The Greek View of Life Part 13

"I was astonished at her words and said: 'Is this really true, O thou wise Diotima?'

"And she answered with all the authority of an accomplished sophist: 'Of that, Socrates, you may be a.s.sured;--think only of the ambition of men, and you will wonder at the senselessness of their ways, unless you consider how they are stirred by the love of an immortality of fame.

They are ready to run all risks greater far than they would have run for their children, and to spend money and undergo any sort of toil, and even to die, for the sake of leaving behind them a name which shall be eternal. Do you imagine that Alcestis would have died to save Admetus, or Achilles to avenge Patroclus, or your own Codrus in order to preserve the kingdom for his sons, if they had not imagined that the memory of their virtues, which still survives among us, would be immortal? Nay,'

she said, 'I am persuaded that all men do all things, and the better they are the more they do them, in hope of the glorious fame of immortal virtue; for they desire the immortal.

"'Those who are pregnant in the body only, betake themselves to women and beget children--this is the character of their love; their offspring, as they hope, will preserve their memory and give them the blessedness and immortality which they desire in the future. But souls which are pregnant--for there certainly are men who are more creative in their souls than in their bodies--conceive that which is proper for the soul to conceive or contain. And what are these conceptions? wisdom and virtue in general. And such creators are poets and all artists who are deserving of the name inventor. But the greatest and fairest sort of wisdom by far is that which is concerned with the ordering of states and families, and which is called temperance and justice. And he who in youth has the seed of these implanted in him and is himself inspired, when he comes to maturity desires to beget and generate. He wanders about, seeking beauty that he may beget offspring--for in deformity he will beget nothing--and naturally embraces the beautiful rather than the deformed body; above all when he finds a fair and n.o.ble and well- nurtured soul, he embraces the two in one person, and to such a one he is full of speech about virtue and the nature and pursuits of a good man; and he tries to educate him; and at the touch of the beautiful which is ever present to his memory, even when absent, he brings forth that which he had conceived long before, and in company with him tends that which he brings forth; and they are married by a far nearer tie and have a closer friends.h.i.+p than those who beget mortal children, for the children who are their common offspring are fairer and more immortal.

Who, when he thinks of Homer and Hesiod and other great poets, would not rather have their children than ordinary ones? Who would not emulate them in the creation of children such as theirs, which have preserved their memory and given them everlasting glory? Or who would not have such children as Lycurgus left behind him to be the saviours not only of Lacedaemon, but of h.e.l.las, as one may say? There is Solon, too, who is the revered father of Athenian laws; and many others there are in many other places, both among h.e.l.lenes and barbarians, who have given to the world many n.o.ble works, and have been the parents of virtue of every kind; and many temples have been raised in their honour for the sake of children such as theirs; which were never raised in honour of any one, for the sake of his mortal children.

"'These are the lesser mysteries of love, into which even you, Socrates, may enter; to the greater and more hidden ones which are the crown of these, and to which, if you pursue them in a right spirit, they will lead, I know not whether you will be able to attain. But I will do my utmost to inform you, and do you follow if you can. For he who would proceed aright in this matter should begin in youth to visit beautiful forms; and first, if he be guided by his instructor aright, to love one such form only--out of that he should create fair thoughts; and soon he will of himself perceive that the beauty of one form is akin to the beauty of another; and then if beauty of form in general is his pursuit, how foolish would he be not to recognise that the beauty in every form is one and the same! And when he perceives this he will abate his violent love of the one, which he will despise and deem a small thing, and will become a lover of all beautiful forms. In the next stage he will consider that the beauty of the mind is more honourable than the outward form. So that, if a virtuous soul have but a little comeliness, he will be content to love and tend him, and will search out and bring to the birth thoughts which may improve the young, until he is compelled to contemplate and see the beauty of inst.i.tutions and laws, and to understand that the beauty of them all is of one family, and that personal beauty is a trifle; and after laws and inst.i.tutions he will go on to the sciences, that he may see their beauty, being not like a servant in love with the beauty of one youth or man or inst.i.tution, himself a slave mean and narrow-minded, but drawing towards and contemplating the vast sea of beauty, he will create many fair and n.o.ble thoughts and notions in boundless love of wisdom; until on that store he grows and waxes strong, and at last the vision is revealed to him of a single science which is the science of beauty everywhere. To this I will proceed; please to give me your very best attention:

