CONCEPTION OF THE HEREAFTER

This picture has a quality which reminds one of the frescoes in the Campo Santo at Pisa, but which is much more terrible because no hope of paradise atones for the horror. The reliefs on contemporary cinerary urns tell the same tale. To be sure, the dead reclines fat and finely bedecked on the lid of these cinerary urns, holding a drinking-bowl, or, if female, a fan. This is only tradition and has nothing to do with actual feeling. It is clear enough that the old confident conception of the hereafter as an eternal symposium has been exploded. To this the reliefs on the urns bear witness. These reliefs, if they do not directly evade the problem by choosing neutral scenes from Greek mythology, reveal a demoniac possession of appalling intensity. We need no literature in order to realize that the Etruscans under the pressure of disaster became another people, pessimistic, in terror of death, and devoid of any resiliency which would allow them to indulge in the pleasures of life. If this spiritual incubus descended upon the masses of the Roman people we can better understand how it is that the poet Lucretius can feel enthusiasm, and can arouse it in others, when he preaches the gospel of godlessness and the annihilation of the soul in death.[120] For of the Etruscan people, at any rate, the words of Lucretius[121] hold good:

Omnia perfunctus vitai praemia marces.

All that life had to give, thou hast enjoyed,

And now thou fadest.


INDEX

The * indicates that the citation is in the notes.