Athens: Its Rise and Fall, Book IV

by Baron Edward Bulwer Lytton Lytton

VIII. At Thurium Herodotus apparently passed the remainder of his life, though whether his tomb was built there or in Athens is a matter of dispute. These particulars of his life, not uninteresting in themselves, tend greatly to illustrate the character of his writings. Their charm consists in the earnestness of a man who describes countries as an eyewitness, and events as one accustomed to participate in them. The life, the raciness, the vigour of an adventurer and a wanderer glow in every page. He has none of the refining disquisitions that are born of the closet. He paints history rather than descants on it; he throws the colourings of a mind, unconsciously poetic, over all he describes. Now a soldier—now a priest—now a patriot—he is always a poet, if rarely a philosopher. He narrates like a witness, unlike Thucydides, who sums up like a judge. No writer ever made so beautiful an application of superstitions to truths. His very credulities have a philosophy of their own; and modern historians have acted unwisely in disdaining the occasional repetition even of his fables. For if his truths record the events, his fables paint the manners and the opinions of the time; and the last fill up the history, of which events are only the skeleton.

To account for his frequent use of dialogue and his dramatic effects of narrative, we must remember the tribunal to which the work of Herodotus was subjected. Every author, unconsciously to himself, consults the tastes of those he addresses. No small coterie of scholars, no scrupulous and critical inquirers, made the ordeal Herodotus underwent. His chronicles were not dissertations to be coldly pondered over and skeptically conned: they were read aloud at solemn festivals to listening thousands; they were to arrest the curiosity—to amuse the impatience—to stir the wonder of a lively and motley crowd. Thus the historian imbibed naturally the spirit of the taleteller. And he was driven to embellish his history with the romantic legend—the awful superstition—the gossip anecdote—which yet characterize the stories of the popular and oral fictionist, in the bazars of the Mussulman, or on the seasands of Sicily. Still it has been rightly said that a judicious reader is not easily led astray by Herodotus in important particulars. His descriptions of localities, of manners and customs, are singularly correct; and modern travellers can yet trace the vestiges of his fidelity. As the historian, therefore, was in some measure an orator, so his skill was to be manifest in the arts which keep alive the attention of an audience. Hence Herodotus continually aims at the picturesque; he gives us the very words of his actors, and narrates the secrets of impenetrable palaces with as much simplicity and earnestness as if he had been placed behind the arras. [231]

That it was impossible for the wandering Halicarnassian to know what Gyges said to Candaules, or Artabanus to Xerxes, has, perhaps, been too confidently asserted. Heeren reminds us, that both by Jewish and Grecian writers there is frequent mention of the scribes or secretaries who constantly attended the person of the Persian monarch —on occasion of festivals [232], of public reviews [233], and even in the tumult of battle; and, with the idolatrous respect in which despotism was held, noted down the words that fell from the royal lip. The ingenious German then proceeds to show that this custom was common to all the Asiatic nations. Thus were formed the chronicles or archives of the Persians; and by reference to these minute and detailed documents, Herodotus was enabled to record conversations and anecdotes, and preserve to us the memoirs of a court. And though this conjecture must be received with caution, and, to many passages unconnected with Persia or the East, cannot be applied, it is sufficiently plausible, in some very important parts of the history, not to be altogether dismissed with contempt.

But it is for another reason that I have occasionally admitted the dialogues of Herodotus, as well as the superstitious anecdotes current at the day. The truth of history consists not only in the relation of events, but in preserving the character of the people, and depicting the manners of the time. Facts, if too nakedly told, may be very different from truths, in the impression they convey; and the spirit of Grecian history is lost if we do not feel the Greeks themselves constantly before us. Thus when, as in Herodotus, the agents of events converse, every word reported may not have been spoken; but what we lose in accuracy of details we more than gain by the fidelity of the whole. We acquire a lively and accurate impression of the general character—of the thoughts, and the manners, and the men of the age and the land. It is so also with legends, sparingly used, and of which the nature is discernible from fact by the most superficial gaze; we more sensibly feel that it was the Greeks who were engaged at Marathon when we read of the dream of Hippias or the apparition of Theseus. Finally, an historian of Greece will, almost without an effort, convey to the reader a sense of the mighty change, from an age of poetical heroes to an age of practical statesmen, if we suffer Herodotus to be his model in the narrative of the Persian war, and allow the more profound and less imaginative Thucydides to colour the pictures of the Peloponnesian.

