmenos en skopiê, leussôn epi oinopa ponton, tosson epithrôskousi theôn hypsêchees hippoi.}

[111] Iliad, xvi. 428 f.: 'As vultures with crooked talons and curved beaks that upon some high crag fight, screaming loudly.' Ibid. v. 770 f.: 'As far as a man's view ranges in the haze, as he sits on a point of outlook and gazes over the wine-dark sea, so far at a spring leap the loud-neighing horses of the gods.'

It is hard, as the beginnings of Roman poetry show, to devise a metre which is not rough, unmusical, or even grotesque: yet for richness and strength this first metre of Europe has never been rivalled by the Greeks or by any one else. The same natural technical skill appears in more subtle things even than metre or language. Homer is born knowing by some instinct the profound secret of literary art which Aristotle formulated centuries later as the principle of unity of Action. The plot of a play, he writes in the Poetics, 'should have for its subject a single action, whole and complete, with a beginning, a middle, and an end.... It will differ in structure from historical compositions, which of necessity present not a single action, but a single period, and all that happened within that period to one person or to many, little connected together as the events may be.... Such is the practice, we may say, of most poets. Here again the transcendant excellence of Homer appears. He never attempts to make the whole war of Troy the subject of his poem. It would have been too vast a theme, and not easily embraced in a single view: while if he had kept it in moderate limits it would have been over-complicated by the variety of incidents. As it is, he detaches a single portion.'[112] Once stated, the principle of unity of action becomes a commonplace of literary art. But, as the Annals of Ennius or the Faerie Queen show, it is not obvious until stated, and the poets from whose practice Aristotle made his induction, must have had a rare technical instinct unconsciously to preserve unity of interest through the complications of a long epic or drama. Such achievements were only possible to a people with a natural genius for literary art. In the hands of the Greeks the various elements of literature found their {telos} and achieved their natural form, almost with the same instinctive evolution by which a seed unfolds to its predestined shape.

[112] Poetics, c. 23 (tr. Butcher).

This can be illustrated even better from Greek drama. A modern author who wishes to write a play may not find the task easy, but he knows the general form which a drama has to take and the general principles to be followed in writing it. The right length is given him, the division into scenes and acts, the methods of exposition and dialogue, the conception of a dénouement, the law of unity of action, and the rest. The fathers of Greek tragedy had no such help. They had no drama in our sense of the word, but simply a band of fifty persons dressed like satyrs, and dancing round an altar and singing a song. Out of this anything or nothing might have been made. The Greeks, with the instinctive and unerring motions of genius, developed from it the highest and most elaborate of literary forms, and within a hundred years are writing plays which Shelley classes with King Lear, and which Swinburne can call, 'probably, on the whole, the greatest spiritual work of man'.

In divining the principles of literary art and evolving the various kinds of literature no people can be compared to the Greeks, and probably none can show a mass of work executed with so uniformly high a finish. But when we compare writer with writer we shall find individual artists to rival them. Though the strength of English literature does not lie in technical perfection, Milton, Pope, and Tennyson—to name no others—have in their different ways as firm a grasp of it as any Greek, and it can be learned from French writers, with whom it is the rule rather than the exception, as well as from the Greeks. This is hardly true of another quality of Greek writing, which may be classed with technical finish, though it is in fact something more. It is one of the most characteristic features of Greek; yet on first acquaintance, it is often disconcerting and even distasteful. If a reader new to the classics opened Thucydides, his first impression would probably be one of jejuneness, of baldness. If, fresh from Shelley or Tennyson, he came across the epigram of Simonides on the Spartan dead at Thermopylae,

', , ,[113]

{ô xein', angellein Aakedaimoniois hoti têde keimetha, tois keinôn rhêmasi peithomenoi,}

he might see little in it but a prosaic want of colour. This exceeding simplicity or economy is a stumbling-block to those who are accustomed to the expansive modern manner. Yet such a reader would have been making the acquaintance of some of the finest things in Greek literature, which is always at its greatest when most simple, and he would have been face to face with a characteristic quality of it.

[113] 'Stranger, tell the Spartans that we lie here, obeying their words.'

The contrast with the usual English manner may be illustrated by quoting a famous epigram—Ben Jonson's epitaph on a boy actor:

Weep with me, all you that read This little story; And know, for whom a tear you shed, Death's self is sorry.

'Twas a child that so did thrive In grace and feature, As heaven and nature seemed to strive Which owned the creature.

Years he numbered scarce thirteen When Fates turned cruel, Yet three filled zodiacs had he been The stage's jewel;

And did act (what now we moan) Old men so duly, As sooth the Parcae thought him one, He played so truly.

So, by error, to his fate They all consented; But, viewing him since, alas, too late! They have repented.

