Delphi Complete Works of Walter Pater

by Walter Pater

  He would have found it, this youthful Anacharsis, hard to get there, partly through the nature of the country, in part because the people of Lacedaemon (it was a point of system with them, as we heard just now) were suspicious of foreigners. Romantic dealers in political theory at Athens were safe in saying pretty much what they pleased about its domestic doings. Still, not so far away, made, not in idea and by the movements of an abstract argument, the mere strokes of a philosophic pen, but solidified by constancy of character, fortified anew on emergency by heroic deeds, for itself, for the whole of Greece, though with such persistent hold throughout on an idea, or system of ideas, that it might seem actually to have come ready-made from the mind of some half-divine Lycurgus, or through him from Apollo himself, creator of that music of which it was an example: — there, in the hidden valley of the Eurotas, it was to be found, as a visible centre of actual human life, the place which was alleged to have come, harsh paradox as it might sound to Athenian ears, within measurable distance of civic perfection, of the political and social ideal.

  Our youthful academic adventurer then, making his way along those difficult roads, between the ridges of the Eastern Acadian Mountains, and emerging at last into “hollow” Laconia, would have found himself in a country carefully made the most of by the labour of serfs; a land of slavery, far more relentlessly organised according to law than anywhere else in Greece, where, in truth, for the most part slavery was a kind of accident. But whatever rigours these slaves of Laconia were otherwise subjected to, they enjoyed certainly that kind of well- being which does come of organisation, from the order and regularity of system, living under central military authority, and bound themselves to military service; to furnish (as under later feudal institutions) so many efficient men-at-arms on demand, and maintain themselves in readiness for war as they laboured in those distantly-scattered farms, seldom visited by their true masters from Lacedaemon, whither year by year they sent in kind their heavy tribute of oil, barley and wine. The very genius of conservatism here enthroned, secured, we may be sure, to this old-fashioned country life something of the personal dignity, of the enjoyments also, natural to it; somewhat livelier religious feasts, for example, than their lords allowed themselves. Stray echoes of their boisterous plebeian mirth on such occasions have reached us in Greek literature.

  But if the traveller had penetrated a little more closely he would have been told certain startling stories, with at least a basis of truth in them, even as regards the age of Plato. These slaves were Greeks: no rude Scythians, nor crouching, decrepit Asiatics, like ordinary prisoners of war, the sort of slaves you could buy, but genuine Greeks, speaking their native tongue, if with less of muscular tension and energy, yet probably with pleasanter voice and accent than their essentially highland masters. Physically they throve, under something of the same discipline which had made those masters the masters also of all Greece. They saw them now and then — their younger lords, brought, under strict tutelage, on those long hunting expeditions, one of their so rare enjoyments, prescribed for them, as was believed, by the founder of their polity. But sometimes (here was the report which made one shudder even in broad daylight, in those seemingly reposeful places) sometimes those young nobles of Lacedaemon reached them on a different kind of pursuit: came by night, secretly, though by no means contrarily to the laws of a state crafty as it was determined, to murder them at home, or a certain moiety of them; one here or there perhaps who, with good Achaean blood in his veins, and under a wholesome mode of life, was grown too tall, or too handsome, or too fruitful a father, to feel quite like a slave. Under a sort of slavery that makes him strong and beautiful, where personal beauty was so greatly prized, his masters are in fact jealous of him.

  But masters thus hard to others, these Lacedaemonians, as we know, were the reverse of indulgent to themselves. While, as a matter of theory, power and privilege belonged exclusively to the old, to the seniors (hoi gerontes, hę gerousia)+ ruling by a council wherein no question might be discussed, one might only deliver one’s Aye! or No! Lacedaemon was in truth before all things an organised place of discipline, an organised opportunity also, for youth, for the sort of youth that knew how to command by serving — a constant exhibition of youthful courage, youthful self-respect, yet above all of true youthful docility; youth thus committing itself absolutely, soul and body, to a corporate sentiment in its very sports. There was a third sort of regulation visits the lads of Lacedaemon were driven to pay to those country places, the vales, the uplands, when, to brace youthful stomachs and develope resource, they came at stated intervals as a kind of mendicants or thieves, feet and head uncovered through frost and heat, to steal their sustenance, under penalties if detected— “a survival,” as anthropologists would doubtless prove, pointing out collateral illustrations of the same, from a world of purely animal courage and keenness. Whips and rods used in a kind of monitorial system by themselves had a great part in the education of these young aristocrats, and, as pain surely must do, pain not of bodily disease or wretched accidents, but as it were by dignified rules of art, seem to have refined them, to have made them observant of the minutest direction in those musical exercises, wherein eye and ear and voice and foot all alike combined. There could be nothing paraleipomenon,+ as Plato says, no “oversights,” here. No! every one, at every moment, quite at his best; and, observe especially, with no superfluities; seeing that when we have to do with music of any kind, with matters of art, in stone, in words, in the actions of life, all superfluities are in very truth “superfluities of naughtiness,” such as annihilate music.