XIV. The period now entered upon is also remarkable for the fertile and rapid development of one branch of intellectual cultivation in which the Greeks were pre-eminently illustrious. In history, Rome was the rival of Greece; in philosophy, Rome was never more than her credulous and reverend scholar.

We have seen the dawn of philosophy with Thales; Miletus, his birthplace, bore his immediate successors. Anaximander, his younger contemporary [234], is said, with Pherecydes, to have been the first philosopher who availed himself of the invention of writing. His services have not been sufficiently appreciated—like those of most men who form the first steps in the progress between the originator and the perfector. He seems boldly to have differed from his master, Thales, in the very root of his system. He rejected the original element of water or humidity, and supposed the great primary essence and origin of creation to be in that EVERYTHING or NOTHING which he called THE INFINITE, and which we might perhaps render as "The Chaos;" [235] that of this vast element, the parts are changed—the whole immutable, and all things arise from and return unto that universal source [236]. He pursued his researches into physics, and attempted to account for the thunder, the lightning, and the winds. His conjectures are usually shrewd and keen; and sometimes, as in his assertion, "that the moon shone in light borrowed from the sun," may deserve a higher praise. Both Anaximander and Pherecydes concurred in the principles of their doctrines, but the latter seems to have more distinctly asserted the immortality of the soul. [237]

Anaximenes, also of Miletus, was the friend and follower of Anaximander (B. C. 548). He seems, however, to have deserted the abstract philosophical dogmas of his tutor, and to have resumed the analogical system commenced by Thales—like that philosopher, he founded axioms upon observations, bold and acute, but partial and contracted. He maintained that air was the primitive element. In this theory he united the Zeus, or ether, of Pherecydes, and the Infinite of Anaximander, for he held the air to be God in itself, and infinite in its nature.

XV. While these wild but ingenious speculators conducted the career of that philosophy called the Ionian, to the later time of the serene and lofty spiritualism of Anaxagoras, two new schools arose, both founded by Ionians, but distinguished by separate names—the Eleatic and the Italic. The first was founded by Xenophanes of Colophon, in Elea, a town in western Italy. Migrating to an alien shore, colonization seems to have produced in philosophy the same results which it produced in politics: it emancipated the reason from all previous prejudice and prescriptive shackles. Xenophanes was the first thinker who openly assailed the popular faith (B. C. 538). He divested the Great Deity of the human attributes which human vanity, assimilating God to man, had bestowed upon him. The divinity of Xenophanes is that of modern philosophy—eternal, unalterable, and alone: graven images cannot represent his form. His attributes are— ALL HEARING, ALL SIGHT, and ALL THOUGHT.

To the Eleatic school, founded by Xenophanes, belong Parmenides, Melissus the Samian, Zeno, and Heraclitus of Ephesus. All these were thinkers remarkable for courage and subtlety. The main metaphysical doctrines of this school approach, in many respects, to those that have been familiar to modern speculators. Their predecessors argued, as the basis of their system, from experience of the outward world, and the evidence of the senses; the Eleatic school, on the contrary, commenced their system from the reality of ideas, and thence argued on the reality of external objects; experience with them was but a show and an appearance; knowledge was not in things without, but in the mind; they were the founders of idealism. With respect to the Deity, they imagined the whole universe filled with it—God was ALL IN ALL. Such, though each philosopher varied the system in detail, were the main metaphysical dogmas of the Eleatic school. Its masters were high-wrought, subtle, and religious thinkers; but their doctrines were based upon a theory that necessarily led to parodox and mysticism; and finally conduced to the most dangerous of all the ancient sects—that of the sophists.

We may here observe, that the spirit of poetry long continued to breathe in the forms of philosophy. Even Anaximander, and his immediate followers in the Ionic school, while writing in prose, appear, from a few fragments left to us, to have had much recourse to poetical expression, and often convey a dogma by an image; while, in the Eleatic school, Xenophanes and Parmenides adopted the form itself of verse, as the medium for communicating their theories; and Zeno, perhaps from the new example of the drama, first introduced into philosophical dispute that fashion of dialogue which afterward gave to the sternest and loftiest thought the animation and life of dramatic pictures.