These lines—and they are not the whole of the poem—are enough to illustrate the difference between the Greek method and the English, the latter rich and profuse, following the flow of an opulent fancy, the former reticent and restrained, leaving the reader's imagination room and need to play its part. There are materials for half-a-dozen epigrams in Ben Jonson's poem. Had he been Simonides or Plato, he would have stopped after the fourth line and, in the opinion of some critics, by saving his paper he would have improved his poem.

In their theory and in their practice the Greek writers were true to this principle of Economy. Their proverbs proclaim it 'the half is greater than the whole': 'sow with the hand and not with the whole sack.' The great passages of their literature illustrate it. It is to be found no less in Thucydides' account of the siege of Syracuse and in the close of the Phaedo or the Republic than in the death of Hector or the meeting of Priam and Achilles. The Greek writers may have emotions that would seem to demand vehement and extended expression, topics to inspire a poet and tempt him to amplify them; but resisting the temptation they set the facts down quietly and pass on practically without comment. The close of the Phaedo exemplifies this restraint. Plato has just related with severe economy of detail the death of his master. His comment on the event which saddened and confounded his whole life is but this: 'Such, Echecrates, was the death of our friend, the best man, I think, that I have ever known, the wisest too and the most just.'[114]

[114] Phaedo, 118 B.

There are noble examples of reticence and economy in English literature, some of the most conspicuous of which can be traced to classical influence; but no one would contend that these qualities are the rule in our great writers. The English genius is rich and lavish rather than restrained. It is less in its nature to write like Sappho,

, ' , , , ,[115]

{Hespere, panta pherôn osa phainolis eskedas' auôs, phereis oin, pheres aiga, phereis apy materi paida,}

[115] fr. 95: 'Star of evening, bringing all things that bright dawn has scattered, you bring the sheep, you bring the goat, you bring the child back to its mother.'

than like Byron,

O Hesperus, thou bringest all good things— Home to the weary, to the hungry cheer, To the young bird the parent's brooding wings, The welcome stall to the o'er-laboured steer; Whate'er of peace about our hearthstone clings, Whate'er our household gods protect of dear, Are gathered round us by thy look of rest; Thou bring'st the child too to its mother's breast.

Something may be said in favour of both methods. Amplitude of treatment and fullness of detail enrich the imagination while economy stimulates it. The latter may become jejune, and is safe only in the hands of great writers: the former is apt to provide too rich a feast and to leave the full-fed mind inert. Everything is done for it and nothing left it to do. Economy on the other hand throws the reader on his own resources. It sets the imagination wandering in the fields of infinity. Some readers find this one of the essential delights of literature, though others prefer that the author should take them by the hand and indicate every detail with the precision of the sign-posts at a German Kurort.

Economy is the reflection in literature of that {sôphrosynê}, which is the most deeply-rooted of Greek ideals, the most untranslatable of Greek words. But it was helped by an accident. If the art of printing were lost, modern works would contract within narrower limits, and the Greek economy was encouraged by the fact that Fust was not yet born. We, who do not rely on hand-copying for the propagation of our books, naturally write at greater length: and while it loses in conciseness, literature has a compensating gain in amplitude. But the habit of writing for money, which encourages abundant production, and the existence of the printing-press, which makes it easy, expose us to dangers from which the ancients were free. The newspapers are the worst offenders, saying many things which need not be said at all, and saying everything in a superfluous and excessive way. But literature suffers hardly less. The greatest figures of the last fifty years, such as Browning, Meredith, Hardy and Conrad, dilute their pages with unessential, if not inferior, stuff, and produce writing which has not received the summa manus. Had their work been less by a half—a modest reduction—it would have been more perfect because more time could have been devoted to it, more powerful because each stroke would have been precise and strong, more telling because these strokes would not have been combined with ineffective blows. This is even truer of lesser men and other forms of literature. It is because the Agricola of Tacitus extends to but thirty pages, that the biography of a Roman civil servant of no great genius will outlive those of far greater men. The art of omission is the art which English writers most need to learn; the literary lima is their least-handled tool. Both art and tool were perfectly understood and constantly used by the Greeks.

* * * * *

The third mark of Greek Literature, with which I have to deal, is perhaps its most important, certainly its most universal quality. It is truthfulness. The Greeks told no fewer lies than other races, but they had the desire and the power to see the world as it is. By this essential quality they gave Europe the conception of philosophy and science. These we inherit from them alone; Palestine and our German ancestors neither created them, nor show any signs of the temper that creates them, and Rome received her share from Greece.

The word 'Truthfulness' may seem to suggest the realism of some modern writers. But the Greek truthfulness was different. It should be distinguished from the laboured detachment and painful impartiality of such a writer as Flaubert, whose realism conceals him in the same sense as the walls of the engine-room conceal the panting machines within. The Greek Truthfulness is spontaneous, natural, and effortless—the native quality of the artist, who sees, and forgets himself in the vision. Nor has it anything to do with photographic realism. It has not the impersonality of that method or its flat and lifeless effect. A man, and no machine, makes the picture, feeling intensely what he sees, and though this intensity does not distort his vision, we are conscious, as we read, of a human personality, and we feel the electric thrill of life.

