Part 10

The greatest spokesman of this time was Euripides. Although he was the younger contemporary of Sophocles, who outlived him by a few months, Euripides belongs to a new age. The former represents imperial Athens of the age of Pericles, the latter the Athens of the Peloponnesian War. Born of a family apparently well-to-do he certainly received a liberal education. Politics and society seem never to have attracted him to active participation in them, but the intellectual life of his time he shared to the full; and more than any extant writer of his day, he shows that he felt the force of the movements which were transforming Athenian thought. It has been aptly said that in Sophocles the poetical course of traditional religion culminated; in Euripides we have for the first time the poetic and philosophical development fully combined. He was a profound thinker, troubled by the most difficult problems of humanity, and approaching tradition with the liberal frankness of the new age. Yet we must always bear in mind that he was a dramatic poet, not a systematic theologian or moral teacher. Again and again fidelity to his art made him put sentiments into the mouths of his characters which must have been abhorrent to him. Nor have we any right to search for some hidden meaning in his plays. Yet after all allowances have been made, we cannot doubt that in his dramas he frequently expresses his personal views on politics, morals, and religion, which were quite at variance with the views of tradition.

Toward the gods of the current mythology no one could have been more frankly sceptical or scornful than he. As Nestle, a German critic, has pointed out, the basic principle of his attacks is found in his verse:

εἰ θεοί τι δρωσιν αἰσχρόν, οὐκ εἰσὶν θεοί.[167]

If the gods do aught that is base, then they are not gods.

That is, as the same critic says, for Euripides “God and sin are mutually exclusive terms.” Sophocles held the same belief, yet his point of view was wholly different, as is shown by his verse:

αἰσχρὸν μὲν οὐδὲν ὧν ὑφηγοῦνται θεοί.[168]

Nothing to which the gods lead men is base.

That is, whatever the gods do is good no matter how it may seem to man. There is then a fundamental difference between the two tragedians: the elder has faith to believe in the righteousness of the traditional gods, the younger is ready to throw tradition over. The unreasonableness and immorality of popular beliefs and the baffling existence of evil in the world Euripides could not reconcile with a faith in the existence of all powerful and just beings such as he held the gods must be, if they exist at all. His firm conviction that divinity, if it have any existence, must be absolutely just, explains the poet’s boldness in holding up to scorn the popular notions. In the Hippolytus he exhibits the goddess of love in a shameful light, and makes Artemis join with the innocent hero of the play in condemning her.

Indeed throughout the tragedy the traditional beliefs are treated with powerful irony. When Phaedra is filled with shame at the passion for her step-son with which Aphrodite has inspired her, the nurse tempts her to yield, quoting ancient tales of the celestials’ amours as examples:

Whoso have scrolls writ in the ancient days, And wander still themselves by paths of song, They know how Zeus of yore desired the embrace Of Semele; they know how radiant Dawn Up to the gods snatched Cephalus of yore, And all for love; yet these in Heaven their home Dwell, neither do they flee the face of Gods, Content, I trow, to be love’s vanquished ones. Thou—wilt not yield?[169]

* * * * *

Nay, darling, from thy deadly thoughts refrain, And from presumption—sheer presumption this, That one should wish to be more strong than Gods. In love flinch not; a God hath willed this thing.[170]

But Phaedra dies by her own hand rather than yield to the goddess’s design. The innocent Hippolytus, second victim of divine injustice, cries out as he dies:

Innocent I, ever fearing the Gods, who was wholly heart-clean Above all men beside,— Lo, how am I thrust Unto Hades, to hide My life in the dust! All vainly I reverenced God, and in vain unto man was I just.[171]

What greater condemnation of the traditional gods could there be than this!

