Menippus however has perished and Lucian remains and is read; for, whatever else is to be said of him, he is readable. He has not lost all the traces of the years during which he consorted with Rhetoric; at times he amplifies and exaggerates, and will strain for more point and piquancy than a taste more sure would approve. Yet he has the instinct to avoid travesty, and his style is in general natural and simple, despite occasional literary reminiscences. His characters talk,—as men may talk of their affairs, when they are not conscious of being overheard,—with a naïve frankness not always very wise, with a freedom and common sense, and sometimes with a folly, that together reveal the speaker. They rarely declaim, and they certainly never reach any high level of thought or feeling. The talk is slight and easy—it flickers about from one idea to another, and gives a strong impression of being real. If it is gods who are talking, they become surprisingly human—and even bourgeois, they are so very much at home among themselves. Lucian's skill is amazing. He will take some episode from Homer and change no single detail, and yet, as we listen to the off-hand talk of the gods as they recount the occurrence, we are startled at the effect—the irony is everywhere and nowhere; the surprises are irresistible. Zeus, for instance, turns out to have more literary interests than we suppose; he will quote Homer and make a Demosthenic oration to the gods, though alas! his memory fails him in the middle of a sentence;[[17]] he laments that his altars are as cold as Plato's Laws or the syllogisms of Chrysippus. He is the frankest gentleman of heaven, and so infinitely obliging!
In short, for sheer cleverness Lucian has no rival but Aristophanes in extant Greek literature. His originality, his wit, his humour (not at all equal, it may be said, to his wit), his gifts of invention and fancy, his light touch, and his genius for lively narrative, mark him out distinctively in an age when literature was all rhetoric, length and reminiscence. But as we read him, we become sensible of defects as extraordinary as his gifts. For all his Attic style, he belongs to his age. He may renounce Rhetoric, but no man can easily escape from his past. The education had intensified the cardinal faults of his character, impatience, superficiality, a great lack of sympathy for the more tender attachments and the more profound interests of men—essential unbelief in human grandeur. An expatriated adventurer, living for twenty years on his eloquence, with the merest smattering of philosophy and no interest whatever in nature and natural science or mathematics, with little feeling and no poetry,—it was hardly to be expected that he should understand the depths of the human soul, lynx-eyed as he is for the surface of things. He had a very frank admiration for his own character, and he drew himself over and over again under various names. Lykinos, for example, is hardly a disguise at all. "Free-Speech, son of True-man, son of Examiner," he calls himself in one of his mock trials, "hater of shams, hater of impostors, hater of liars, hater of the pompous, hater of every such variety of hateful men—and there are plenty of them"; conversely, he loves the opposites, when he meets them, which, he owns, is not very often.[[18]]
Lucian and philosophy
With such a profession, it is not surprising that a man of more wit than sympathy, found abundance of material in the follies of his age. Men were taking themselves desperately seriously,—preaching interminable Philosophy, saving their souls, and communing with gods and dæmons in the most exasperating ways. Shams, impostures, and liars—so Lucian summed them up, and he did not conceal his opinion. Granted that the age had aspects quite beyond his comprehension, he gives a very vivid picture of it from the outside. This is what men were doing and saying around him—but why? Why, but from vanity and folly? Gods, philosophers, and all who take human life seriously, are deluged with one stream of badinage, always clever but not always in good taste. He has no purpose, religious or philosophic. If he attacks the gods, it is not as a Sceptic—the Sceptics are ridiculed as much as any one else in the Sale of Lives—men who know nothing, doubt of their own experience, and avow the end of their knowledge to be ignorance.[[19]] If he is what we nowadays loosely call sceptical, it is not on philosophic grounds. We should hardly expect him in his satirical pamphlets really to grapple with the question of Philosophy, but he seems not to understand in the least why there should be Philosophy at all. He is master of no single system, though he has the catch-words of them all at his finger-ends.
His most serious dialogue on Philosophy is the Hermotimus. "Lykinos" meets Hermotimus on his way to a lecture—a man of sixty who for many years has attended the Stoics. Into their argument we need not go, but one or two points may be noted. Hermotimus is a disciple, simple and persevering, who owns that he has not reached the goal of Happiness and hardly expects to reach it, but he presses bravely on, full of faith in his teachers. Under the adroit questions of Lykinos, he is forced to admit that he had chosen the Stoics rather than any other school by sheer intuition—or because of general notions acquired more or less unconsciously—like a man buying wine, he knew a good thing when he tasted it, and looked no further. Yes, says Lykinos, take the first step and the rest is easy—Philosophy depends on a first assumption—take the Briareus of the poets with three heads and six hands, and then work him out,—six eyes, six ears, three voices talking at once, thirty fingers—you cannot quarrel with the details as they come; once grant the beginning, and the rest comes flooding in, irresistible, hardly now susceptible of doubt. So in Philosophy, your passion, like the longing of a lover, blinded you to the first assumptions, and the structure followed.[[20]] "Do not think that I speak against the Stoics, through any special dislike of the school; my arguments hold against all the schools."[[21]] The end is that Hermotimus abandons all Philosophy for ever—not a very dramatic or probable end, as Plato and Justin Martyr could have told Lucian.