Nor is it akin to that type of modern realism, which, like a noxious drug, lays hold on the spirits and depresses the heart—the realism which paints so black a picture of human life, that it affects us physically like days of continued fog, and gives us no more complete and truthful a picture of the world. There is hardly any Greek writer, perhaps none at all, of whom this can be said. Many moderns can faithfully describe what is disagreeable, but their effects are often brutal and always depressing. The gift of portraying suffering and evil with unflinching truth, yet of conveying other feelings than those of mere horror, is reserved for few. Its rarity perhaps explains the rarity of great tragedy, of which it seems to be a condition that it shall truthfully show what is darkest in life, without leaving a final and dominant sense of gloom. The great Greek writers possessed this secret. They are as sensitive to evil and suffering as any writer and fully as faithful in recording them. But whereas other men are simply depressed or disgusted or appalled, lose their vital forces, and gaze in paralysed fascination, these writers, in virtue of a sense which is more aesthetic than moral, are aware of tremendous issues, see in sordid suffering the agonies of a labouring universe, and feel awe and wonder, not mere disgust and distress, at what human beings suffer and endure. That is why Homer leaves us with another feeling than depression, when he tells how Priam begged his son's body from the man who killed him. 'So Priam entered unseen of them and stood near and clasped with his hands the knees of Achilles and kissed the terrible murderous hands that had slain so many of his sons. But Achilles was amazed at the sight of Priam, and amazed were the rest, and they looked at each other. And Priam entreated and addressed him. "Remember your own father, godlike Achilles: he is of like years with me, and stands on the hateful road of old age. Perhaps the neighbours round about harry him and there is none to keep misery and ruin from him. Yet when he hears that you are alive, he rejoices and hopes, day in, day out, to see his dear son returning from Troy. But I am utterly wretched, for I begat the best of sons in Troy, and none of them is left. The one I had, who was the stay of Troy and its people, you killed but now as he fought for his country—even Hector. Respect the gods, Achilles, and pity me, and remember your own father. I am more unhappy than he. I have faced what no other mortal man ever yet faced—to stretch my hand to the face of my sons' slayer."'[116] There is suffering and evil enough here, and there is no attempt to disguise or lessen them. Yet most readers, I think, would read this passage with different feelings from those provoked by the close of Madame Bovary or of Jude the Obscure. Its truthfulness is neither ugly nor depressing.

[116] Iliad, xxiv. 277 f. (with omissions).

Nor again is the Greek truthfulness identical with objectivity. An objective writer tells his story and conveys his impressions, as far as possible, by relating facts without commenting upon them. Dramatists and novelists are compelled by the nature of their art to be objective in this sense of the word (though Fielding and Thackeray in the one field, and Ibsen and Shaw in the other, manage to make their comments with their own lips, not those of their characters). But such a writer would not of necessity be more truthful or impartial than any one else. He can distort truth as thoroughly by selecting certain facts and ignoring others as by making misleading comments. He may be violently one-sided and present only the facts that support his view, thus indirectly putting himself into what he writes quite as fully as a confessed partizan, though less openly. Such a writer is objective, but his objectivity with him is no more than a literary method. Now it is true that the Greeks use this method, telling a story without personal comments, not only in their epics and plays where this method is natural, but also in their histories and elsewhere. Thucydides for instance tells the story of a great war, yet his comments on it are few, and are mainly given in the dramatic and would-be objective form of speeches by leading men of the day. But the Greeks have objectivity in a far more important sense than this. Their objectivity is no literary device but a quality of mind. They have the power of standing aloof from matters in which they are personally interested, and surveying them from outside like impartial spectators, with the keenest interest, but without bias. As the Delphic priestess in the act of prophecy lost her individuality and became the mouthpiece of the god, so the Greek allowed facts to speak for themselves, became their mouthpiece and banished the intrusive ego. If therefore we call the Greeks objective, all this must be included in our definition of the word.

