English literature is surpassed by none, but its defects or dangers are at points where Greek is strong. Greek simplicity recalls us to the central interests of the human heart. Greek truthfulness is a challenge to see the world as it is and shun the emptiness of mere music, the falsities of rhetoric or sentiment, the incompleteness of writers who, instead of seeing life as a whole, ignore or emphasize a part of it as their own sympathies dictate. Greek beauty is a memorial of an aspect of the universe to which ages of thought are often blind. Greek technique is a lesson in ‘form’ and a reminder of its place in literature.
Nor is the study of Greek a danger to our national genius. Contact with highly developed foreign models may warp or cramp a literature in its infancy, but cannot harm it when full grown and robust. The native character is then too firmly established to be corrupted, and it is pure gain to have another standard for comparison, for detection of weaknesses and their cure. A reference to English literature will support this view and show that though the influence of Greek there has often been great, it has not been distorting. Consider the English poets who owe most to Greece—Milton, Gray, Shelley, Keats, Landor, Tennyson, Matthew Arnold, Swinburne, Bridges. It would puzzle any critic to find a common denominator between these men, or to trace back to Greece any universal feature in their poetry, except perhaps perfection of form. Technical perfection is not so serious or frequent a vice in English writers, that it can be complained of, and even this common element vanishes, if we add to the poets already quoted the Brownings, who prized and understood Greek and the Greek spirit as well as any of them.
At first sight it may seem strange that Shelley and Keats, Arnold and Swinburne, who were not merely passionate admirers of Greece but drew their chief inspiration from her, should be so different in style and matter. The explanation is simple. Some influences are tyrannous; they impose themselves, they dominate, they enslave. But there is a better and rarer type of influence, which stimulates and inspires yet leaves the poet free to develop his own genius with enlarged horizons and quickened sensibilities. Greek influence on our writers has been of this kind; perhaps because its literature is singularly free from the artifice and mannerism which lend themselves to mimicry and seems like Nature with her many voices speaking.
R. W. Livingstone.
HISTORY
I
The Relationship between Ancient Greek and Modern Western Civilization
Ancient Greek society perished at least as long ago as the seventh century A. D. Many historians would date its death a good many centuries earlier, and all would agree that even if there are symptoms that life still lingered in the body down to this time, its mental and physical energies had long failed, and that the change from lethargy to death was hardly perceptible when it came. Thus even on the most cautious reckoning, there is an interval of thirteen centuries between the close of Greek history and our own times, and the great age of Greek history—the time when Ancient Greek society was in its prime, when it was shaping its own destiny and deflecting the destiny of its neighbours—is separated from our generation by more than two thousand years. What legacy has come down, through these great periods of time, from Ancient Greek society to the contemporary world? Before trying to answer this big question, let us consider a smaller one: What is the legacy of Ancient Greek History to our own society? That portion of contemporary humanity which inhabits Western Europe and America constitutes a specific society, for which the most convenient name is ‘Western Civilization’, and this society has a relationship with Ancient Greek society which other contemporary societies—for instance, those of Islam, India, and China—have not. It is its child.