The Crown of Wild Olive, John Ruskin [best ereader for graphic novels .txt] 📗
- Author: John Ruskin
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70. Under these two calamities of our time, the art of sculpture has perished more totally than any other, because the object of that art is exclusively the representation of form as the exponent of life. It is essentially concerned only with the human form, which is the exponent of the highest life we know; and with all subordinate forms only as they exhibit conditions of vital power which have some certain relation to humanity. It deals with the "particula undique desecta" of the animal nature, and itself contemplates, and brings forward for its disciples' contemplation, all the energies of creation which transform the πηλος, or lower still, the βορβορος of the trivia, by Athena's help, into forms of power;—(το μεν ὁλον αρχιτεκτων αυτος ην. συνειργαζετο δε τοι και η 'Αθηνα εμπνεουσα τον πηλον και εμπσυχα ροιουσα ειναι τα πλασματα;)[119]—but it has nothing whatever to do with the representation of forms not living, however beautiful, (as of clouds or waves); nor may it condescend to use its perfect skill, except in expressing the noblest conditions of life.
These laws of sculpture, being wholly contrary to the practice of our day, I cannot expect you to accept on my assertion, nor do I wish you to do so. By placing definitely good and bad sculpture before you, I do not doubt but that I shall gradually prove to you the nature of all excelling and enduring qualities; but to-day I will only confirm my assertions by laying before you the statement of the Greeks themselves on the subject; given in their own noblest time, and assuredly authoritative, in every point which it embraces, for all time to come.
71. If any of you have looked at the explanation I have given of the myth of Athena in my Queen of the Air, you cannot but have been surprised that I took scarcely any note of the story of her birth. I did not, because that story is connected intimately with the Apolline myths; and is told of Athena, not essentially as the goddess of the air, but as the goddess of Art-Wisdom.
You have probably often smiled at the legend itself, or avoided thinking of it, as revolting. It is indeed, one of the most painful and childish of sacred myths; yet remember, ludicrous and ugly as it seems to us, this story satisfied the fancy of the Athenian people in their highest state; and if it did not satisfy—yet it was accepted by, all later mythologists: you may also remember I told you to be prepared to find that, given a certain degree of national intellect, the ruder the symbol, the deeper would be its purpose. And this legend of the birth of Athena is the central myth of all that the Greeks have left us respecting the power of their arts; and in it they have expressed, as it seemed good to them, the most important things they had to tell us on these matters. We may read them wrongly; but we must read them here, if anywhere.
72. There are so many threads to be gathered up in the legend, that I cannot hope to put it before you in total clearness, but I will take main points. Athena is born in the island of Rhodes; and that island is raised out of the sea by Apollo, after he had been left without inheritance among the gods. Zeus[120] would have cast the lot again, but Apollo orders the golden-girdled Lachesis to stretch out her hands; and not now by chance or lot, but by noble enchantment, the island rises out of the sea.
Physically, this represents the action of heat and light on chaos, especially on the deep sea. It is the "Fiat lux" of Genesis, the first process in the conquest of Fate by Harmony. The island is dedicated to the Nymph Rhodos, by whom Apollo has the seven sons who teach σοφωτατα νοηματα; because the rose is the most beautiful organism existing in matter not vital, expressive of the direct action of light on the earth, giving lovely form and colour at once; (compare the use of it by Dante as the form of the sainted crowd in highest heaven) and remember that, therefore, the rose is in the Greek mind, essentially a Doric flower, expressing the worship of Light, as the Iris or Ion is an Ionic one, expressing the worship of the Winds and Dew.
73. To understand the agency of Hephæstus at the birth of Athena, we must again return to the founding of the arts on agriculture by the hand. Before you can cultivate land you must clear it; and the characteristic weapon of Hephæstus,—which is as much his attribute as the trident is of Poseidon, and the rhabdos of Hermes, is not, as you would have expected, the hammer, but the clearing-axe—the doubled-edged πελεκυς, the same that Calypso gives Ulysses with which to cut down the trees for his home voyage; so that both the naval and agricultural strength of the Athenians are expressed by this weapon, with which they had to hew out their fortune. And you must keep in mind this agriculturally laborious character of Hephæstus, even when he is most distinctly the god of serviceable fire; thus Horace's perfect epithet for him "avidus" expresses at once the devouring eagerness of fire, and the zeal of progressive labour, for Horace gives it to him when he is fighting against the giants. And this rude symbol of his cleaving the forehead of Zeus with the axe, and giving birth to Athena signifies, indeed, physically the thrilling power of heat in the heavens, rending the clouds, and giving birth to the blue air; but far more deeply it signifies the subduing of adverse Fate by true labour; until, out of the chasm, cleft by resolute and industrious fortitude, springs the Spirit of Wisdom.