In the Hercules Hera drives the hero mad and makes him the slayer of his own innocent children, all because of the goddess’s jealousy of Zeus. Small wonder that Hercules cries when the truth is brought home to him:

To such a Goddess Who shall pray now? who, for a woman’s sake Jealous of Zeus, from Hellas hath cut off Her benefactors, guiltless though they were.[172]

The hero refuses to find any consolation for his woes in the suggestion that the gods too have sinned and suffered for their wrongs—“if minstrel legends be not false.” Whereat he exclaims:

I deem not that the Gods for spousals crave Unhallowed: tales of Gods’ hands manacled Ever I scorned nor ever will believe, Nor that one God is born another’s lord. For God hath need, if God indeed he be, Of naught: these be the minstrels’ sorry tales.[173]

This play then like the Hippolytus is a condemnation through Hera and Zeus of the whole system of gods.

In these sentiments there is something more than direct defiance of tradition. Euripides does not, like Pindar, refine away the baser elements of legends; or, like Aeschylus and Sophocles, obscure the uglier features of the ancient mythology. On the contrary, constrained by his profession as dramatic poet to draw his themes from the dark tales of gods and heroes in a mythological age—tales whose immorality was wholly hateful to him—he accomplishes his purpose by showing these gods and heroes on his stage engaged in actions and prompted by motives which are so base as to destroy the spectator’s regard for beings of such a sort, and to win the onlooker’s sympathy for the mortal victim against the higher power. To the shameless natures of the gods the poet bluntly gives fitting characterizations: he names them cruel, vengeful, treacherous, licentious.

Euripides is no less iconoclastic in dealing with current religious practices; there is none that escapes his scorn. Sacrifices and votive offerings seem to him unworthy of true gods. The folly of popular wonder at the riches of temples is brought out in a fragment of the lost Philoctetes, in which the hero sarcastically bids his hearers see how even the gods prize gain, and therefore men should not hesitate to get profit and thereby make themselves equal to the gods.[174] That it is not the size of the gift, but piety which secures the favor of just Heaven, is the lesson of another couplet.[175] Temples and statues, and all the sacred privileges attached thereto are treated with equal disregard for tradition; and the sacred institution of blood-vengeance is most emphatically condemned. For the common trust in omens given by dreams and the flight of birds he has only ridicule. So in the Tauric Iphigenia when Iphigenia learns from Orestes that her brother lives, she cries:

False dreams, avaunt! So then ye were but naught.[176]

To which Orestes answers:

Ay, and not even Gods, whom men call wise, Are less deceitful than be fleeting dreams. Utter confusion is in things divine And human. Wise men grieve at this alone When—rashness?—no, but faith in oracles Brings ruin—how deep, they that prove it know.[177]

The condemnation of the interpreter of signs given by birds is made the more effective in the Phoenissae by putting it into the mouth of the seer Tirisias:

Who useth the diviner’s art Is foolish. If he heraldeth ill things, He is loathed of those to whom he prophesies. If pitying them that seek to him, he lie, He wrongs the Gods.[178]

In the Iphigenia at Aulis Achilles bitterly asks, “What is a seer?” and answers his own question, “A man who speaks few truths and many lies.”[179] Even prayer is sometimes regarded as of doubtful aid, although naturally Euripides’ characters often appeal to the Gods.

At times, too, the poet is more openly atheistic or agnostic with reference to the popular religion. The most striking illustration is found in the prayer which he puts into the mouth of Hecuba, the Trojan queen:

O Earth’s Upbearer, thou whose throne is Earth, Whoe’er thou be, O past our finding out, Zeus, be thou Nature’s Law, or Mind of Man, To thee I pray; for treading soundless paths, In justice dost thou guide all mortal things.[180]

You will observe that although this prayer rejects all current polytheism, it is far from denying the existence of a divine power—rather it maintains in poetic language the existence of such a principle—the reason of the universe which shows itself in nature as law and in the mind of man as reason. This pantheism finds expression elsewhere in his poetry. In illustration I will quote two fragments. The first identifies divinity with all embracing ether:

Seest thou the boundless ether there on high, That folds the earth around with dewy arms? This deem thou Zeus, this reckon one with God.[181]

