Among Famous Books - John Kelman

Скачать книгу

is strong as death—that old sweet assurance which the lover in Canticles also discovered. Love is indeed set here under conditions, or rather it has perceived the conditions which the order of things has set, and these conditions have been violated. But still the voice of the severed head, crying out the beloved name as the waters bore it to the sea, speaks in its own exquisite way the final word. It gives the same assurance with the same thrill which we feel when we read the story of Herakles wrestling with death for the body of Alkestis, and winning the woman back from her very tomb.

      But before love can be a match for death, it first must conquer life, and the early story of the power of Orpheus over the wild beasts, restoring, as it does, an earthly paradise in which there is nothing but gentleness, marks the conquest of life by love. All life's wildness and savagery, which seem to give the lie to love continually, are after all conquerable and may be tamed. And the lesson of it all is the great persuasion that in the depth of things life is good and not evil. When we come to the second conflict, and that love which has mastered life now pits itself against death, it goes forward to the greater adventure with a strange confidence. Who that has looked upon the face of one dearly beloved who is dead, has not known the leap of the spirit, not so much in rebellion as in demand? Love is so great a thing that it obviously ought to have this power, and somehow we are all persuaded that it has it—that death is but a puppet king, and love the master of the universe after all. The story of Orpheus and Eurydice is but a faltering expression of this great assurance, yet it does express it.

      For it explains to all who have ears to hear, what are the real enemies of love which can weaken it in its conflict with death. The Thracian women, those drunken bacchanals that own no law but their desires, stand for the lawless claim and attack of the lower life upon the higher. They but repeat, in exaggerated and delirious form, the sad story of the forfeiture of Eurydice. It is the touch of lawlessness, of haste, of selfishness, that costs love its victory and finally slays it, so far as love can be slain.

      In this wonderful story we have a pure Greek creation in the form of one of the finest sagas of the world. The battle between the pagan and ideal aspects of life is seen in countless individual touches throughout the story; but the whole tale is one continuous symbolic warning against paganism, and a plea for idealism urged in the form of a mighty contrast. Love is here seen in its most spiritual aspect. Paganism enters with the touch of lawlessness. On the large scale the battle was fought out some centuries later, in the days of the Roman Empire, for all the world to see. The two things which give their character to the centuries from Augustus to Constantine are the persistent cry of man for immortality, and the strong lusts of the flesh which silenced it. On the smaller scale of each individual life, men and women will understand to the end of time, from their own experience, the story of Orpheus.

      It is peculiarly interesting to remember that the figure of the sweet singer grew into the centre of a great religious creed. The cult of Orphism, higher and more spiritual than that of either Eleusis or Dionysus, appears as early as the sixth century B.C., and reaches its greatest in the fifth and fourth centuries. The Orphic hymns proclaim the high doctrine of the divineness of all life, and open, at least for the hopes of men, the gates of immortality. The secret societies which professed the cult had the strongest possible influence upon the thought of early Athens, but their most prominent effect is seen in Plato, who derived from them his main doctrines of pre-existence, penance, reincarnation and the final purification of the soul. Even the early Christians, who hated so bitterly many of the myths of paganism, and found in them nothing but doctrines of devils, treated this story tenderly, blended the picture of Orpheus with that of their own Good Shepherd, and found it edifying to Christian faith.

      One more instance may be given in the story of Apollo, in which, more perhaps than in any other, there is an amazing combination of bad and good elements. On the one hand there are the innumerable immoralities and savageries that are found in all the records of mythology. On the other hand, he who flays Marsias alive and visits the earth with plagues is also the healer of men. He is the cosmopolitan god of the brotherhood of mankind, the spirit of wisdom whose oracle acknowledged and inspired Socrates, and, generally, the incarnation of the "glory of the Lord."

      We cannot here touch upon the marvellous tales of Delos and of Delphi, nor repeat the strains that Pindar sang, sitting in his iron chair beside the shrine. This much at least we may say, that both the Apollo of Delos and the Apollo of Delphi are foreign gods, each of whom appropriated to his own use a sacred place where the ancient earth-bound religion had already established its rites. The Greeks brought with them a splendid god from their former home, but in his new shrine he was identified with a local god, very far from splendid; and this seems to be the most reasonable explanation of the inconsistency between the revolting and the beautiful elements in his worship. Pindar at least repudiated the relics of the poorer cult, and cried concerning such stories as were current then, "Oh, my tongue, fling this tale from thee; it is a hateful cleverness that slanders gods." No one who has realised the power and glory of the Eastern sun, can wonder at the identification both of the good and bad symbolism with the orb of day. Sun-worship is indeed a form of nature-worship, and there are physical reasons obvious enough for its being able to incorporate both the clean and unclean, both the deadly and the benign legends. Yet there is a splendour in it which is seen in its attraction for such minds as those of Aurelian and Julian, and which is capable of refinement in the delicate spirituality of Mithra, that worship of the essential principle of light, the soul of sunshine. In the worship of Apollo we have a combination, than which none on record is more striking, of the finest spirituality with the crudest paganism.

      Here then, in the magical arena of the early world of Greece, we see in one of its most romantic forms the age-long strife between paganism and spirituality. We have taken at random four of the most popular stories of Greece. We have found in each of them pagan elements partly bequeathed by that earlier and lower earth-bound worship which preceded the Olympians, partly added in decadent days when the mind of man was turned from the heights and grovelling again. But we have seen a deeper meaning in them, far further-reaching than any story of days and nights or of years and seasons. It is a story of the aspiring spirit which is ever wistful here on the green earth (although that indeed is pleasant), and which finds its home among high thoughts, and ideas which dwell in heaven. We shall see many aspects of the same twofold thought and life, as we move about from point to point among the literature of later days. Yet we shall seldom find any phase of the conflict which has not been prophesied, or at least foreshadowed, in these legends of the dawn. The link that binds the earliest to the latest page of literature is just that human nature which, through all changes of country and of time, remains essentially the same. It is this which lends to our subject its individual as well as its historical interest. The battle is for each of us our own battle, and its victories and defeats are our own.

       Table of Contents

       Table of Contents

      Much has been written, before and after the day of Walter Pater, concerning that singularly pure and yet singularly disappointing character, Marcus Aurelius, and his times. The ethical and religious ferment of the period has been described with great fullness and sympathy by Professor Dill. Yet it may be said, without fear of contradiction, that no book has ever been written, nor is likely ever to appear, which has conveyed to those who came under its spell a more intimate and familiar conception of that remarkable period and man than that which has been given by Walter Pater's Marius the Epicurean.

      Opinion is divided about the value of Pater's work, and if it be true that some of his admirers have provoked criticism by their unqualified praise, it is no less true that many of his detractors appear never to have come in contact with his mind at all. Born in 1839, he spent the greater part of his life in Queen's College, Oxford, where he died in 1894. As literary critic, humanist, and master of a thoroughly original style, he made a considerable impression upon his generation from the first; but it may be safely said that

Скачать книгу