We shall understand Greek 'truthfulness' best, if, dropping philosophical terms, and forgetting modern meanings, we remember a saying of Anaxagoras, who, when asked for what purpose he was born, replied: 'To contemplate the works of nature.' The disinterested passion for contemplating things, which gathered inquiring groups round Socrates to discuss what justice and friendship mean, or whether goodness is knowledge and can be learnt, has its counterpart in literature. The Greeks were fascinated by the spectacle of man and the world, and their fascination is seen not only in their formal philosophy. Of their poets too it may be said that they were born to see the world and human life—not to moralize or to indulge in sentiment or rhetoric or mysticism about it, but to see it. Keats's description of the poetic temperament fits them closely: 'It has no self, it is everything and nothing.... It enjoys light and shade.... A poet is the most unpoetical of anything in existence, he is continually in, for, and filling some other body.' In such a mood men will write literature that may justly be called truthful. Avoiding the didactic, they will not distort truth to suit personal bias; avoiding rhetoric, they will not sacrifice it to fine phrases; avoiding sentiment and fancy, they will not gratify their own or their hearer's feelings at the expense of truth; avoiding mysticism, they will not move away from facts into a world of emotions. Their care will be to see things, and their delight will be in the mere vision. They will echo the words of Keats, 'If a sparrow comes before my windows, I take part in its existence and pick about the gravel'[117]: they will not treat it as Shelley treats the skylark, or even as Keats and Wordsworth treat the nightingale. Herein is one of the secrets of Greek poetry, for the Greek poets, more than any others, bring us in a manner entirely simple and natural into immediate contact with what they describe, and thus escape the thousand distortions for which epigram, rhetoric, sentiment, fancy, mysticism and romanticism are responsible. This secret may be called 'directness'. It is the habit of looking straight and steadily at things, and describing them as they are, the very contrary of the habit of didactic comment and of rhetorical or emotional inflation. The 'direct' writer, in the fullest extent that is possible, keeps himself and his feelings in the background. He does not allow the mists which rise from a man's personality to come between him and his subject.

[117] I have taken these quotations of Keats from Bradley, Oxford Lecture on Poetry, p. 238.

A few instances of directness will give a better idea of it than many definitions. The epigram quoted a few pages back shows how the Greek writer lets his subject speak instead of expressing his own feelings about it. So does the following epitaph, placed by a father on his son's grave.

.[118]

{Dôdeketê ton paida patêr apethêke Philippos enthade tên pollên elpida Nikotelên.}

[118] Callimachus, Epigr. 20: 'His father Philip laid here to rest his twelve-year old son, his high hope, Nicoteles.'

The bereaved father says nothing of his sorrow, or the greatness of his loss, but records his son's name and age and says that he was his father's 'high hope', and so doing gives us everything. Simonides does not express his own feelings about the heroism of the Spartan dead; their grave speaks for them to the passer-by. Nor is this a mere literary method, a way of writing which states facts and leaves them to make an impression by their own weight, unaided by comment or explanation. A comparison of Ben Jonson's epigram with the Greek epitaph, will show that directness is much more than this. The fancies with which Jonson closes are pretty; but they are false, for they are really incompatible with deep feeling: the Greek directness never loses from sight the dead child; it sees only that and the father's sorrow.

The following extract deals with a very different subject, but illustrates directness equally well. The scene is the Athenian colony of Amphipolis on the Struma; the dramatis personae are the Spartan general Brasidas who wishes to capture it, and the Athenian Thucydides who was then at Thasos, distant half a day's sail from Amphipolis. 'As soon as Thucydides heard the news about Brasidas, he sailed quickly to Amphipolis ... in order to garrison it if possible before it could capitulate, or at any rate to occupy Eion (its seaport). Meanwhile Brasidas, fearing the arrival of the Athenian fleet at Thasos and hearing that Thucydides ... was one of the leading men of the country, did his utmost to get possession of the city before he arrived.... He therefore offered moderate terms.... These terms were accepted, and the city was surrendered to him. On the evening of the same day Thucydides and his ships sailed into Eion, but not until Brasidas had taken possession of Amphipolis: another night, and he would have seized Eion.'[119] The gist of the story contained in this extract is plain. The Spartan general Brasidas seized the important town of Amphipolis, and the Athenian general came too late to save it. But who would guess that the Athenian general Thucydides was the historian Thucydides who wrote these words, and that the episode which he here describes with such detachment and neutrality earned him perpetual exile under pain of death, from the country which he passionately loved? Thucydides has told the bare facts, objectively, as if they related to some one else, without a comment, without a word of protest, excuse, explanation or regret on the crowning disaster of his life. He writes of himself in the third person. This is not the way in which modern generals write of their mishaps, but it is the Greek way. Thucydides has forgotten himself and his feelings; he sees only the disastrous day when he sailed up the Struma with his ships and found the gates of Amphipolis closed against him. He ignores himself so far that he does not call it disastrous, though disastrous it was for himself and his country. With the same detachment he speaks of the enslavement of Melos and the tragedy of Syracuse, though he thinks, and makes us feel, that the one was the crowning crime, the other the crowning disaster of his country. He narrates the plain facts and leaves the reader to draw his inferences. If we did not know that he was an Athenian, we could hardly tell from his history whether he took the side of Athens or Sparta in the war; so entirely are he and his feelings kept in the background. Yet he was an ardent patriot, and he is describing the war in which his country lost supremacy and empire. No historian of the war of 1914-18, whether on the Allied or the German side, is likely to write of it in this way.

[119] Thuc. iv. 104, 105, 106 (tr. Jowett, mainly).