"'He who has been instructed thus far in the things of love, and who has learned to see the beautiful in due order and succession, when he comes toward the end will suddenly perceive a nature of wondrous beauty (and this, Socrates, is the final cause of all our former toils)--a nature which in the first place is everlasting, not growing and decaying, or waxing and waning; secondly, not fair in one point of view and foul in another, or at one time or in one relation or in one place fair, at another time or in another relation or at another place foul, as if fair to some and foul to others, or in the likeness of a face or hands or any other part of the bodily frame, or in any form of speech or knowledge, or existing in any other being, as for example, in an animal, or in heaven, or in earth, or in any other place; but beauty absolute, separate, simple, and everlasting, which without diminution and without increase, or any change, is imparted to the evergrowing and peris.h.i.+ng beauties of all other things. He who, from these ascending under the influence of true love, begins to perceive that beauty, is not far from the end. And the true order of going, or being led by another, to the things of love, is to begin from the beauties of earth and mount upwards for the sake of that other beauty, using these as steps only, and from one going on to two, and from two to all fair forms, and from fair forms to fair practices, and from fair practices to fair notions, until from fair notions he arrives at the notion of absolute beauty, and at last knows what the essence of beauty is. This, my dear Socrates,' said the stranger of Mantineia, 'is that life above all others which man should live, in the contemplation of beauty absolute: a beauty which if you once beheld, you would see not to be after the measure of gold, and garments, and fair boys and youths, whose presence now entrances you; and you and many a one would be content to live seeing them only and conversing with them without meat or drink, if that were possible,--you only want to look at them and to be with them. But what if man had eyes to see the true beauty--the divine beauty, I mean, pure and clear and unalloyed, not clogged with the pollutions of mortality and all the colours and vanities of human life--thither looking, and holding converse with the true beauty simple and divine? Remember how in that communion only, beholding beauty with the eye of the mind, he will be enabled to bring forth, not images of beauty, but realities (for he has hold not of an image but of a reality), and bringing forth and nouris.h.i.+ng true virtue to become the friend of G.o.d and be immortal, if mortal man may. Would that be an ign.o.ble life?'

"Such, Phaedrus--and I speak not only to you, but to all of you--were the words of Diotima; and I am persuaded of their truth. And being persuaded of them, I try to persuade others, that in the attainment of this end human nature will not easily find a helper better than Love.

And therefore, also, I say that every man ought to honour him as I myself honour him, and walk in his ways, and exhort others to do the same, and praise the power and spirit of Love according to the measure of my ability now and ever." [Footnote: Plato, Symp. 201.--Translated by Jowett.]

I have thought it worth while to quote this pa.s.sage, in spite of its length, partly for the sake of its own intrinsic beauty, partly because no account of the Greek view of life could be complete which did not insist upon the prominence in their civilisation of the pa.s.sion of friends.h.i.+p, and its capacity of being turned to the n.o.blest uses. That there was another side to the matter goes without saying. This pa.s.sion, like any other, has its depths, as well as its heights; and the ideal of friends.h.i.+p conceived by Plato was as remote, perhaps, from the experience of the average man, as Dante's presentation of the love between man and woman. Still, the fact remains that it was friends.h.i.+p of this kind that supplied to the Greek that element of romance which plays so large a part in modern life; and it is to this, and not to the relations between men and women, that we must look for the highest reaches of their emotional experience.

Section 11. Summary.

If now we turn back to take a general view of the points that have been treated in the present chapter, we shall notice, in the first place, that the ideal of the Greeks was the direct and natural outcome of the conditions of their life. It was not something beyond and above the experience of the cla.s.s to which it applied, but rather, was the formula of that experience itself: in philosophical phrase, it was immanent not transcendent. Because there really was a cla.s.s of soldier-citizens free from the necessity of mechanical toil, possessed of competence and leisure, and devoting these advantages willingly to the service of the State, therefore their ideal of conduct took the form we have described.