  The country through which our young traveller from his laxer school of Athens seeks his way to Lacedaemon, this land of a noble slavery, so peacefully occupied but for those irregular nocturnal terrors, was perhaps the loveliest in Greece, with that peculiarly blent loveliness, in which, as at Florence, the expression of a luxurious lowland is duly checked by the severity of its mountain barriers. It was a type of the Dorian purpose in life — sternness, like sea-water infused into wine, overtaking a matter naturally rich, at the moment when fulness may lose its savour and expression. Amid the corn and oleanders — corn “so tall, close, and luxuriant,” as the modern traveller there still finds — it was visible at last, Lacedaemon, koilę Spartę,+ “hollow Sparta,” under the sheltering walls of Taygetus, the broken and rugged forms of which were attributed to earthquake, but without proper walls of its own. In that natural fastness, or trap, or falcon’s nest, it had no need of them, the falcon of the land, with the hamlets (polichnia)+ a hundred and more, dispersed over it, in jealously enforced seclusion from one another.

  From the first he notes “the antiquated appearance” of Lacedaemon, by no means a “growing” place, always rebuilding, remodelling itself, after the newest fashion, with shapeless suburbs stretching farther and farther on every side of it, grown too large perhaps, as Plato threatens, to be a body, a corporate unity, at all: not that, but still, and to the last, itself only a great village, a solemn, ancient, mountain village. Even here of course there had been movement, some sort of progress, if so it is to be called, linking limb to limb; but long ago. Originally a union, after the manner of early Rome, of perhaps three or four neighbouring villages which had never lost their physiognomy, like Rome it occupied a group of irregular heights, the outermost roots of Taygetus, on the bank of a river or mountain torrent, impetuous enough in winter, a series of wide shallows and deep pools in the blazing summer. It was every day however, all the year round, that Lacedaemonian youth plunged itself in the Eurotas. Hence, from this circumstance of the union there of originally disparate parts, the picturesque and expressive irregularity, had they had time to think it such, of the “city” properly so termed, the one open place or street, High Street, or Corso — Aphetais by name, lined, irregularly again, with various religious and other monuments. It radiated on all sides into a mazy coil, an ambush, of narrow crooked lanes, up and down, in which attack and defence would necessarily be a matter
of hand-to-hand fighting. In the outskirts lay the citizens’ houses, roomier far than those of Athens, with spacious, walled courts, almost in the country. Here, in contrast to the homes of Athens, the legitimate wife had a real dignity, the unmarried woman a singular freedom. There were no door-knockers: you shouted at the outer gate to be let in. Between the high walls lanes passed into country roads, sacred ways to ancient sacro-sanct localities, Therapnae, Amyclae, on this side or that, under the shade of mighty plane-trees.

  Plato, as you may remember, gives a hint that, like all other visible things, the very trees — how they grow — exercise an aesthetic influence on character. The diligent legislator therefore would have his preferences, even in this matter of the trees under which the citizens of the Perfect City might sit down to rest. What trees? you wonder. The olive? the laurel, as if wrought in grandiose metal? the cypress? that came to a wonderful height in Dorian Crete: the oak? we think it very expressive of strenuous national character. Well! certainly the plane-tree for one, characteristic tree of Lacedaemon then and now; a very tranquil and tranquillising object, spreading its level or gravely curved masses on the air as regally as the tree of Lebanon itself. A vast grove of such was the distinguishing mark of Lacedaemon in any distant view of it; that, and, as at Athens, a colossal image, older than the days of Phidias — the Demos of Lacedaemon, it would seem, towering visibly above the people it protected. Below those mighty trees, on an island in their national river, were the “playing- fields,” where Lacedaemonian youth after sacrifice in the Ephebeum delighted others rather than itself (no “shirking” was allowed) with a sort of football, under rigorous self-imposed rules — tearing, biting — a sport, rougher even than our own, et męme trčs dangereux, as our Attic neighbours, the French, say of the English game.