The second identifies god with the intelligence which pervades the world:

Thee, self-begotten, who in ether rolled Ceaselessly round, by mystic links dost blend The nature of all things, whom veils enfold Of light, of dark night flecked with gleams of gold, Of star-hosts dancing round thee without end.[182]

The last three passages show how the poet’s mind was filled with the philosophic thought of the day. In identifying divinity with the ether he was apparently giving poetic expression to the views of his contemporary, the philosopher Diogenes of Apollonia, whom he must have known at Athens. Diogenes followed Anaximenes in making “Air” (or the “Ether”) the basic element of the world, but advanced beyond his predecessor in attributing to “Air” intelligence and movement—indeed he held that it could only be conceived as intelligent; and he further said that this intelligent “Air,” which was the cause and, by virtue of its intelligence, the director of all things, seemed to him to be god. In the mind of man therefore the divine principle shows itself as intellect, in nature it is law. But in Hecuba’s prayer there is a higher conception of god than even this—the divine reason is also world-ruling Justice: Justice and God are one. This identification in a sense is as old as Hesiod, but Euripides conceives of Justice not as the daughter of Zeus but as identical with the cosmic reason, immanent in all things, forming and directing all things. When the poet speaks of Justice in ways more natural to the ordinary man, he combats the current notion that Justice dwells in heaven where men’s sins are recorded in a book; rather, he says, she is here on earth with men, unseen but seeing all.[183] Yet he never carried out this idea and reconciled it with the actual moral condition of the world and the undeserved sufferings of mankind. The problem of evil and doubt constantly vexed him; neither faith nor reason gave him rest:

When faith overfloweth my mind, God’s providence all-embracing Banisheth griefs: but when doubt whispereth ‘Ah but to _know_!’ No clue through the tangle I find of fate and of life for my tracing: There is ever a change and many a change, And the mutable fortune of men evermore sways to and fro Over limitless range.[184]

On death and the possibility of a future life Euripides again gives us no consistent views. He thought that men fear the great transition from inexperience with it; but he found some comfort in the fact that death comes in obedience to nature’s universal law, and therefore should cause no alarm.[185] Still he felt that the possibility of life beyond the grave gave no certainty of joy, for many, like Macaria in the Heraclidae, might say:

If in the grave aught be: But ah that naught might be!—for if there too We mortals who must die shall yet have cares, I know not whither one shall turn; since death For sorrow is accounted chiefest balm.[186]

Sometimes he expresses or hints at the view that our souls return to the air or ether from which they sprang.[187] Again he uses the Homeric pictures of a cheerless other world. Once he refers to the Orphic doctrine in the cryptic utterance, “Who knows but life be death, and death be reckoned life below?”—verses which Plato and other philosophers were to interpret after him.

If space allowed, we might gladly dwell on Euripides’ sympathy with human poverty and suffering, on the hints he gives that he perceived the common brotherhood of man. In his noble ideals of womanhood he surpasses his contemporaries. Above all these matters it is important for us with our present interest to note that more than once the tragedian seems to wish to inculcate the truth that the standard of morality among men was far superior to that of the traditional pantheon. No other poet of his age sets forth the true nobility of man so perfectly as Euripides.

The last play of the long list he wrote was the Bacchae. Composed in Macedonia, it was first produced at Athens after the poet’s death. As was fitting for a tragedy written in the home of Dionysus, the drama deals with the Dionysiac possession, enthusiasm, the “divine madness,” on which the Greeks ever set high store. No play has so baffled interpretation. Some scholars think it a recantation; others vigorously deny it. Personally I am inclined to hold with Adam that Dionysus in the play “stands for the spirit of enthusiasm in the ancient Greek meaning of the word,” and that the principal lesson of the drama is to be found in the verse, “Not with knowledge is wisdom bought”[188]—that is, reason is not all in man, but there is something greater—enthusiasm, inspiration.[189]

From what we have been considering thus far, it is evident that Euripides’ spirit was primarily iconoclastic; there can be no question that he contributed to the decay of the ancient beliefs and that he helped drive the Olympians from their thrones in the minds of thinking men. For fifty years he openly uttered his criticisms in the theater at the high festival of Dionysus before the quick-witted Athenians. The effect must have been great, for no poet enjoyed more widespread popularity.