It was the ideal of a privileged cla.s.s, and postulated for its realisation, not only a strenuous endeavour on the part of the individual, but also certain advent.i.tious gifts of fortune, such as health, wealth, and family connections. These were conditions that actually obtained among members of the cla.s.s concerned; so that the ideal in question was not a mere abstract "ought", but an expression of what, approximately at least, was realised in fact.

But this, which was the strength of the ideal of the Greeks, was also its limitation. Their ethical system rested not only on universal facts of human nature, but also on a particular and transitory social arrangement. When therefore the city State, with its sharp ant.i.thesis of cla.s.ses, began to decline, the ideal of the soldier-citizen declined also. The conditions of its realisation no longer existed, and ethical conceptions pa.s.sed into a new phase. In the first place the ideal of conduct was extended so as to apply to man as man, instead of to a particular cla.s.s in a particular form of State; and in the second place, as a corollary of this, those external goods of fortune which were the privilege of the few, could no longer be a.s.sumed as conditions of an ideal which was supposed to apply to all. Consequently the new ideal was conceived as wholly internal. To be virtuous was to act under the control of the universal reason which was supposed to dwell in man as man; and such action was independent of all the gifts of chance. It was as open to a slave as to a freeman, to an artisan as to a soldier or a statesman. The changes and chances of this mortal life were indifferent to the virtuous man; on the rack as on the throne he was lord of himself and free.

This conception of the Stoics broke down the limitation of the Greek ideal by extending the possibility of virtue to all mankind. But at the same time it destroyed its sanity and balance. For it was precisely because of its limitation that the ideal of the Greeks was, approximately at least, an account of what was, and not merely of what ought to be. A man possessed of wealth and friends, of leisure, health, and culture, really could and did achieve the end at which he was aiming; but the conception of one who without any such advantages, on the contrary with positive disadvantages, poor, sickly, and a slave perhaps, or even in prison or on the rack, should nevertheless retain unimpaired the dignity of manhood and the freedom of his own soul--, such a conception if it is not chimerical, is at any rate so remote from common experience, that it is not capable of serving as a really practical ideal for ordinary life. But an ideal so remote that its realisation is despaired of, is as good as none. And the conception of the Stoics, if it was more comprehensive than that of Aristotle, was also less practical and real.

By virtue, nevertheless, of this comprehensiveness, the Stoic ideal is more akin to modern tendencies than that of the soldier-citizen in the city-state. To provide for the excellence of a privileged cla.s.s at the expense of the rest of the community is becoming to us increasingly impossible in fact and intolerable in idea. But while admitting this, we cannot but note that the Greeks, at whatever cost, did actually achieve a development of the individual more high and more complete than has been even approached by any other age. Whether it will ever be possible, under totally different conditions, to realise once more that balance of body and soul, that sanity of ethical intuition, that frank recognition of the whole range of our complex human nature with a view to its harmonious organisation under the control of a lucid reason--whether it will ever be possible again to realise this ideal, and that not only in the members of a privileged cla.s.s, but in the whole body of the State, is a question too problematical to be raised with advantage in this place. But it is impossible not to perceive that with the decline of the Greek city-state something pa.s.sed from the world which it can never cease to regret, and the recovery of which, if it might be, in some more perfect form, must be the goal of its highest practical endeavours.

Immense, no doubt, is the significance of the centuries that have intervened, but it is a significance of preparation; and when we look beyond the means to the wished-for end, limiting our conceptions to the actual possibilities of life on earth, it is among the Greeks that we seek the record of the highest achievement of the past, and the hope of the highest possibilities of the future.

CHAPTER IV

THE GREEK VIEW OF ART

Section 1. Greek Art an Expression of National Life.

