Who, separate, ignored each other's art.
Say, is it nothing that I know them all?
"This, since the best in each art has already been done, was the only progress possible, and I have made it. It is not unworthy, king!
"Well, now thou askest, if having done this, 'I have not attained the very crown of life; if I cannot now comfortably and fearlessly meet death?' 'I, Cleon, leave,' thou sayest, 'my life behind me in my poems, my pictures; I am immortal in my work. What more can life desire?'"
It is the question so many are asking now, and it is the answer now given. What better immortality than in one's work left behind to move in men? What more than this can life desire? But Cleon does not agree with that. "If thou, O king, with the light now in thee, hadst looked at creation before man appeared, thou wouldst have said, 'All is perfect so far.' But questioned if anything more perfect in joy might be, thou wouldst have said, 'Yes; a being may be made, unlike these who do not know the joy they have, who shall be conscious of himself, and know that he is happy. Then his life will be satisfied with daily joy.'" O king, thou wouldst have answered foolishly. The higher the soul climbs in joy the more it sees of joy, and when it sees the most, it perishes. Vast capabilities of joy open round it; it craves for all it presages; desire for more deepening with every attainment. And then the body intervenes. Age, sickness, decay, forbid attainment. Life is inadequate to joy. What have the gods done? It cannot be their malice, no, nor carelessness; but—to let us see oceans of joy, and only give us power to hold a cupful—is that to live? It is misery, and the more of joy my artist nature makes me capable of feeling, the deeper my misery.
"But then, O king, thou sayest 'that I leave behind me works that will live; works, too, which paint the joy of life.' Yes, but to show what the joy of life is, is not to have it. If I carve the young Phoebus, am I therefore young? I can write odes of the delight of love, but grown too grey to be beloved, can I have its delight? That fair slave of yours, and the rower with the muscles all a ripple on his back who lowers the sail in the bay, can write no love odes nor can they paint the joy of love; but they can have it—not I."
The knowledge, he thinks, of what joy is, of all that life can give, which increases in the artist as his feebleness increases, makes his fate the deadlier. What is it to him that his works live? He does not live. The hand of death grapples the throat of life at the moment when he sees most clearly its infinite possibilities. Decay paralyses his hand when he knows best how to use his tools. It is accomplished wretchedness.
I quote his outburst. It is in the soul of thousands who have no hope of a life to come.
"But," sayest thou—(and I marvel, I repeat,
To find thee trip on such a mere word) "what