The art of Homer has the same quality of detachment. He is a Greek, writing of a ten years' war between Greeks and Asiatics, yet most of his readers sympathize with Hector rather than with Achilles. He himself preferred neither, but saw and felt equally with both; with the hero who fought the losing battle for Troy, and with him who lost his friend, and, intoxicated with sorrow, could see and feel nothing but a passion of revenge. It would seem hardly possible to write the close of the 22nd Book of the Iliad, where the heroes meet, without taking sides; we, no doubt, should take Hector's side. But Homer stands apart from the quarrel, and sees both men and the feelings of both, writing with the pen of the Recording Angel, not of the Judge. What he or Thucydides thought in each case can only be guessed at. They have presented the facts without comment, and the facts tell their own tale, explain themselves, carry with them the feelings they should evoke, and shine by their own light, like the phosphorescence of the sea.

Little thinking is needed to see that the direct, detached, objective temper is the generative principle of the Greek achievement, for it is the parent of science and philosophy, which are the children of a desire to see things in themselves as they are, and not as the seer might wish them to be. The effects of this temper in poetry can be appreciated by a comparison of certain phenomena of our own literature which are absent from Greek. The comparison will indicate, too, what modern writers can learn from the Greeks, and enable us to judge whether the lessons are needed.

The habit of keeping the eye on the subject, which is the essence of directness, discourages, and indeed excludes, conventionality, sentimentalism, fancifulness, which prevent a writer from seeing and recording life as it is. These failings are always with us, and as I have given one instance of their working in Ben Jonson's epigram and have discussed the matter elsewhere,[120] I shall pass to diseases which are more particularly modern, and with which directness is equally at war.

[120] The Greek Genius and its Meaning to us, pp. 74 ff.

The richness of the English language is in itself a danger. English, like Latin, lends itself superbly to ranting, a capacity discovered by the Elizabethans. Modern writers tend to more delicate excess, and have exploited the musical quality of English. This is clear from such a collection as the Oxford Book of Victorian Verse, which faithfully represents the output of the age, and contains some fine poetry, but also a very large percentage of what Horace called, Versus inopes rerum nugaeque canorae. There is an intolerable deal of sack to a very little bread among the imitators of Tennyson. To such rhetorical or musical trifles no better antidote can be found than Greek literature, for there is no rhetoric in it, and what melodious nothings it contained, were parodied in its own age and have scantily survived to ours. In general it avoided both by its directness. The rhetoric of Lucan or Byron, the predominance of sound over sense in some of Shelley and much of Swinburne arise because those poets shut their eyes to the real world and become lost in the music of words. The Greek, starting with facts, not with sounds or with feelings about facts, could not easily become the victim of words. The temptation did not arise for him, or if it did, his sin was easily detected. Herein he is a good model, especially for poets who are apt to lose sight of the earth and pass into an unearthly paradise of vague feelings. For the greatest poetry is the poetry of things, not of words, and to whatever regions the Muse may take her flight, she can only be safe if she starts from Earth, and keeps her communication with it open.

Directness is also a protection against that literature of egotism which is the excess into which subjective poetry easily falls. Legitimate when kept within bounds, the habit of putting oneself into what one writes can become an offence, and from this offence English literature is not free. No one can complain because Milton and Wordsworth are less detached than Shakespeare or Sophocles; but the subjectivity of Byron or Carlyle is very different. Their subject is continually darkened by the shadow of their personality; it suffers a partial, at times a total, eclipse. Childe Harold sees himself in all that he sees, projects himself into Belgium, Athens and Rome, and colours the bluest skies with the jaundiced hues of his temperament. This is almost equally true of Carlyle's pupils, Ruskin and Froude, and, among the moderns, of a swarm of minor poets and novelists, who display before the public the pageant of their indignant or bleeding hearts. Egotism is a fault of manners as much as of morals, and has its peculiar effect and its appropriate penalty. Its effect is to distract a man's attention from major to minor issues, from the large world to the small self; its penalty is that it wearies its audience, and the next generation, if not its own, dislikes the continual obtrusion of an element in which it has no interest. Hence oblivion, often unjust, is the punishment which the egotist suffers. Even our age, interested as it is in personalities, has little time to spare for those of Byron or Carlyle; it is too busy with the characters of its own contemporaries to trouble about those of its predecessors. But no Greek writer is forgotten for this cause. Whatever their other offences, the Greeks are free from literary egotism. Directness turned their eyes to the external world, and taught them to see even themselves from without.

