From the days of Macchiavelli and Charles V. down to the present, we rarely fail to meet with the name of Plutarch among those writers who have made an abiding impression on the youthful minds of prominent statesmen and warriors. In turning over the leaves of the biographies of our modern great, we are constantly reminded of the words which Schiller puts into the mouth of Carl Moor: "When I read of the great men in my Plutarch, I loath our ink-staining age." This sentiment has found an echo in every civilized land, and especially in France.
The first French translation of Plutarch's Parallels was welcomed by Montaigne with expressions of the liveliest joy. "We would have been swallowed up in ignorance," exclaims he, (essay ii. 4,) "if this book had not extricated us from the slough; thanks to Plutarch, we now dare to speak and write." Rabelais refreshes his soul with the Moralia. "There is," writes the translator Amyot to King Charles IX., "no better work next to holy writ." The "perennially young" Plutarch is the "breviary," the "conscience" of the century, and he remains until the beginning of the most modern time—as Madame Roland calls him—"the pasture of great souls," and the "fellow-companion of warriors." Condé had him read out aloud in his tent, and in the historical part of the books for a camp library which Napoleon Bonaparte ordered from the citoyen J. B. Soy, "homme de lettres," March, 1798, Plutarch stands first, and Tacitus, Thucydides, and Frederick II. last.
The home of Plutarch's admirers is, as we have already observed, France. Like all Latin races, the French delight to revel in pictures of ancient greatness; their historical imagination is governed by fantastic ideals of antiquity, especially of ancient Rome, and the fountain from which they drew, mediately and immediately, their inspiration, is Plutarch's Lives. Hence the exaggerated estimate of Plutarch's historical merits, against which modern criticism begins to protest with much vigor, is greatest in that country. Indeed, the principle upon which Plutarch has selected his historical authorities, and the manner in which he has used them, are decidedly open to objection. They are not chosen according to their scientific or critical value, but according to their wealth of picturesque detail and psychologically remarkable characteristics. He follows a leading author, whose name he usually omits to state, and whose testimony he only compares with that of other writers when there is a conflict of authorities. The text is never cited. He reproduces the sense, but with that latitude which is natural to an imaginative mind endowed in an unusual degree with the gift of realizing the past. In the choice of his subject matter he follows the instincts of a historical portrait-painter. To describe campaigns, to analyze great political changes, is not his province. His acquaintance with the political and military systems of the ancient Greeks and Romans is very superficial, and he seems to care little for a more intimate knowledge of them. His main purpose is not the study of history, but that of the personal career of interesting individuals. "It is not histories we write," Plutarch tells us himself in his introduction to the life of Alexander the Great; "but life-pictures;" and for these, he maintains, some small trait, some apt expression, be it only a witticism, is often more available than the greatest military deeds, the most bloody victories, or the most splendid conquests.
In making this distinction, which Plutarch repeatedly acknowledges to be a rule with him, he forgets that he violates the natural connection, inasmuch as all historical personages are part and parcel of the time they live in; he forgets also that, thus treated, historical characters degenerate into ordinary mortals. But Plutarch does not aspire to the dignity of a historian; he simply claims to "paint souls;" and those readers who ignore this distinction have never comprehended him.
Some of the works which Plutarch was still able to consult are lost, and we depend, therefore, upon him for light on certain important periods of history. This has led many to regard him as a historical authority, to consider his biographical narratives as the main object of his writings, and to skip the moralizing comparisons of the parallel biographies which show that these portraits are to him nothing more than a means of illustrating his peculiar ethics by examples. This point is of great importance; for it proves the only view from which the literary character of Plutarch can be justly estimated.
Not only his narratives, but the judgments which he bases upon them, and the views of the world from which they spring, have left their mark on posterity, and this to an extent surprising even to the initiated. And here it behooves us to exercise still greater caution, a still greater distrust, than we entertain for his statements of fact. Plutarch stands as far removed from the times of the heroes upon whom he passes judgment, as we are from the characters of the Crusades. The full effects of this remoteness can only be estimated by those who have made Plutarch's age and the moral condition reflected in his non-historical writings their special study. "Plutarch's biographies," remarks a French scholar of this class, "are an explanatory appendix to his Moralia; both equally reflected a Greek provincialist's views of the world under the empire; the views of one who sought to console himself for the degradation and emptiness of the present by a romantic idealization of the real and imaginary grandeur of a former age." Plutarch is an out-and-out romancist, and to this must be mainly ascribed the influence he wields over a certain order of minds. The historical errors which we are so slowly correcting are due to this discovery. To show how little Plutarch was fit to play the part of interpreter to a period which had already become remote antiquity in his day, we need only cast a single glance at the times in which he lived.
From Plutarch's own writings we glean nothing that is authentic in regard to his life. Rich as they no doubt are in interesting contributions to the moral and intellectual history of his times, they are barren as regards every thing relating to the author's biography. In truth, the biographer of the ancients is himself without a biography. We know, in the main, that he was born in Chæronea, about the time of Nero's visit to the Delphic temple; that he studied at Athens under the philosopher Ammonius; that he visited Greece, Egypt, and Italy as a peripatetic scholar. After having taught many years at Rome, he finally returned to his native place and commenced that prolific literary activity which he displayed in nearly all departments of ancient knowledge. In these labors the indefatigable student was rather assisted than retarded by his various public duties, first on the urban police, then as archon, and lastly as the high-priest of the Delphic Apollo.
The story that Plutarch was once the teacher of Trajan, and that the latter appointed him governor of Hellas and Illyricum, first told by Symkellas and Suidas, then repeated by John of Salisbury and the scholars of the Renaissance, is a silly Byzantine fable. The latter portion of Plutarch's life, as we learn from his confessions, passed in a retirement entirely inconsistent with the Byzantine story. The world within whose bounds the archon of Chæronea and priest of Apollo lived was a contracted one, and only romance could gild such an existence with the halo of departed glory.
Plutarch may be said to have done wonders. At a time when the old love of country and state had long died out, he, the philosopher, determinedly opposed the petty, baneless cosmopolitanism of his day. In a world which had long lost its ancient faith, and in which the Gospel of Christ had not yet attained the ascendency, the priest of the Delphic oracle battled undismayed for the old gods and against the anarchy of the renegade schools of philosophy. In both cases he is, however, himself, and more than he seems aware or is willing to concede, tainted by the prevailing scepticism, and it is this, in consequence, which colors his own views of the world with what we call romanticism.
Let us follow Plutarch for a moment on those two battle-fields of his polemics, and observe the distinctive features of the Moralia.