  They were orderly enough perforce, the boys, the young men, within the city — seen, but not heard, except under regulations, when they made the best music in the world. Our visitor from Athens when he saw those youthful soldiers, or military students, as Xenophon in his pretty treatise on the polity of Lacedaemon describes, walking with downcast eyes, their hands meekly hidden in their cloaks, might have thought them young monks, had he known of such.

  A little mountain town, however ambitious, however successful in its ambition, would hardly be expected to compete with Athens, or Corinth, itself a Dorian state, in art-production, yet had not only its characteristic preferences in this matter, in plastic and literary art, but had also many venerable and beautiful buildings to show. The Athenian visitor, who is standing now in the central space of Lacedaemon, notes here, as being a trait also of the “Perfect City” of academic theory, that precisely because these people find themselves very susceptible to the influences of form and colour and sound, to external aesthetic influence, but have withal a special purpose, a certain strongly conceived disciplinary or ethic ideal, that therefore a peculiar humour prevails among them, a self-denying humour, in regard to these things. Those ancient Pelopid princes, from whom the hereditary kings of historic Lacedaemon, come back from exile into their old home, claim to be descended, had had their palaces, with a certain Homeric, Asiatic splendour, of wrought metal and the like; considerable relics of which still remained, but as public or sacred property now. At the time when Plato’s scholar stands before them, the houses of these later historic kings — two kings, as you remember, always reigning together, in some not quite clearly evolved differentiation of the temporal and spiritual functions — were plain enough; the royal doors, when beggar or courtier approached them, no daintier than Lycurgus had prescribed for all true Lacedaemonian citizens; rude, strange things to look at, fashioned only, like the ceilings within, with axe and saw, of old mountain oak or pine from those great Taygetan forests, whence came also the abundant iron, which this stern people of iron and steel had super-induced on that earlier dreamy age of silver and gold — steel, however, admirably tempered and wrought in its application to military use, and much sought after throughout Greece.

  Layer upon layer, the relics of those earlier generations, a whole succession of remarkable races, lay beneath the strenuous footsteps of the present occupants, as there was old poetic legend in the depths of their seemingly so practical or prosaic souls. Nor beneath their feet only: the relics of their worship, their sanctuaries, their tombs, their very houses, were part of the scenery of actual life. Our young Platonic visitor from Athens, climbing through those narrow winding lanes, and standing at length on the open platform of the Aphetais, finds himself surrounded by treasures, modest treasures of ancient architecture, dotted irregularly here and there about him, as if with conscious design upon picturesque effect, such irregularities sometimes carrying in them the secret of expression, an accent. Old Alcman for one had been alive to the poetic opportunities of the place; boasts that he belongs to Lacedaemon, “abounding in sacred tripods”; that it was here the Heliconian Muses had revealed themselves to him. If the private abodes even of royalty were rude it was only that the splendour of places dedicated to religion and the state might the more abound. Most splendid of them all, the Stoa Poekile, a cloister or portico with painted walls, to which the spoils of the Persian war had been devoted, ranged its pillars of white marble on one side of the central space: on the other, connecting those high memories with the task of the living, lay the Choros, where, at the Gymnopaedia, the Spartan youth danced in honour of Apollo.

  Scattered up and down among the monuments of victory in battle were the heroa, tombs or chapels of the heroes who had purchased it with their blood — Pausanias, Leonidas, brought home from Thermopylae forty years after his death. “A pillar too,” says Pausanias, “is erected here, on which the paternal names are inscribed of those who at Thermopylae sustained the attack of the Medes.” Here in truth all deities put on a martial habit — Aphrodite, the Muses, Eros himself, Athene Chalcioecus, Athene of the Brazen House, an antique temple towering above the rest, built from the spoils of some victory long since forgotten. The name of the artist who made the image of the tutelary goddess was remembered in the annals of early Greek art, Gitiades, a native of Lacedaemon. He had composed a hymn also in her praise. Could we have seen the place he had restored rather than constructed, with its covering of mythological reliefs in brass or bronze, perhaps Homer’s descriptions of a seemingly impossible sort of metallic architecture would have been less taxing to his reader’s imagination. Those who in other places had lost their taste amid the facile splendours of a later day, might here go to school again.