In approaching the subject of the Art of the Greeks we come to what, more plausibly than any other, may be regarded as the central point of their scheme of life. We have already noticed, in dealing with other topics, how constantly the aesthetic point of view emerges and predominates in matters with which, in the modern way of looking at things, it appears to have no direct and natural connection. We saw, for example, how inseparable in their religion was the element of ritual and ceremony from that of idea; how in their ethical conceptions the primary notion was that of beauty; how they aimed throughout at a perfect balance of body and soul, and more generally, in every department, at an expression of the inner by the outer so complete and perfect that the conception of a separation of the two became almost as impossible to their thought as it would have been unpleasing and discordant to their feeling. Now such a point of view is, in fact, that of art; and philosophers of history have been amply justified in characterising the whole Greek epoch as pre-eminently that of Beauty.

But if this be a true way of regarding the matter, we should expect to find that art and beauty had, for the Greeks, a very wide and complex significance. There is a view of art, and it is one that appears to be prevalent in our own time, which sets it altogether outside the general trend of national life and ideas; which a.s.serts that it has no connection with ethics, religion, politics, or any of the general conceptions which regulate action and thought; that its end is in itself, and is simply beauty; and that in beauty there is no distinction of high or low, no preference of one kind above another. Art thus conceived is, in the first place, purely subjective in character; the artist alone is the standard, and any phase or mood of his, however exceptional, personal and transitory, is competent to produce a work of art as satisfying and as great as one whose inspiration was drawn from a nation's life, reflecting its highest moments, and its most universal aspirations and ideals; so that, for example, a b.u.t.terfly drawn by Mr.

Whistler would rank as high, say, as the Parthenon. And in the second place, in this view of art, the subject is a matter of absolute indifference. The standards of ordinary life, ethical or other, do not apply; there is no better or worse, but only a more or less beautiful; and the representation of a music-hall stage or a public house bar may be as great and perfect a work of art as the Venus of Milo or the Madonna of Raphael.

This theory, which arises naturally and perhaps inevitably in an age where national life has degenerated into materialism and squalor, and the artist feels himself a stranger in a world of Philistines, we need not here pause to examine and criticise. It has been mentioned merely to ill.u.s.trate by contrast the Greek view, which was diametrically opposed to this, and valued art in proportion as it represented in perfect form the highest and most comprehensive aspects of the national ideal.

To say this, is not, of course, to say that the Greek conception of art was didactic; for the word didactic, when applied to art, has usually the implication that the excellence of the moral is the only point to be considered, and that if that is good the work itself must be good. This idea does indeed occur in Greek thought--we find it, for example, paradoxically enough, in so great an artist as Plato--but if it had been the one which really determined their production, there would have been no occasion to write this chapter, for there would have been no Greek art to write about. The truer account of the impulse that urged them to create is that given also by Plato in an earlier and more impa.s.sioned work, in which he describes it as a "madness of those who are possessed by the Muses; which enters into a delicate and virgin soul, and there inspiring frenzy, awakens lyrical and all other numbers; with these adorning the myriad actions of ancient heroes for the instruction of posterity. But he who having no touch of the Muses' madness in his soul, comes to the door and thinks that he will get into the temple by the help of art--he, I say, and his poetry are not admitted; the sane man is nowhere at all when he enters into rivalry with the madman." [Footnote: Plato, Phaedrus, 245a.--Translated by Jowett.]

The presupposition, in fact, of all that can be said about the Greek view of art, is that primarily and to begin with they were, by nature, artists. Judged simply by the aesthetic standard, without any consideration of subject matter at all, or any reference to intellectual or ethical ideals, they created works of art more purely beautiful than those of any other age or people. Their mere household crockery, their common pots and pans, are cast in shapes so exquisitely graceful, and painted in designs so admirably drawn and composed, that any one of them has a higher artistic value than the whole contents of the Royal Academy; and the little clay figures they used as we do china ornaments put to shame the most ambitious efforts of modern sculpture.

Who, for example, would not rather look at a Tanagra statuette than at the equestrian statue of the Duke of Wellington?

The Greeks, in fact, quite apart from any theories they may have held, were artists through and through; and that is a fact we must carry with us through the whole of our discussion.

Section 2. Identification of the Aesthetic and Ethical Points of View.

