Let poetry also approach to us (for philosophy
alone will not suffice): poetry which is wholly occupied with
falsehood—which scarcely will make confession of the truth, but
will rather own to God its deviations into fable. Let whoever of those
poets chooses advance first. Aratus considers that the power of God
pervades all things:—
“That all may be secure,Him ever they propitiate first and last,Hail, Father I great marvel, great gain to man.”
Thus also the Ascræan Hesiod
dimly speaks of God:—
“For He is the King of all, and monarchOf the immortals; and there is none that may viewith Him in power.”
In this venturous manner has he on the stage brought
truth before the spectators. But the Thracian Orpheus, the son of
Œagrus, hierophant and poet at once, after his exposition of the
orgies, and his theology of idols, introduces a palinode of truth with
true solemnity, though tardily singing the strain:—
“I shall utter to whom it is lawful; but let the doors be closed,Nevertheless, against all the profane. But do thou hear,O Musæus, offspring of the light-bringing moon,For I will declare what is true. And let not these thingsWhich once appeared in your breastrob you of dear life;But looking to the divine word, apply yourself to it,Keeping right the seat of intellect and feeling; and walk wellIn the straight path, and to the
immortal King of the universe aloneDirect your gaze.”
Then proceeding, he clearly
adds:—
“He is one, self-proceeding; and from Him alone all things proceed,And in them He Himself exerts his activity: no mortalBeholds Him, but He beholds all.”
Thus far Orpheus at last understood that he had been
in error:—
“But linger no longer, O man, endued with varied wisdom;But turn and retrace your steps, and propitiate God.”
For if, at the most, the Greeks,
having received certain scintillations of the divine word, have given
forth some utterances of truth, they bear indeed witness that the force
of truth is not hidden, and at the same time expose their own weakness in
not having arrived at the end. For I think it has now become evident to
all, that those who do or speak aught without the word of truth are like
people compelled to walk without feet. Let the strictures on your gods,
which the poets, impelled by the force of truth, introduce in their
comedies, shame you into salvation. Menander, for instance, the comic
poet, in his drama of the Charioteer, says:—
“No God pleases me that goes aboutWith an old woman, and enters housesCarrying a trencher.”
For such are the begging priests
of Cybele. Hence Antisthenes replies appropriately to their request
for alms:—
“I do not maintain the mother of the gods,For the gods maintain her.”
Again, the same writer of comedy,
expressing his dissatisfaction with the common usages, tries to expose
the impious arrogance of the prevailing error in the drama of the
Priestess, sagely declaring:—
“If a man drags the DeityWhither he will by the sound of cymbals,He that does this is greater than the Deity;But these are the instruments of audacity and means of livingInvented by men.”
And not only Menander, but Homer also,
and Euripides, and other poets in great numbers, expose your gods, and are
wont to rate them, and that soundly too. For instance, they call Aphrodite
dog-fly, and Hephæstus a cripple. Helen says to Aphrodite:—
“He, mid their frantic orgies, in the grovesOf lovely Nyssa, put to shameful routThe youthful Bacchus’ nurses; they in fear,Dropped each her thyrsus, scattered by the handOf fierce Lycurgus, with an ox-goad
armed.”927
927Il.,
vi. 132.
Worthy truly of the Socratic school is
Euripides, who fixes his eye on truth, and despises the spectators of
his plays. On one occasion, Apollo,
“It was in obedience to him that I killed her who brought me forth;Him do you regard as stained with guilt—put him to death;It was he that sinned, not I,
uninstructed as I wasIn right and justice.”928
928Orestes, 590.
He introduces Heracles, at one time
mad, at another drunk and gluttonous. How should he not so represent
the god who, when entertained as a guest, ate green figs to flesh,
uttering discordant howls, that even his barbarianhost remarked it? In
his drama of Ion, too, he barefacedly brings the gods on the
stage:—
“How, then, is it right for you, who have given laws to mortals,To be yourselves guilty of wrong?And if—what will never take place, yet I will state the supposition—You will give satisfaction to men for your adulteries,You, Poseidon, and you, Zeus, the ruler of heaven,—You will, in order to make recompense for your misdeeds,Have to empty your temples.”929
