LITMIR.BIZ

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That text-book lasted over two thousand years. Now, of course, people have discovered a number of faults in Euclid, but it has taken them all that time to do it.

      Again, I knew an old gentleman who told me that, at a good English school in the early nineteenth century, he had been taught the principles of grammar out of a writer called Dionysius Thrax, or Denis of Thrace. Denis was a Greek of the first century BC, who made or carried out the remarkable discovery that there was such a thing as a science of grammar, i.e. that men in their daily speech were unconsciously obeying an extraordinarily subtle and intricate body of laws, which were capable of being studied and reduced to order. Denis did not make the whole discovery himself; he was led to it by his master Aristarchus and others. And his book had been re-edited several times in the nineteen-hundred odd years before this old gentleman was taught it.

      To take a third case: all through later antiquity and the middle ages the science of medicine was based on the writings of two ancient doctors, Hippocrates and Galen. Galen was a Greek who lived at Rome in the early Empire, Hippocrates a Greek who lived at the island of Cos in the fifth century BC A great part of the history of modern medicine is a story of emancipation from the dead hand of these great ancients. But one little treatise attributed to Hippocrates was in active use in the training of medical students in my own day in Scotland and is still in use in some American Universities. It was the Oath taken by medical students in the classic age of Greece when they solemnly faced the duties of their profession. The disciple swore to honour and obey his teacher and care for his children if ever they were in need; always to help his patients to the best of his power; never to use or profess to use magic or charms or any supernatural means; never to supply poison or perform illegal operations; never to abuse the special position of intimacy which a doctor naturally obtains in a sick house, but always on entering to remember that he goes as a friend and helper to every individual in it.

      We have given up that oath now: I suppose we do not believe so much in the value of oaths. But the man who first drew up that oath did a great deed. He realized and defined the meaning of his high calling in words which doctors of unknown tongues and undiscovered countries accepted from him and felt to express their aims for well over two thousand years.

      Now what do I want to illustrate by these three instances? The rapidity with which we are now at last throwing off the last vestiges of the yoke of Greece? No, not that. I want to point out that even in the realm of science, where progress is so swift and books so short-lived, the Greeks of the great age had such genius and vitality that their books lived in a way that no others have lived. Let us get away from the thought of Euclid as an inky and imperfect English school-book, to that ancient Eucleides who, with exceedingly few books but a large table of sand let into the floor, planned and discovered and put together and re-shaped the first laws of geometry, till at last he had written one of the great simple books of the world, a book which should stand a pillar and beacon to mankind long after all the political world that Eucleides knew had been swept away and the kings he served were conquered by the Romans, and the Romans in course of time conquered by the barbarians, and the barbarians themselves, with much labour and reluctance, partly by means of Eucleides’ book, eventually educated; so that at last, in our own day, they can manage to learn their geometry without it. The time has come for Euclid to be superseded; let him go. He has surely held the torch for mankind long enough; and books of science are born to be superseded. What I want to suggest is that the same extraordinary vitality of mind which made Hippocrates and Euclid and even Denis of Thrace last their two thousand years, was also put by the Greeks of the great age into those activities which are, for the most part at any rate, not perishable or progressive but eternal.

      This is a simple point, but it is so important that we must dwell on it for a moment. If we read an old treatise on medicine or mechanics, we may admire it and feel it a work of genius, but we also feel that it is obsolete: its work is over; we have got beyond it. But when we read Homer or Aeschylus, if once we have the power to admire and understand their writing, we do not for the most part have any feeling of having got beyond them. We have done so no doubt in all kinds of minor things, in general knowledge, in details of technique, in civilization and the like; but hardly any sensible person ever imagines that he has got beyond their essential quality, the quality that has made them great.

      Doubtless there is in every art an element of mere knowledge or science, and that element is progressive. But there is another element, too, which does not depend on knowledge and which does not progress but has a kind of stationary and eternal value, like the beauty of the dawn, or the love of a mother for her child, or the joy of a young animal in being alive, or the courage of a martyr facing torment. We cannot for all our progress get beyond these things; there they stand, like light upon the mountains. The only question is whether we can rise to them. And it is the same with all the greatest births of human imagination. As far as we can speculate, there is not the faintest probability of any poet ever setting to work on, let us say, the essential effect aimed at by Aeschylus in the Cassandra-scene of the Agamemnon, and doing it better than Aeschylus. The only thing which the human race has to do with that scene is to understand it and get out of it all the joy and emotion and wonder that it contains.

      This eternal quality is perhaps clearest in poetry: in poetry the mixture of knowledge matters less. In art there is a constant development of tools and media and technical processes. The modern artist can feel that, though he cannot, perhaps, make as good a statue as Pheidias, he could here and there have taught Pheidias something: and at any rate he can try his art on subjects far more varied and more stimulating to his imagination. In philosophy the mixture is more subtle and more profound. Philosophy always depends in some sense upon science, yet the best philosophy seems generally to have in it some eternal quality of creative imagination. Plato wrote a dialogue about the constitution of the world, the Timaeus, which was highly influential in later Greece, but seems to us, with our vastly superior scientific knowledge, almost nonsensical. Yet when Plato writes about the theory of knowledge or the ultimate meaning of Justice or of Love, no good philosopher can afford to leave him aside: the chief question is whether we can rise to the height and subtlety of his thought.

      And here another point emerges, equally simple and equally important if we are to understand our relation to the past. Suppose a man says: ‘I quite understand that Plato or Aeschylus may have had fine ideas, but surely anything of value which they said must long before this have become common property. There is no need to go back to the Greeks for it. We do not go back and read Copernicus to learn that the earth goes round the sun.’ What is the answer? It is that such a view ignores exactly this difference between the progressive and the eternal, between knowledge and imagination. If Harvey discovers that the blood is not stationary but circulates, if Copernicus discovers that the earth goes round the sun and not the sun round the earth, those discoveries can easily be communicated in the most abbreviated form. If a mechanic invents an improvement on the telephone, or a social reformer puts some good usage in the place of a bad one, in a few years we shall probably all be using the improvement without even knowing what it is or saying Thank you. We may be as stupid as we like, we have in a sense got the good of it.

      But can one apply the same process to Macbeth or Romeo and Juliet? Can any one tell us in a few words what they come to? Or can a person get the good of them in any way except one—the way of vivid and loving study, following and feeling the author’s meaning all through? To suppose, as I believe some people do, that you can get the value of a great poem by studying an abstract of it in an encyclopaedia or by reading cursorily an average translation of it, argues really a kind of mental deficiency, like deafness or colour-blindness. The things that we have called eternal, the things of the spirit and the imagination, always seem to lie more in a process than in a result, and can only be reached and enjoyed by somehow going through the process again. If the value of a particular walk lies in the scenery, you do not get that value by taking a short cut or using a fast motor-car.

      In looking back, then, upon any vital and significant age of the past we shall find objects of two kinds. First, there will be things like the Venus of Milo or the Book of Job or Plato’s Republic, which are interesting or precious in themselves, because of their own inherent qualities; secondly, there will be things like the Roman code of the Twelve Tables or the invention of the printing-press or the record of certain great battles, which are interesting chiefly

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