On the positive side Euripides offers no system of religion or of morals. Indeed, he seems never to have arrived at any complete unity in his thought. But he is stimulating now, and in his own day unquestionably goaded men to reflection, just because he raises so often fundamental questions—the questions which reflecting men were asking then and have been asking ever since—questions which are never wholly answered, but which always demand an answer. The stimulating character of his dramas makes him indeed one of the great religious poets of the world.

FOOTNOTES:

[154] _Thuc._ 2, 43-44.

[155] _Frgg._ 14-16.

[156] _Frg._ 11.

[157] _Frg._ 18.

[158] _Frgg._ 23-26.

[159] _Frgg._ 1, 2, 30, 31, 40-42; cf. 57, 67, 90.

[160] _Frgg._ 14, 15, 29, 32, 41, 128.

[161] _Frg._ 1.

[162] _Frg._ 4.

[163] _Frg._ 5.

[164] _Frg._ 25 = 1 Nauck^2, pp. 770 ff.

[165] _Apol._ 28 E.

[166] _Apol._ 30 A.

[167] _Frg._ 292, 7.

[168] _Frg._ 226, 4.

[169] _Hipp._ 451-459.

[170] _Hipp._ 473-476.

[171] _Hipp._ 1365-1369.

[172] _H. F._ 1307 ff.

[173] _H. F._ 1341 ff.

[174] _Frg._ 794.

[175] _Frg._ 946.

[176] _I.T._ 569.

[177] _I.T._ 570-575.

[178] _Phoen._ 954-958.

[179] _I.A._ 956 f.

[180] _Tro._ 884-888.

[181] _Frg._ 941.

[182] _Frg._ 593.

[183] _Frgg._ 151, 255, 506.

[184] _Hippol._ 1102 ff.

[185] _Frgg._ 757, 816.

[186] 592 ff.

[187] _Hel._ 1014 ff.

[188] 395.

[189] Adam, _Religious Teachers_, p. 316.

V

PLATO AND ARISTOTLE

Socrates became the father of many philosophic schools. His pupils naturally differed from one another in the emphasis which they gave to this or that side of their master’s teaching and in the ways in which they combined his doctrines with principles laid down by earlier thinkers, but all agreed in this, that they directed their attention to man as the center of thought and inquiry. From this time ethics and religion became the dominant themes of philosophy. Our subject bids us confine our attention to the greatest of these pupils, Plato.

Plato was born at Athens in the year 428/7 B.C. of an ancient family, which was related to the law-giver Solon. After being educated in the best Athenian fashion, he attached himself to Socrates in his twentieth year, when the latter was already about sixty years old, and he continued to associate with his master for ten years until the latter’s condemnation and death. Probably he was not one of the inner circle, but he tells us that he was present at his master’s trial and with other followers of Socrates was prepared to go bondsman, if a fine were inflicted. Sickness prevented him from sharing in the discussion of the last day, which is related to us in the Phaedo. After Socrates’ death, Plato was absent from Athens for about twelve years, residing first in the neighboring city of Megara, where his association with Euclides, one of Socrates’ oldest pupils, must have contributed to the development of his own philosophy. Later in southern Italy, if we accept the traditional account of his travels, he had an opportunity to study more closely in their home the Orphic-Pythagorean systems and doctrines, many of which no doubt he had often heard Socrates discuss. At Syracuse in Sicily he won over Dion, the young brother-in-law of the tyrant Dionysius. The latter, however, found his moral teachings offensive, seized him, and had him offered for sale as a prisoner of war in the slave market at Aegina. But a friend, Anniceris, bought him and set him free. When Plato’s other friends wished to repay to Anniceris the money he had spent, the latter refused, and the sum was used to purchase a grove sacred to the hero Academus, in which Plato opened a philosophic school. There, save for the interruptions caused by two journeys to Sicily, he continued to teach for about forty years, dying in 347 B.C. at the age of eighty.

