The Greek View of Life

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A mysterious nature goddess associated with sorcery and witchcraft, who went with Demeter to the Underworld to fetch Persephone, but then stayed to assist Persephone. Parents: Perses (and Asteria) or Zeus and Asteria (a second-generation Titan) or Nyx (Night) or Aristaios or Demeter (see Theoi Hecate) The passage perhaps represents what we may call the typical attitude of the Greek. To seek consolation for death, if anywhere, then in life, and in life not as it might be imagined beyond the grave, but as it had been and would be lived on earth, appears to be consonant with all that we know of the clear and objective temper of the race. It is the spirit which was noted long ago by Goethe as inspiring the sepulchral monuments of Athens. From both these points of view, the metaphysical and the ethical, the Greeks were brought by their religion into harmony with the world. Neither the perplexities of the intellect nor the scruples of the conscience intervened to hamper their free activity. Their life was simple, straightforward and clear; and their consciousness directed outwards upon the world, not perplexedly absorbed in the contemplation of itself. She having thus said departed, and they arose with a mighty sound, rolling the clouds before them. And swiftly they came blowing over the sea, and the wave rose beneath their shrill blast; and they came to deep-soiled Troy, and fell upon the pile, and loudly roared the mighty fire. So all night drave they the flame of the pyre together, blowing shrill; and all night fleet Achilles, holding a two-handled cup, drew wine from a golden bowl, and poured it forth and drenched the earth, calling upon the spirit of hapless Patroclos. As a father waileth when he burneth the bones of his son, new-married, whose death is woe to his hapless parents, so wailed Achilles as he burnt the bones of his comrade, going heavily round the burning pile, with many moans.

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Thus ends the first phase of the festival. So far all has been mirth and revelry; but now comes a sudden change of tone. Dionysus, god of wine though he be, has also his tragic aspect; of him too there is recorded a "descent into hell"; and to the glad celebration of the renewal of life in spring succeeds a feast in honour of the dead. The ghosts, it is supposed, come forth to the upper air; every door-post is smeared with pitch to keep off the wandering shades; and every family sacrifices to its own departed. Nor are the arts forgotten; a musical festival is held, and competing choirs sing and dance in honour of the god. The present kingdom of Greece is among the smallest of European states; but to the Greeks it would have appeared too large to be a state at all. Within that little peninsular whose whole population and wealth are so insignificant according to modern ideas, were comprised in classical times not one but many flourishing polities. And the conception of an amalgamation of these under a single government was so foreign to the Greek idea, that even to Aristotle, the clearest and most comprehensive thinker of his age, it did not present itself even as a dream. To him, as to every ancient Greek, the state meant the City—meant, that is to say, an area about the size of an English county, with a population, perhaps, of some hundred thousand, self-governing and independent of any larger political whole A conductor of dreams and a chthonian god, Hermes Psychopompous herds the dead towards the Underworld. He is shown in art conveying the dead to Charon. Parents: Zeus (and Maia) or Dionysus and AphroditeOf all the problems on which we expect light to be thrown by religion none, to us, is more pressing than that of death. A fundamental, and as many believe, the most essential part of Christianity, is its doctrine of reward and punishment in the world beyond; and a religion which had nothing at all to say about this great enigma we should hardly feel to be a religion at all. And certainly on this head the Greeks, more than any people that ever lived, must have required a consolation and a hope. Just in proportion as their life was fuller and richer than that which has been lived by any other race, just in proportion as their capacity for enjoyment, in body and soul, was keener, as their senses were finer, their intellect broader, their passions more intense, must they have felt, with peculiar emphasis, the horror of decay and death. And such, in fact, is the characteristic note of their utterances on this theme. "Rather," says the ghost of Achilles to Odysseus in the world of shades, "rather would I live upon the soil as the hireling of another, with a landless man who had no great livelihood, than bear sway among all the dead that are no more." [Footnote: Od. xi 489.—Translated by Butcher and Lang.] Better, as Shakespeare has it, AESCHYLUS (B.C. 525—456). "The House of Atreus" (I.E. the "Agamemnon,""Choephorae" and "Eumenides"), translated by E. D. A. MORSHEAD (Warren and Sons). The "Eumenides," translated by DR. VERRALL (Cambridge, 1885). The Greek View of Life," no doubt, is a question-begging title, but I believe it to have a quite intelligible meaning; for varied and manifold as the phases may be that are presented by the Greek civilization, they do nevertheless group themselves about certain main ideas, to be distinguished with sufficient clearness from those which have dominated other nations. It is these ideas that I have endeavoured to bring into relief; and if I have failed, the blame, I submit, must be ascribed rather to myself than to the nature of the task I have undertaken. The wind," he says, "which blows from the tombs of the ancients comes with gentle breath as over a mound of roses. The reliefs are touching and pathetic, and always represent life. There stand father and mother, their son between them, gazing at one another with unspeakable truth to nature. Here a pair clasp hands. Here a father seems to rest on his couch and wait to be entertained by his family. To me the presence of these scenes was very touching. Their art is of a late period, yet are they simple, natural, and of universal interest. Here there is no knight in harness on his knees awaiting a joyful resurrection. The artist has with more or less skill presented to us only the persons themselves, and so made their existence lasting and perpetual. They fold not their hands, gaze not into heaven; they are on earth, what they were and what they are. They stand side by side, take interest in one another; and that is what is in the stone, even though somewhat unskilfully, yet most pleasingly depicted." [Footnote: From Goethe's "Italienische Reise." I take this translation (by permission) from Percy Gardner's "New Chapters in Greek History", p. 319.]

