other and greater things or form knots in the great web of history—the first having artistic interest, the second only historical interest, though, of course, it is obvious that in any concrete case there is generally a mixture of both.
Now Ancient Greece is important in both ways. For the artist or poet it has in a quite extraordinary degree the quality of beauty. For instance, to take a contrast with Rome: if you dig about the Roman Wall in Cumberland you will find quantities of objects, altars, inscriptions, figurines, weapons, boots and shoes, which are full of historic interest but are not much more beautiful than the contents of a modern rubbish heap. And the same is true of most excavations all over the world. But if you dig at any classical or sub-classical site in the Greek world, however unimportant historically, practically every object you find will be beautiful. The wall itself will be beautiful; the inscriptions will be beautifully cut; the figurines, however cheap and simple, may have some intentional grotesques among them, but the rest will have a special truthfulness and grace; the vases will be of good shapes and the patterns will be beautiful patterns. If you happen to dig in a burying-place and come across some epitaphs on the dead, they will practically all—even when the verses do not quite scan and the words are wrongly spelt—have about them this inexplicable touch of beauty.
I am anxious not to write nonsense about this. One could prove the point in detail by taking any collection of Greek epitaphs, and that is the only way in which it can be proved. The beauty is a fact, and if we try to analyse the sources of it we shall perhaps in part understand how it has come to pass.
In the first place, it is not a beauty of ornament; it is a beauty of structure, a beauty of rightness and simplicity. Compare an athlete in flannels playing tennis and a stout dignitary smothered in gold robes. Or compare a good modern yacht, swift, lithe, and plain, with a lumbering heavily gilded sixteenth-century galleon, or even with a Chinese state junk: the yacht is far the more beautiful though she has not a hundredth part of the ornament. It is she herself that is beautiful, because her lines and structure are right. The others are essentially clumsy and, therefore, ugly things, dabbed over with gold and paint. Now ancient Greek things for the most part have the beauty of the yacht. The Greeks used paint a good deal, but apart from that a Greek temple is almost as plain as a shed: people accustomed to arabesques and stained glass and gargoyles can very often see nothing in it. A Greek statue has as a rule no ornament at all: a young man racing or praying, an old man thinking, there it stands expressed in a stately and simple convention, true or false, the anatomy and the surfaces right or wrong, aiming at no beauty except the truest. It would probably seem quite dull to the maker of a mediaeval wooden figure of a king which I remember seeing in a town in the east of Europe: a crown blazing with many-coloured glass, a long crimson robe covered with ornaments and beneath them an idiot face, no bones, no muscles, no attitude. That is not what a Greek meant by beauty. The same quality holds to a great extent of Greek poetry. Not, of course, that the artistic convention was the same, or at all similar, for treating stone and for treating language. Greek poetry is statuesque in the sense that it depends greatly on its organic structure; it is not in the least so in the sense of being cold or colourless or stiff. But Greek poetry on the whole has a bareness and severity which disappoints a modern reader, accustomed as he is to lavish ornament and exaggeration at every turn. It has the same simplicity and straightforwardness as Greek sculpture. The poet has something to say and he says it as well and truly as he can in the suitable style, and if you are not interested you are not. With some exceptions which explain themselves he does not play a thousand pretty tricks and antics on the way, so that you may forget the dullness of what he says in amusement at the draperies in which he wraps it.
But here comes an apparent difficulty. Greek poetry, we say, is very direct, very simple, very free from irrelevant ornament. And yet when we translate it into English and look at our translation, our main feeling, I think, is that somehow the glory has gone: a thing that was high and lordly has become poor and mean. Any decent Greek scholar when he opens one of his ancient poets feels at once the presence of something lofty and rare—something like the atmosphere of Paradise Lost. But the language of Paradise Lost is elaborately twisted and embellished into loftiness and rarity; the language of the Greek poem is simple and direct. What does this mean?
I can only suppose that the normal language of Greek poetry is in itself in some sense sublime. Most critics accept this as an obvious fact, yet, if true, it is a very strange fact and worth thinking about. It depends partly on mere euphony: Khaireis horôn fôs is probably more beautiful in sound than ‘You rejoice to see the light’, but euphony cannot be everything. The sound of a great deal of Greek poetry, either as we pronounce it, or as the ancients pronounced it, is to modern ears almost ugly. It depends partly, perhaps, on the actual structure of the Greek language: philologists tell us that, viewed as a specimen, it is in structure and growth and in power of expressing things, the most perfect language they know. And certainly one often finds that a thought can be expressed with ease and grace in Greek which becomes clumsy and involved in Latin, English, French or German. But neither of these causes goes, I think, to the root of the matter.
What is it that gives words their character and makes a style high or low? Obviously, their associations; the company they habitually keep in the minds of those who use them. A word which belongs to the language of bars and billiard saloons will become permeated by the normal standard of mind prevalent in such places; a word which suggests Milton or Carlyle will have the flavour of those men’s minds about it. I therefore cannot resist the conclusion that, if the language of Greek poetry has, to those who know it intimately, this special quality of keen austere beauty, it is because the minds of the poets who used that language were habitually toned to a higher level both of intensity and of nobility than ours. It is a finer language because it expresses the minds of finer men. By ‘finer men’ I do not necessarily mean men who behaved better, either by our standards or by their own; I mean men to whom the fine things of the world, sunrise and sea and stars and the love of man for man, and strife and the facing of evil for the sake of good, and even common things like meat and drink, and evil things like hate and terror, had, as it were, a keener edge than they have for us and roused a swifter and a nobler reaction.
Let us resume this argument before going further. We start from the indisputable fact that the Greeks of about the fifth century BC did for some reason or other produce various works of art, buildings and statues and books, especially books, which instead of decently dying or falling out of fashion in the lifetime of the men who made them, lasted on and can still cause high thoughts and intense emotions. In trying to explain this strange fact we notice that the Greeks had a great and pervading instinct for beauty, and for beauty of a particular kind. It is a beauty which never lies in irrelevant ornament, but always in the very essence and structure of the object made. In literature we found that the special beauty which we call Greek depends partly on the directness, truthfulness, and simplicity with which the Greeks say what they want to say, and partly on a special keenness and nobility in the language, which seems to be the natural expression of keen and noble minds. Can we in any way put all these things together so as to explain them—or at any rate to hold them together more clearly?
An extremely old and often misleading metaphor will help us. People have said: ‘The world was young then.’ Of course, strictly speaking, it was not. In the total age of the world or of man the two thousand odd years between us and Pericles do not count for much. Nor can we imagine that a man of sixty felt any more juvenile in the fifth century BC than he does now. It was just the other way, because at that time there were no spectacles or false teeth. Yet in a sense the world was young then, at any rate our western world, the world of progress and humanity. For the beginnings of nearly all the great things that progressive minds now care for were then being laid in Greece.
Youth, perhaps, is not exactly the right word. There are certain plants—some kinds of aloe, for instance—which continue for an indefinite number of years in a slow routine of ordinary life close to the ground, and then suddenly, when they have stored enough vital force, grow ten feet high and burst into flower, after which, no doubt, they die or show signs of exhaustion. Apart from the dying, it seems as if something like that happened from time to time to the human race, or to such parts of it as really bear flowers at all. For most races and nations during the most of their life are not progressive but simply stagnant, sometimes just managing to preserve