  Throughout Greece, in fact, it was the Doric style which came to prevail as the religious or hieratic manner, never to be surpassed for that purpose, as the Gothic style seems likely to do with us. Though it is not exclusively the invention of Dorian men, yet, says Müller, “the Dorian character created the Doric architecture,” and he notes in it, especially, the severity of the perfectly straight, smartly tapering line of its column; the bold projection of the capital; the alternation of long unornamented plain surfaces with narrower bands of decorated work; the profound shadows; the expression of security, of harmony, infused throughout; the magnificent pediment crowning the whole, like the cornice of mountain wall beyond, around, and above it. Standing there in the Aphetais, amid these venerable works of art, the visitor could not forget the natural architecture about him. As the Dorian genius had differentiated itself from the common Hellenic type in the heart of the mountains of Epirus, so here at last, in its final and most characteristic home, it was still surrounded by them: — ophrya te kai koilainetai.+

  We know, some of us, what such mountain neighbourhood means. The wholesome vigour, the clearness and purity they maintain in matters such as air, light, water; how their presence multiplies the contrasts, the element of light and shadow, in things; the untouched perfection of the minuter ornament, flower or crystal, they permit one sparingly; their reproachful aloofness, though so close to us, keeping sensitive minds at least in a sort of moral alliance with their remoter solitudes. “The who
le life of the Lacedaemonian community,” says Müller, “had a secluded, impenetrable, and secret character.” You couldn’t really know it unless you were of it.

  A system which conceived the whole of life as matter of attention, patience, a fidelity to detail, like that of good soldiers and musicians, could not but tell also on the merest handicrafts, constituting them in the fullest sense of a craft. If the money of Sparta was, or had recently been, of cumbrous iron, that was because its trade had a sufficient variety of stock to be mainly by barter, and we may suppose the market (into which, like our own academic youth at Oxford, young Spartans were forbidden to go) full enough of business — many a busy workshop in those winding lanes. The lower arts certainly no true Spartan might practise; but even Helots, artisan Helots, would have more than was usual elsewhere of that sharpened intelligence and the disciplined hand in such labour which really dignify those who follow it. In Athens itself certain Lacedaemonian commodities were much in demand, things of military service or for every-day use, turned out with flawless adaptation to their purpose.

  The Helots, then, to whom this business exclusively belonged, a race of slaves, distinguishable however from the slaves or serfs who tilled the land, handing on their mastery in those matters in a kind of guild, father to son, through old-established families of flute- players, wine-mixers, bakers, and the like, thus left their hereditary lords, Les Gens Fleur-de-lisés (to borrow an expression from French feudalism) in unbroken leisure, to perfect themselves for the proper functions of gentlemen — scholę,+ leisure, in the two senses of the word, which in truth involve one another — their whole time free, to be told out in austere schools. Long easeful nights, with more than enough to eat and drink, the “illiberal” pleasures of appetite, as Aristotle and Plato agree in thinking them, are of course the appropriate reward or remedy of those who work painfully with their hands, and seem to have been freely conceded to those Helots, who by concession of the State, from first to last their legal owner, were in domestic service, and sometimes much petted in the house, though by no means freely conceded to the “golden youth” of Lacedaemon — youth of gold, or gilded steel. The traditional Helot, drunk perforce to disgust his young master with the coarseness of vice, is probably a fable; and there are other stories full of a touching spirit of natural service, of submissiveness, of an instinctively loyal admiration for the brilliant qualities of one trained perhaps to despise him, by which the servitor must have become, in his measure, actually a sharer in them. Just here, for once, we see that slavish ęthos,+ the servile range of sentiment, which ought to accompany the condition of slavery, if it be indeed, as Aristotle supposes, one of the natural relationships between man and man, idealised, or aesthetically right, pleasant and proper; the aretę,+ or “best possible condition,” of the young servitor as such, including a sort of bodily worship, and a willingness to share the keen discipline which had developed the so attractive gallantry of his youthful lords.