74. Here (Fig. 4) is an early drawing of the myth, to which I shall have to refer afterwards in illustration of the childishness of the Greek mind at the time when its art-symbols were first fixed; but it is of peculiar value, because the physical character of Vulcan, as fire, is indicated by his wearing the ενδρομιδες of Hermes, while the antagonism of Zeus, as the adverse chaos, either of cloud or of fate, is shown by his striking at Hephæstus with his thunderbolt. But Plate IV. gives you (as far as the light on the rounded vase will allow it to be deciphered) a characteristic representation of the scene, as conceived in later art.
75. I told you in a former lecture of this course that the entire Greek intellect was in a childish phase as compared to that of modern times. Observe, however, childishness does not necessarily imply universal inferiority: there may be a vigorous, acute, pure, and solemn childhood, and there may be a weak, foul, and ridiculous condition of advanced life; but the one is still essentially the childish, and the other the adult phase of existence.
76. You will find, then, that the Greeks were the first people that were born into complete humanity. All nations before them had been, and all around them still were, partly savage, bestial, clay-encumbered, inhuman; still semi-goat, or semi-ant, or semi-stone, or semi-cloud. But the power of a new spirit came upon the Greeks, and the stones were filled with breath, and the clouds clothed with flesh; and then came the great spiritual battle between the Centaurs and Lapithæ; and the living creatures became "Children of Men." Taught, yet, by the Centaur—sown, as they knew, in the fang—from the dappled skin of the brute, from the leprous scale of the serpent, their flesh came again as the flesh of a little child, and they were clean.
Fix your mind on this as the very central character of the Greek race—the being born pure and human out of the brutal misery of the past, and looking abroad, for the first time, with their children's eyes, wonderingly open, on the strange and divine world.
77. Make some effort to remember, so far as may be possible to you, either what you felt in yourselves when you were young, or what you have observed in other children, of the action of thought and fancy. Children are continually represented as living in an ideal world of their own. So far as I have myself observed, the distinctive character of a child is to live always in the tangible present, having little pleasure in memory, and being utterly impatient and tormented by anticipation: weak alike in reflection and forethought, but having an intense possession of the actual present, down to the shortest moments and least objects of it; possessing it, indeed, so intensely that the sweet childish days are as long as twenty days will be; and setting all the faculties of heart and imagination on little things, so as to be able to make anything out of them he chooses. Confined to a little garden, he does not imagine himself somewhere else, but makes a great garden out of that; possessed of an acorn-cup, he will not despise it and throw it away, and covet a golden one in its stead: it is the adult who does so. The child keeps his acorn-cup as a treasure, and makes a golden one out of it in his mind; so that the wondering grown-up person standing beside him is always tempted to ask concerning his treasures, not, "What would you have more than these?" but "What possibly can you see in these?" for, to the bystander, there is a ludicrous and incomprehensible inconsistency between the child's words and the reality. The little thing tells him gravely, holding up the acorn-cup, that "this is a queen's crown, or a fairy's boat," and, with beautiful effrontery, expects him to believe the same. But observe—the acorn-cup must be there, and in his own hand. "Give it me;" then I will make more of it for myself. That is the child's one word, always.
78. It is also the one word of the Greek—"Give it me." Give me any thing definite here in my sight, then I will make more of it.
I cannot easily express to you how strange it seems to me that I am obliged, here in Oxford, to take the position of an apologist for Greek art; that I find, in spite of all the devotion of the admirable scholars who have so long maintained in our public schools the authority of Greek literature, our younger students take no interest in the manual work of the people upon whose thoughts the tone of their early intellectual life has exclusively depended. But I am not surprised that the interest, if awakened, should not at first take the form of admiration. The inconsistency between an Homeric description of a piece of furniture
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