But on the other hand, it seems to be clear from all that we can learn, that their habitual way of regarding works of art was not to judge them simply and exclusively by their aesthetic value. On the contrary, in criticising two works otherwise equally beautiful, they would give a higher place to the one or the other for its ethical or quasi-ethical qualities. This indeed is what we should expect from the comprehensive sense which, as we have seen, attached in their tongue to the word which we render "beautiful." The aesthetic and ethical spheres, in fact, were never sharply distinguished by the Greeks; and it follows that as, on the one hand, their conception of the good was identified with that of the beautiful, so, on the other hand, their conception of the beautiful was identified with that of the good. Thus the most beautiful work of art, in the Greek sense of the term, was that which made the finest and most harmonious appeal not only to the physical but to the moral sense, and while communicating the highest and most perfect pleasure to the eye or the ear, had also the power to touch and inform the soul with the grace which was her moral excellence. Of this really characteristic Greek conception, this fusion, so instinctive as to be almost unconscious, of the aesthetic and ethical points of view, no better ill.u.s.tration could be given than the following pa.s.sage from the Republic of Plato, where the philosopher is describing the effect of beautiful works of art, and especially of music, on the moral and intellectual character of his imaginary citizens:

"'We would not have our guardians grow up amid images of moral deformity, as in some noxious pasture, and there browse and feed upon many a baneful herb and flower day by day, little by little, until they silently gather a festering ma.s.s of corruption in their own soul. Let our artists rather be those who are gifted to discern the true nature of the beautiful and graceful: then will our youth dwell in a land of health, amid fair sights and sounds, and receive the good in everything; and beauty, the effluence of fair works, shall flow into the eye and ear, like a healthgiving breeze from a purer region, and insensibly draw the soul from earliest years into likeness and sympathy with the beauty of reason.'

"'There can be no n.o.bler training than that,' he replied.

"'And therefore,' I said, "'Glaucon, musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes n.o.ble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why: and when reason comes he will recognise and salute the friend with whom his education has made him long familiar."[Footnote: Plato, Republic III. 401.--Translated by Jowett.]

This fusion of the ideas of the beautiful and the good is the central point in the Greek Theory of Art; and it enables us to understand how it was that they conceived art to be educational. Its end, in their view, was not only pleasure, though pleasure was essential to it; but also, and just as much, edification. Plato, indeed, here again exaggerating the current view, puts the edification above the pleasure. He criticises Homer as he might criticise a moral philosopher, pointing out the inadequacy, from an ethical point of view, of his conception of heaven and of the G.o.ds, and dismissing as injurious and of bad example to youthful citizens the whole tissue of pa.s.sionate human feeling, the irrepressible outbursts of anger and grief and fear, by virtue of which alone the Iliad and the Odyssey are immortal poems instead of ethical tracts. And finally, with a half reluctant a.s.sent to the course of his own argument, he excludes the poets altogether from his ideal republic, on the ground that they encourage their hearers in that indulgence of emotion which it is the object of every virtuous man to repress. The conclusion of Plato, by his own admission, was half paradoxical, and it certainly never recommended itself to such a nation of artists as the Greeks. But it ill.u.s.trates, nevertheless, the general bent of their views of art, that tendency to the identification of the beautiful and the good, which, while it was never pushed so far as to choke art with didactics--for Plato himself, even against his own will, is a poet--yet served to create a standard of taste which was ethical as much as aesthetic, and made the judgment of beauty also a judgment of moral worth.

Quite in accordance with this view we find that the central aim of all Greek art is the representation of human character and human ideals. The interpretation of "nature" for its own sake (in the narrower sense in which "nature" is opposed to man) is a modern and romantic development that would have been unintelligible to a Greek. Not that the Greeks were without a sense of what we call the beauties of nature, but that they treat them habitually, not as the centre of interest, but as the background to human activity. The most beautiful descriptions of nature to be found in Greek poetry occur, incidentally only, in the choral odes introduced into their dramas; and among all their pictures of which we have any record there is not one that answers to the description of a landscape; the subject is always mythological or historical, and the representation of nature merely a setting for the main theme. And on the other hand, the art for which the Greeks are most famous, and in which they have admittedly excelled all other peoples, is that art of sculpture whose special function it is not only to represent but to idealise the human form, and which is peculiarly adapted to embody for the sense not only physical but ethical types. And, more remarkable still, as we shall have occasion to observe later, the very art which modern men regard as the most devoid of all intellectual content, the most incommensurable with any standard except that of pure beauty--I refer of course to the art of music--was invested by the Greeks with a definite moral content and worked into their general theory of art as a direct interpretation of human life. The excellence of man, in short, directly or indirectly, was the point about which Greek art turned; that excellence was at once aesthetic and ethical; and the representation of what was beautiful involved also the representation of what was good.