To this school came pupils from almost every part of the Greek world. The chief subjects studied were the various branches of mathematics—including of course astronomy and harmonics,—and dialectics, by which is meant “the art of question and answer, the art of giving a rational account of things and of receiving such an account from others.” The distinctive methods employed were those of analysis and division which Plato seems to have developed so far that the invention of the former was actually, but erroneously, attributed to him. The purpose of analysis was to secure an explanation or proof of a proposition; that of division was to arrive at a proper classification or division of the object under consideration. Plato’s instruction was evidently given in considerable part by lectures, of which his hearers took notes; there was also scientific research on the part of the pupils who worked out the problems or difficulties set them by their master. Nor were these researches wholly mathematical and astronomical, for there is good reason to believe that studies in natural history were also pursued. Indeed, Aristotle, for twenty years a member of the Academy, must have had opportunities here to carry on those researches which interested him most in the early part of his life. But whatever the studies, the purpose was to lead the pupils to the discovery and contemplation of Reality, of Being, of the fundamental and permanent as against the individual and transitory phenomenon. Of Plato’s lectures we know virtually nothing; his Dialogues represent those parts of his doctrine which he wished to give to the outside world; it is probable that they in no sense adequately reproduce his teachings to his disciples.

How much of his philosophy Plato received from his master Socrates, how much he developed for himself cannot now be determined. Socrates left no writings; we know him only from the writings of others, and above all from the dialogues of Plato. There he is the chief spokesman, who leads his associates along various paths toward truth; and certainly no pupil ever built a nobler monument to his teacher than Plato did. Among modern scholars there are many views as to the extent of Plato’s debt to his master: one extreme wing, which has many adherents, would limit the Socratic elements in the Platonic doctrine to the ethical interest, the search for universals, and the dialectic method; the other wing, of which the eminent English Platonist Burnet is the chief representative, would attribute to Socrates practically everything found in the dialogues which Plato wrote before he began his teaching in the Academy. Indeed Burnet holds that Plato’s chief purpose in the earlier dialogues was to set forth the life and teaching of Socrates; he therefore claims that the “doctrine of ideas,” with all its consequences, and much besides, are purely Socratic, taken over by Plato in developed form. Few of us can accept either of these extreme views; it seems more probable that the truth lies between, that Plato learned much relating to “ideas” and their Pythagorean origins from his teacher, just as he derived from him his ethical interest and his method. But to reduce the brilliant pupil to a mere reporter of his master’s views with little philosophy of his own until he was past forty, is quite incredible, and such a procedure has no proper warrant. When speaking of Socrates in my previous lecture I avoided this question, for a discussion of it there would have been unprofitable and confusing; and even now for convenience I propose to treat that part of Plato’s philosophy which immediately concerns us as if it were wholly his own, begging you, however, to keep in mind always that undoubtedly much in germ or developed form was derived directly from Plato’s chief teacher. Furthermore I must ask you to remember that Plato had been given to poetry when a youth, and that although he renounced the practice of the art, he remained a poet in spirit to the end of his life; all his thoughts were touched with poetry, enlivened with humour, and fired with religious zeal. He was a consummate literary artist, and a man of many sides. It was natural therefore that he should nowhere set forth a crystallized system of philosophy such as a less imaginative and duller person might have done; he was apparently a man who grew through all his eighty years. The result is that in spite of the fact that we may properly speak of “the unity of Plato’s thought,” we find in his works variety, variation, and even contradiction. The requirements of our present situation, however, force us to consider our themes categorically, though that procedure is somewhat unfair to Plato.