Egotism is a minor defect in English literature. To some it may even seem to be a virtue. A more serious weakness, which our literature shares with other modern literatures, is one-sidedness or incompleteness of view, which reveals itself by a series of reactions, and in England has taken the form of an oscillation between sentimentalism and a rather cruel realism, the latter being dominant at the present time. These two schools represent excesses of temperament, the one of generosity and kindliness, the other of truth; and among our writers of genius Dickens and Hardy typify them well. The one school desire in fiction to reward their good characters and punish the bad, just as they would wish that life should do; and truth is not allowed to thwart their benevolence or their indignation. In defiance of all probability Micawber and Mr. Mell make a success of life in Australia, though truth cries out that they were born to be failures; while the foot of punishment moves more swiftly and visibly in the pages of Dickens than it does in fact. Then comes the veracious person, who, growing indignant at a travesty of life that misleads the reader and insults truth, gives us the opposite extreme in an imagined world where the shadows are deepened and the high lights carefully blocked out. Scott and Dickens picture a world in which at the end vice finds itself in the gutter while virtue marries the heroine. Later, Thomas Hardy has given us Jude the Obscure and Tess of the D'Urbervilles.[121] Here is a protest, a redressing of the balance, by an advocate who rises to supply a side of the case which has been ignored. Yet once again Truth is violated, and by her sworn servant; for the world that Hardy portrays is not the world as it is. When Dickens makes Mr. Micawber the District Magistrate of Port Middlebay, he is not representing life, but saying what he and his audience would like to believe in order to feel comfortable when they close the book. As a protest therefore against him in the next generation comes Thomas Hardy, who after recording the miserable end of Tess, writes 'The President of the immortals had ended his sport with Tess'. In so writing he is no true recorder any more than was Dickens, but the self-appointed Judge of a universe which he conceives to be cruel.

[121] In these novels and in The Dynasts Mr. Hardy allows his personal views to depress one side of the scales: in his lesser novels he has often shown that he can hold the balance even. This distinction should be borne in mind in all the criticisms of his work, which I have ventured to make.

Neither Dickens nor Hardy can be called unveracious writers; both give a picture of life that is true up to a point. Hardy, in particular, errs less by distortion than by omission; he sees one side of life, but at the expense of another side; he fails to hold the balance fairly, and lacks the large charity of the universe. Both writers are incomplete. No one could say of them, what is completely true of most Greek writers and largely true of all, that they see life steadily and see it whole. Still less can this be said of their followers, who, after the fashion of disciples, imitate and develop their defects, and oscillate between sentimental falsity, and the starkness and brutality which have been familiar in English literature during the last twenty years and in French literature for a much longer period. None of these writers, not even the best, is direct. Like Dickens, they consult their generous hearts, or, worse, ask: 'Can truth be told without making the public angry?' Or, like Hardy, they veil a didactic purpose under the name of realism, and register a bitter personal protest against the cruelty of life. In either case they narrow their view, and see the world through a mist of temperament.

This point may be illustrated by examining a famous passage from Homer, and then asking how a sentimental and a realistic writer might have treated it. Imagine the death of Hector in the hands of Dickens or Hardy. The first most probably would not have permitted it to occur, or, if he had, would have made Achilles the villain of the piece and emphasized and developed the tragedy in the manner of his death scenes, till he had wearied the reader with pathos. Confronted with such a tragedy he would have given the rein to emotion. Mr. Hardy, we may guess, would be impressed less by the pathos of the scene, than by the savagery of Achilles and the misgovernment of a universe in which such things were possible, and he would not have let these morals escape his readers. By small touches, by stressing suitable incidents, he would have made the tragedy more tragic, and the brutality more brutal. It is thus that he has treated the death of Jude. By so doing, both Dickens and Hardy in their different ways, would have been allowing their own personalities rather than the facts to speak, and, seeing only one side of the story, would have made it less complicated than life and less complete. But in the Iliad we see nothing of Homer's personality and hear no voice but that of the facts. The story tells itself without the heightening of artifice. The two men are brought before our eyes—Hector, the last hope of Troy, with his wife and child waiting for him at home—Achilles, mad with the memory of his dead friend. There is no judgement and no comment, but only the thing as it was.

To those who would maintain that Dickens or Hardy give an accurate picture of the world, there are two answers. First, their world is not the world as Shakespeare or Meredith sees it; this for many persons will be a sufficient disproof of its reality. Second, the history of English and French literatures has been for the last 150 years a history of successive reactions. The classical school was followed by the romantics, the romantics by the realists; each was a protest and a reaction against its predecessor. These swerving movements must have a cause. Now there are no reactions in literature unless there is some excess to provoke them. The existence of a reaction is a symptom of disease, and not only would it never take place apart from disease, but there is always a chance that it may go too far; for as in the body, so in the world of letters, a balance once disturbed is difficult to restore. But Greek literature, unlike our own and unlike French, at no stage developed by reaction. Its epic poets are followed by the lyrists and these by the tragedians: tragedy passes into the New Comedy, which is followed by the learned and artistic poetry of Alexandria. In prose the unperiodic style of Herodotus is succeeded by the style of Thucydides; while Plato and the various orators develop different types of writing. None of these styles, however, and none of these writers, are in reaction against one another. Some traces of reaction against the Homeric outlook of Sophocles may perhaps be found in Euripides. But this contrast lies between two individual writers and not between two literary schools, and has no analogy with the relation of the romantic to the classical or to the realist movements. It is far less marked, for instance, than the contrast between Voltaire and Victor Hugo or that between Victor Hugo and Flaubert. There is no reaction in the development of Greek literature, because at no stage is there any excess to react from; and there is no excess, because the Greek writers are direct and objective, because they are mirrors that reflect life, not imperfect lenses that distort it each according to its own imperfection.