This point we will now proceed to ill.u.s.trate more in detail in connection with the various special branches of art.

Section 3. Sculpture and Painting.

Let us take, first, the plastic arts, sculpture and painting; and to bring into clear relief the Greek point of view let us contrast with it that of the modern "impressionist." To the impressionist a picture is simply an arrangement of colour and line; the subject represented is nothing, the treatment everything. It would be better, on the whole, not even to know what objects are depicted; and, to judge the picture by a comparison with the objects, or to consider what is the worth of the objects in themselves, or what we might think of them if we came across them in the connections of ordinary life, is simply to misconceive the whole meaning of a picture. For the artist and for the man who understands art, all scales and standards disappear except that of the purely aesthetic beauty which consists in harmony of line and tone; the most perfect human form has no more value than a splash of mud; or rather both mud and human form disappear as irrelevant, and all that is left for judgment is the arrangement of colour and form originally suggested by those accidental and indifferent phenomena.

In the Greek view, on the other hand, though we certainly cannot say that the subject was everything and the treatment nothing (for that would be merely the annihilation of art) yet we may a.s.sert that, granted the treatment, granted that the work was beautiful (the first and indispensable requirement) its worth was determined by the character of the subject. Sculpture and painting, in fact, to the Greeks, were not merely a medium of aesthetic pleasure; they were ways of expressing and interpreting national life. As such they were subordinated to religion.

The primary end of sculpture was to make statues of the G.o.ds and heroes; the primary end of painting was to represent mythological scenes; and in either case the purely aesthetic pleasure was also a means to a religious experience.

Let us take, for example, the statue of Zeus at Olympia, the most famous of the works of Pheidias. This colossal figure of ivory and gold was doubtless, according to all the testimony we possess, from a merely aesthetic point of view, among the most consummate creations of human genius. But what was the main aim of the artist who made it? what the main effect on the spectator? The artist had designed and the spectator seemed to behold a concrete image of that Homeric Zeus who was the centre of his religious consciousness--the Zeus who "nodded his dark brow, and the ambrosial locks waved from the King's immortal head, and he made great Olympus quake." [Footnote: Iliad i. 528.--Translated by Lang, Leaf and Myers.] "Those who approach the temple," says Lucian, "do not conceive that they see ivory from the Indies or gold from the mines of Thrace; no, but the very son of Kronos and Rhea, transported by Pheidias to earth and set to watch over the lonely plain of Pisa." "He was," says Dion Chrysostom, "the type of that unattained ideal, h.e.l.las come to unity with herself; in expression at once mild and awful, as befits the giver of life and all good gifts, the common father, saviour and guardian of men; dignified as a king, tender as a father, awful as giver of laws, kind as protector of suppliants and friends, simple and great as giver of increase and wealth; revealing, in a word, in form and countenance, the whole array of gifts and qualities proper to his supreme divinity."

The description is characteristic of the whole aim of Greek sculpture,-- the representation not only of beauty, but of character, not only of character but of character idealised. The statues of the various G.o.ds derive their distinguis.h.i.+ng individuality not merely from their a.s.sociation with conventional symbols, but from a concrete reproduction, in features, expression, drapery, pose, of the ethical and intellectual qualities for which they stand. An Apollo differs in type from a Zeus, an Athene from a Demeter; and in every case the artist works from an intellectual conception, bent not simply on a graceful harmony of lines, but on the representation of a character at once definite and ideal.

