Two other examples of the method may be given from later writers, to show the variety of its application.
The one is from Sallust, a writer of the fourth century of our era. He thus explains the story of the judgment of Paris. The banquet of the gods is a picture of the vast supra-mundane Powers, who are always in each other’s society. The apple is the world, which is thrown from the banquet by Discord, because the world itself is the play of opposing forces; and different qualities are given to the world by different Powers, each trying to win the world for itself; and Paris is the soul in its sensuous life, which sees not the other Powers in the world, but only Beauty, and says that the world is the property of Love.[98]
The other is from a writer of a late but uncertain age. He deals only with the Odyssey. Its hero is the picture of a man who is tossed upon the sea of life, drifted this way and that by adverse winds of fortune and of passion: the companions who were lost among the Lotophagi are pictures of men who are caught by the baits of pleasure and do not return to reason as their guide: the Sirens are the pleasures that tempt and allure all men who pass over the sea of life, and against which the only counter-charm is to fill one’s senses and powers of mind full of divine words and actions, as Odysseus filled his ears with wax, that, no part of them being left empty, pleasure may knock at their doors in vain.[99]
The method survived as a literary habit long after its original purpose failed. The mythology which it had been designed to vindicate passed from the sphere of religion into that of literature; but in so passing, it took with it the method to which it had given rise. The habit of trying to find an arrière pensée beneath a man’s actual words had become so inveterate, that all great writers without distinction were treated as writers of riddles. The literary class insisted that their functions were needed as interpreters, and that a plain man could not know what a great writer meant. “The use of symbolical speech,” said Didymus, the great grammarian of the Augustan age, “is characteristic of the wise man, and the explanation of its meaning.”[100] Even Thucydides is said by his biographer to have purposely made his style obscure that he might not be accessible except to the truly wise.[101] It tended to become a fixed idea in the minds of many men that religious truth especially must be wrapped up in symbol, and that symbol must contain religious truth. The idea has so far descended to the present day, that there are, even now, persons who think that a truth which is obscurely stated is more worthy of respect, and more likely to be divine, than a truth which “he that runs may read.”
The same kind of difficulty which had been felt on a large scale in the Greek world in regard to Homer, was felt in no less a degree by those Jews who had become students of Greek philosophy in regard to their own sacred books. The Pentateuch, in a higher sense than Homer, was regarded as having been written under the inspiration of God. It, no less than Homer, was so inwrought into the minds of men that it could not be set aside. It, no less than Homer, contained some things which, at least on the surface, seemed inconsistent with morality. To it, no less than to Homer, was applicable the theory that the words were the veils of a hidden meaning. The application fulfilled a double purpose: it enabled educated Jews, on the one hand, to reconcile their own adoption of Greek philosophy with their continued adhesion to their ancestral religion, and, on the other hand, to show to the educated Greeks with whom they associated, and whom they frequently tried to convert, that their literature was neither barbarous, nor unmeaning, nor immoral. It may be conjectured that, just as in Greece proper the adoption of the allegorical method had been helped by the existence of the mysteries, so in Egypt it was helped by the large use in earlier times of hieroglyphic writing, the monuments of which were all around them, though the writing itself had ceased.[102]
The earliest Jewish writer of this school of whom any remains have come down to us, is reputed to be Aristobulus (about B.C. 170-150).[103] In an exposition of the Pentateuch which he is said to have addressed to Ptolemy Philometor, he boldly claimed that, so far from the Mosaic writings being outside the sphere of philosophy, the Greek philosophers had taken their philosophy from them. “Moses,” he said, “using the figures of visible things, tells us the arrangements of nature and the constitutions of important matters.” The anthropomorphisms of the Old Testament were explained on this principle. The “hand” of God, for example, meant His power, His “feet,” the stability of the world.
But by far the most considerable monument of this mode of interpretation consists of the works of Philo. They are based throughout on the supposition of a hidden meaning. But they carry us into a new world. The hidden meaning is not physical, but metaphysical and spiritual. The seen is the veil of the unseen, a robe thrown over it which marks its contour, “and half conceals and half reveals the form within.”