The literature of the Elizabethans here resembles Greek. It is indeed more wayward, more fanciful, more personal, more luxuriant than the Greek; but it is on the whole more disinterested, freer from any didactic bent, more inclined to contemplate life for its own sake than the literature of any succeeding epoch in England. Since the Puritans a didactic strain has continually appeared in our writers. We have had revolts and protests, and then, by reaction, more protests and revolts. However admirable in morals, this Protestantism is injurious in literature, for, like all rebellions, it ends in excess and destroys the even-balanced temper which is essential to the creation of the greatest literature. This didactic temper, often disguised as realism, has never been stronger than in our own age, when many who might have found their profession in the Churches are diverted to other paths and seek in literature an outlet that in the past would have been found in the pulpit. Messrs. Wells, Shaw, Galsworthy—to mention no others—are parsons manqués, who were designed by nature to write not plays or novels but sermons. Or rather they are dual personalities: clergyman and creative writer have been combined in them and the clergyman has corrupted the poet. The unsatisfied appetite for preaching which a hundred years ago would have been quieted by writing an evangelical tract, to-day issues in a novel or a play. The moral differs, the form changes, the intention and temper are the same.

It is ungrateful to cavil at this moralizing and didactic temper, which animates a large part of the nation and is responsible for much of the British achievement. But its place is in the world of action not in that of letters, and it does not produce the greatest literature or the truest thought. The Greeks might have gained by a greater infusion of it: we, on the other hand, can learn something from their intellectual disinterestedness which in political and social controversies would make opposing views more intelligible and the path to truth easier and plainer, in literature would free us from excesses that are followed by reaction to a contrary excess, and in national life would guard us from the materialism which besets an industrial and commercial age. It is not confined to the Greeks; but by no people is the ideal of intellectual truth more clearly and universally exhibited than by those who first brought it into an indifferent world, and who built upon it their literature and art no less than their science and philosophy.

* * * * *

The last quality of Greek literature of which I wish to speak is not one which we should expect to find in combination with truthfulness; it is certainly very rare in modern realists. Yet the Greek instinct for beauty is beyond question. There is the evidence of Winckelmann, who, living in a world that had forgotten Greek, rediscovered it; or of Keats, who was not brought up to the familiarity with Greek that breeds obtuseness and indifference, but made acquaintance with it when he was of an age to judge. The impression made both on Keats and Winckelmann is that of a new and surpassing beauty. There is the evidence of 'the beautiful mythology of Greece',[122] the offspring of an untaught folk-imagination, and so far richer in the quality of beauty than the mythology of the North. Even in the sawdust of a mythological dictionary the stories of Atalanta, Narcissus, Pygmalion, Orpheus and Eurydice, Phaethon, Medusa keep their magic.

[122] Keats, Preface to Endymion.

The following extract from the hymn of Demeter may illustrate this beauty, though it is not one of the greatest passages of Greek literature and its writer is unknown. It is the story of the Earth Mother and her daughter Persephone:

, , ' , ' ' ' ', , , ' ' , ' ' . ' ' ' , [123]

{hên Aidôneus hêrpaxen, dôken de baryktypos euryopa Zeus, paizousan kourêsi syn Ôkeanou bathykolpois anthea t' ainymenên, rhoda kai krokon êd' ia kala leimôn' am malakon kai agallidas êd' hyakinthon narkisson th', hon physe dolon kalukôpidi kourê Gaia Dios boulêsi charizomenê Polydektê, thaumaston ganoônta; sebas to ge pasin idesthai athanatois te theois êde thnêtois anthrôpois; tou kai apo rhizês hekaton kara exepephykei, kôz' hêdist' odmê, pas d' ouranos eurys hyperthe gaia te pas' egelasse kai halmyron oidma thalassês. hê d' ara thambêsas' ôrexato chersin ham' amphô kalon athyrma labein; chane de chthôn euryagyia Nysion am pedion, tê orousen anax Polydegmôn hippois athanatoisi}.

[123] Hymn to Demeter, l. 2 ff. The translation is mainly from Pater, Greek Studies. 'Whom, by the consent of far-seeing, deep-thundering Zeus, Aidoneus carried away, as she played with the deep-bosomed daughters of Ocean, gathering flowers in a meadow of soft grass and roses and crocus and fair violets and iris and hyacinths and the strange glory of the narcissus which the Earth, favouring the desire of Aidoneus, brought forth to snare the flower-like girl. A wonder it was to all, immortal gods and mortal men. A hundred blossoms grew up from the roots of it, and very sweet was its scent, and the broad sky above, and all the earth and the salt wave of the sea laughed to see it. She in wonder stretched out her two hands to take the lovely plaything: thereupon the wide-wayed earth opened in the Nysian plain and the king of the great nation of the dead sprang out with his immortal horses.'