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Aristophanes, of course, is jesting; but how serious and important this art of divination must have appeared even to the most cultivated Athenians may be gathered from a passage of the tragedian Aeschylus, where he mentions it as one of the benefits conferred by Prometheus on mankind, and puts it on a level with the arts of building, metal-making, sailing, and the like, and the sciences of arithmetic and astronomy.

The Greeks, then, were not without hope and fear concerning the world to come, however little these feelings may have coloured their daily life; and there was one phase of their religion, which appears to have been specially occupied with this theme. In almost every Greek city we hear of "mysteries", the most celebrated being, of course, those of Eleusis in Attica. What exactly these "mysteries" were we are very imperfectly informed; but so much, at least, is clear that by means of a scenic symbolism, representing the myth of Demeter and Kore or of Dionysus Zagreus, hopes were held out to the initiated not only of a happy life on earth, but of a happy immortality beyond. "Blessed," says Pindar, "blessed is he who has seen these things before he goes under the hollow earth. He knows the end of life, and he knows its god-given origin." And it is presumably to the initiated that the same poet promises the joys of his thoroughly Greek heaven. "For them," he says, "shineth below the strength of the sun while in our world it is night, and the space of crimson-flowered meadows before their city is full of the shade of frankincense trees, and of fruits of gold. And some in horses, and in bodily feats, and some in dice, and some in harp-playing have delight; and among them thriveth all fair-flowering bliss; and fragrance streameth ever through the lovely land, as they mingle incense of every kind upon the altars of the gods." [Footnote: Pindar, Thren. I.— Translation by E. Myers.] Still, broadly speaking and admitting the limitations, the statement may stand. If the Greek popular religion be compared with that of the Christian world, the great distinction certainly emerges, that in the one the relation of God to man is conceived as mechanical and external, in the other as inward and spiritual. The point has been sufficiently illustrated, and we may turn to another division of our subject. Section 11. The Greek View of Death and a Future Life.

The Greek View of Life - 1st Edition - G. Lowes Dickinson

Some Rights Reserved (2009-2023) under Creative Commons Attribution-NonCommercial-ShareAlike license unless otherwise noted. Such would be the kind of questions that would vex our candid youth when he approached his Homer from the side of theology. Nor would he fare any better if he took the ethical point of view. The gods, he would find, who should surely at least attain to the human standard, not only are capable of every phase of passion, anger, fear, jealousy and, above all, love, but indulge them all with a verve and an abandonment that might make the boldest libertine pause. Zeus himself, for example, expends upon the mere catalogue of his amours a good twelve lines of hexameter verse. No wonder that Hera is jealous, and that her lord is driven to put her down in terms better suited to the lips of mortal husbands: On the other hand, this harmony which was the essence of the Greek civilisation, was a temporary compromise, not a final solution. It depended on presumptions of the imagination, not on convictions of the intellect; and as we have seen, it destroyed itself by the process of its own development. The beauty, the singleness, and the freedom which attracts us in the consciousness of the Greek was the result of a poetical view of the world, which did but anticipate in imagination an ideal that was not realised in fact or in thought. It depended on the assumption of anthropomorphic gods, an assumption which could not stand before the criticism of reason, and either broke down into scepticism, or was developed into the conception of a single supreme and spiritual power.

Lady, ever art thou imagining, nor can I escape thee; yet shalt thou in no wise have power to fulfil, but wilt be the further from my heart; that shall be even the worse for thee. Hide thou in silence and hearken to my bidding, lest all the gods that are in Olympus keep not off from thee my visitation, when I put forth my hands unapproachable against thee." [Footnote: Iliad i. 560.—Translated by Leaf, Lang and Myers.] Section 13. Ethical Criticism.