The other point to notice is the picture of Virtue under the image of a Celestial City, and here one cannot help wondering whether the irony has any element of personal reminiscence. Virtue Lykinos pictures as a City, whose citizens are happy, wise and good, little short of gods, as the Stoics say. All there is peace, unity, liberty, equality. The citizens are all aliens and foreigners, not a native among them—barbarians, slaves, misformed, dwarfs, poor; for wealth and birth and beauty are not reckoned there. "In good truth, we should devote all our efforts to this, and let all else go. We should take no heed of our native-land, nor of the clinging and weeping of children or parents, if one has any, but call on them to take the same journey, and then, if they will not or cannot go with us, shake them off, and march straight for the city of all bliss, leaving one's coat in their hands, if they won't let go,—for there is no fear of your being shut out there, even if you come without a coat." Fifteen years ago an old man had urged Lykinos to go there with him. "If the city had been near at hand and plain for all to see, long ago, you may be sure, with never a doubt I would have gone there, and had my franchise long since. But as you tell us, it lieth far away"——and there are so many professed guides and so many roads, that there is no telling whether one is travelling to Babylon or to Corinth.[[22]] "So for the future you had better reconcile yourself to living like an ordinary man, without fantastic and vain hopes."[[23]]
Lucian never ceases to banter the philosophers. When he visits the Islands of the Blest, he remarks that, while Diogenes and the Epicureans are there, Plato prefers his own Republic and Laws, the Stoics are away climbing their steep hill of Virtue, and the Academics, though wishful to come, are still suspending their judgment, uncertain whether there really is such an island at all and not sure that Rhadamanthus himself is qualified to give judgment.[[24]] Diogenes in the shades, Pan in his grotto, Zeus in heaven, and the common man in the streets, are unanimous that they have had too much Philosophy altogether. The philosophers have indeed embarked on an impossible quest, for they will never find Truth. Once Lucian represents Truth in person, and his portrait is characteristic. She is pointed out to him—a female figure, dim and indistinct of complexion; "I do not see which one you mean," he says, and the answer is, "Don't you see the unadorned one there, the naked one, ever eluding the sight and slipping away?"[[25]]
Lucian's Lover of Lies
But still more absurd than Philosophy was the growth of belief in the supernatural. Lucian's Lover of Lies is a most illuminating book. Here are gathered specimens of the various types of contemporary superstition—one would suspect the author of the wildest parody, if it were not that point by point we may find parallels in the other writers of the day. Tychiades (who is very like Lucian himself) tells how he has been visiting Eucrates and has dropped into a nest of absurdities. Eucrates is sixty and wears the solemn beard of a student of philosophy. He has a ring made of iron from gibbets and is prepared to believe everything incredible. His house is full of professed philosophers, Aristotelian, Stoic, and Platonic, advising him how to cure the pain in his legs, by wrapping round them a lion's skin with the tooth of a field mouse folded within it.[[26]] Tychiades asks if they really believe that a charm hung on outside can cure the mischief within, and they laugh at his ignorance. The Platonist tells a number of stories to prove the reasonableness of the treatment,—how a vine-dresser of his father's had died of snake-bite and been recovered by a Chaldæan, and how the same Chaldæan charmed (like the Pied Piper) all the snakes off their farm. The Stoic narrates how he once saw a Hyperborean flying and walking on water—"with those brogues on his feet that his countrymen habitually wear"—a man whose more ordinary feats were raising spirits, calling the dead from their graves, and fetching down the moon. Ion, the Platonist, confirms all this with an account of another miracle-worker—"everybody knows the Syrian of Palestine" who drives dæmons out of men; "he would stand by the patient lying on the ground and ask whence they have come into the body; and, though the sick person does not speak, the dæmon answers in Greek, or in some barbarian tongue, or whatever his own dialect may be, and explains how he entered into the man and whence he came. Then the Syrian would solemnly adjure him, or threaten him if he were obstinate, and so drive him out. I can only say I saw one, of a black smoky hue, in the act of coming out."[[27]] The Syrian's treatment was expensive, it appears. Celsus, as we shall see later on, has some evidence on this matter. The nationality of the magicians quoted in the book may be remarked—they are Libyan, Syrian, Arab, Chaldæan, Egyptian, and "Hyperborean."
Other tales of magical statues, a wife's apparition, an uneasy ghost,[[28]] a charm for bringing an absent lover, and the familiar one of the man who learns the spell of three syllables to make a pestle fetch water, but unhappily not that which will make it stop, and who finds on cutting it in two that there are now two inanimate water-carriers and a double deluge—these we may pass over. We may note that this water-fetching spell came originally from a sacred scribe of Memphis, learned in all the wisdom of the Egyptians, who lived underground in the temple for three and twenty years and was taught his magic there by Isis herself.[[29]] Interviews with dæmons are so common that instances are not given.[[30]]