Turn from this to some parallel poem in English literature, such as Oenone or Tithonus. Beautiful as Tennyson is, the Greek has a better beauty, a beauty not of words or metaphors or highly-wrought art, but simpler, more spontaneous and more instinctive, as though not man but nature herself was speaking. Two writers, who are qualified to judge by being themselves among the great poets of the world, and who knew and appreciated other literatures, but speak in this way about Greek alone, have testified to the uniqueness of this beauty. Goethe says stiffly but precisely: 'in the presence of antiquity the mind feels itself placed in the most ideal state of nature; and even to this day the Homeric hymns have the power of freeing us, at any rate, for moments, from the terrible burden which the tradition of many hundreds of years has rolled upon us.' In these words Goethe has touched on the simplicity and the naturalness of Greek beauty, in contrast to the more exotic and elaborate beauty of which mediaeval and modern art and literature are full. Keats writing about the Grecian urn also had in his mind the liberating power of Greek beauty:

Thou, silent form, dost tease us out of thought As doth eternity; Cold Pastoral! When old age shall this generation waste Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou sayst, 'Beauty is truth, truth beauty'—that is all Ye know on earth and all ye need to know.

These words point to another trait of Greek beauty, which any one who has seen Greek statues must have felt: it does not provoke speculation just as it does not excite desire, because no elements are mingled with it that might stir such feelings. It has no admixture, but is mere beauty, sought for itself.

Not only is Greek beauty different in quality from our own, but it is more abundant. This surely would be the verdict of an impartial critic who compared Homer, the lyrists, the tragedians, Plato, Theocritus, the epigrammatists, with the corresponding names in modern literatures. It amounts to a different way of viewing the world; the Greeks were more sensitive to beauty than we are, just as some people are more sensitive than others to colours or sounds, to moral or intellectual issues. This is curiously illustrated in their treatment of tragic themes. There is no want of tragedy in Homer or the dramatists—their view of life is probably darker than our own—and they have been praised for a pessimism that faced and admitted the black truth. Yet the cloud of evil is continually broken by rays of beauty. Thus Homer lights up the tragic parting of Hector and Andromache by the story of the child and the nodding plumes, yet does not use the incident, as many writers would have used it, to heighten the tragedy, which indeed it neither emphasizes nor diminishes: it is merely a gratuitous touch of delight in children, as accidental and natural as the brighter moments which, in life if not in realistic novels, diversify the darkest hours. Thus too Aeschylus preludes the bloody slaughter of Salamis with the white horses of the dawn, the echoes in the cliffs, the foam whitening beneath the oars, and when he speaks of the island where the Persians are butchered, does not forget the dances in which Pan rejoiced there of old. Thus, again, one of the most tragic moments in the Hippolytus is followed by the song,

Could I take me to some cavern for mine hiding, In the hill-tops where the Sun scarce hath trod; Or a cloud make the home of mine abiding, As a bird among the bird-droves of God! Could I wing me to my rest amid the roar Of the deep Adriatic on the shore, Where the water of Eridanus is clear, And Phaëthon's sad sisters by his grave Weep into the river, and each tear Gleams, a drop of amber, in the wave.[124]

[124] ll. 732 f. (tr. Murray).

The union of beauty and tragedy may be a paradox, but no reader can miss its power. The mere story of Hector's death as told by Homer is poignant, even when read in an English translation: the magic of the original language and metre doubles the effect. The combination of these two apparently inconsistent things, which is one of the marks of Greek poetry, is, of course, found in other literatures; the description of Ophelia's death in Hamlet is an instance of it. But no drama except Greek has that regular interweaving of tragedy with exquisite lyrics by which some of its most powerful effects are secured.

Effect is the wrong word to use, for we have here no literary trick, but a view of life, which is naturally complete and clearsighted, which is sensitive to the beauty that no evil can destroy, which sees the splendour in tragedy itself, and remembers that though the days of darkness are many it is a pleasant thing for the eyes to behold the sun. This philosophy, implied throughout Greek literature, commends it to many people. Those who disagree with the philosophy will not quarrel with the beauty itself. Hellenism is one of the forces which are continually being buried and re-found, and which, like talismans, have a disturbing power when they fall afresh into human hands. Those who read the literature of the age which rediscovered Greek will see that it brought above all a sense of liberation and expansion. At the Renaissance as in the eighteenth century, Greece found the world in chains, and broke them and threw down the prison walls. The fetters of the two epochs were different, but freedom was brought, at the Renaissance partly, and in the age of Winckelmann entirely, by the vision of beauty which Greece exhibited. Our own age has many chains and knows well the burden of which Goethe spoke. It has multiplied ugliness far faster than beauty, and its writers, prolific, interesting, and thoughtful as they are, do not help it here. It may well find, as other ages have found, in this quality of Greek literature a healing and liberating power.