Primarily, then, Greek sculpture was an expression of the national religion; and therefore, also, of the national life. For, as we saw, the cult of the G.o.ds was the centre, not only of the religious but of the political consciousness of Greece; and an art which was born and flourished in the temple and the sacred grove, naturally became the exponent of the ideal aspect of the state. It was thus, for example, that the Parthenon at Athens was at once the centre of the wors.h.i.+p of Athene, and a symbol of the corporate life over which she presided; the statue of the G.o.ddess having as its appropriate complement the frieze over which the spirit of the city moved in stone. And thus, too, the statues of the victors at the Olympian games were dedicated in the sacred precinct, as a memorial of what was not only an athletic meeting, but also at once a centre of h.e.l.lenic unity and the most consummate expression of that aspect of their culture which contributed at least as much to their aesthetic as to their physical perfection.

Sculpture, in fact, throughout, was subordinated to religion, and through religion to national life; and it was from this that it derived its ideal and intellectual character. And, so far as our authorities enable us to judge, the same is true of painting. The great pictures of which we have descriptions were painted to adorn temples and public buildings, and represented either mythological or national themes. Such, for example, was the great work of Polygnotus at Delphi, in which was depicted on the one hand the sack of Troy, on the other the descent of Odysseus into Hades; and such his representation of the battle of Marathon, in the painted porch that led to the Acropolis of Athens. And even the vase paintings of which we have innumerable examples, and which are mere decorations of common domestic utensils, have often enough some story of G.o.ds and heroes for their theme, whereby over and above their purely aesthetic value they made their appeal to the general religious consciousness of Greece. Painting, like sculpture, had its end, in a sense, outside itself; and from this very fact derived its peculiar dignity, simplicity, and power.

From this account of the plastic art of the Greeks it follows as a simple corollary, that their aim was not merely to reproduce but to transcend nature. For their subject was G.o.ds and heroes, and heroes and G.o.ds were superior to men. Of this idealising tendency we have in sculpture evidence enough in the many examples which have been preserved to us; and with regard to painting there is curious literary testimony to the same effect. Aristotle, for example, remarks that "even if it is impossible that men should be such as Zeuxis painted them, yet it is better that he should paint them so; for the example ought to excel that for which it is an example." [Footnote: Artist, Poet, xxv.--1461. 6.

12.]

And in an imaginary conversation recorded between Socrates and Parrhasius the artist admits without any hesitation that more pleasure is to be derived from pictures of men who are morally good than from those of men who are morally bad. In the Greek view, in fact, as we saw, physical and moral excellence went together, and it was excellence they sought to depict in their art; not merely aesthetic beauty, though that was a necessary presupposition, but on the top of that, ideal types of character representative of their conception of the hero and the G.o.d.

Art, in a word, was subordinate to the ethical ideal; or rather the ethical and aesthetic ideals were not yet dissociated; and the greatest artists the world has ever known worked deliberately under the direction and inspiration of the ideas that controlled and determined the life of their time.

Section 4. Music and the Dance.

Turning now from the plastic arts to that other group which the Greeks cla.s.sed together under the name of "Music"--namely music, in the narrower sense, dancing and poetry--we find still more clearly emphasised and more elaborately worked out the subordination of aesthetic to ethical and religious ends. "Music," in fact, as they used the term, was the centre of Greek education, and its moral character thus became a matter of primary importance. By it were formed, it was supposed, the mind and temper of the citizens, and so the whole const.i.tution of the state. "The introduction of a new kind of music,"

says Plato, "must be shunned as imperilling the whole state; since styles of music are never disturbed without affecting the most important political inst.i.tutions." "The new style," he goes on, "gradually gaining a lodgment, quietly insinuates itself into manners and customs; and from these it issues in greater force, and makes its way into mutual compacts: and from compacts it goes on to attack laws and const.i.tutions, displaying the utmost impudence, until it ends by overturning everything, both in public and in private." [Footnote: Plato, Rep. IV.

4240.--Translated by Davies and Vaughan.] And as in his Republic he had defined the character of the poetry that should be admitted into his ideal state, so in the "Laws" he specially defines the character of the melodies and dances, regarding them as the most important factor in determining and preserving the manners and inst.i.tutions of the citizens.