Echoes in the Ruins, Lessons in the Myth

“ Elmo, make one feel very passive and contemplative, and disinclined to bustle about in search of meaner sights. Yet I confess Pompeii, and the remains of Pompeian art and life in the Museum, have been impressive enough to rival the sea and sky. It is a thing never to be forgotten—that walk through the silent city of the past, and then the sight of utensils and eatables and ornaments and half-washed linen and hundreds of other traces of life so startlingly like our own in its minutest details, suddenly arrested by the fiery deluge. ”

“ The Egyptian mummies are naked, blackened, hideous; they no longer have anything in common with us; they are laid out for their eternal sleep in the consecrated attitude. But the exhumed Pompeians are human beings whom one sees in the agonies of death. ”

“ Could a modern really do what many a visitor to Pompeii has striven to do in intense eagerness of fancy; could he restore those truncated columns and repeople those desolate streets, and actually converse with some cultivated contemporary of Pliny and Juvenal, or Cicero and Horace; one can fancy that the feeling on both sides, after the first strangeness of the meeting had been got over, would be one of surprise, that two specimens of humanity of such distant origin could have so much in common. In moral and social philosophy; in political speculation ”

“ There are many things in Pompeii which bring back the gay life of the city, but nothing which so vividly reports the terrible manner of her death as these effigies of the creatures that actually shared it. The man in the last struggle has thrown himself upon his back and taken his doom sturdily—there is a sublime calm in his rigid figure. The women lie upon their faces, their limbs tossed and distorted, their drapery tangled and heaped about them, and in every fibre you see how hard they died. ”

“ The enjoyment and the beautifying of this is shown to be the chief thing, and very naturally so, when the life beyond the grave furnished a dark question, even to such minds as that of Cicero.
One mosaic picture from the splendid dwelling of Diomedes—the only two-storied house in Pompeii—seems to me to express the moral of the Pompeian life. It represents death under the form of a skeleton, with a wine-flask in each hand. The moral is evidently this: “Let us eat and drink, for to-morrow we die.” ”

“ Inhabited ruins change with their possessors: those uninhabited decay in the war of elements. But Pompeii was, so to speak, hermetically sealed, in the height of its prosperity, preserved from Goths and Vandals, and is laid before us to-day as it stood over eighteen centuries ago, allowing us to see how sudden was the storm that burst upon it long years ago. ”

“ Surely “reality is stranger than fiction.” What can be more strange than that the sun should shine again into the streets, and light up the painted walls and mosaic pavement of Pompeii. And yet so it is. That very old Pompeii, that lay for nearly eighteen centuries buried, is risen again. We walk through its streets, and tread the very stones worn out by the footsteps of Roman citizens, and by the wheels of their chariots. ”

“ Sometimes we stumble over an old prejudice or a primitive emotion, prick ourselves with an arrow of ancestral conscience, and tremble with an ancient fear. Mayhap in slumber we descend to these regions, exploring below our consciousness and delving in the catacombs of antiquity.
The destruction of Pompeii was effected, however, not by Vesuvius, but by the antiquarian. He it was to whom Pompeii fell as a spoil, he who turned Pompeii from a piece of life to a piece of learning, by transporting most of its treasures to a museum. The word is surely short for mausoleum. ”

“ But we must conclude that the great value of Pompeian art is in documentation, of the practical taste of ordinary people.
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Maximilian, later to be Emperor of Mexico, when he visited Pompeii in 1851, found it terrible, its rooms like painted corpses. Since then, modern archaeological methods (scientific, not miraculous) have brought the corpses to life. What archaeology has presented to us here, as at its best it always does, is not things but people, at work and play, in house and workshop, worshiping and blaspheming, and after their fashion patronizing the arts. ”

“ Loki’s Character
He represents evil in the seductive and seemingly beautiful form in which it glides about through the world. On account of this deceptive appearance the gods did not at first avoid him, but considered him one of their number, took him with them wherever they went, and admitted him not only to their banquets and merrymakings, but also to their council hall, where they, unfortunately, too often listened to his advice. ”

“ But that was the case with Loki—Red Loki, as he was called, because of his red hair. He was handsome like a god; he was wise and clever like a god—more clever than any of the other gods. In one way, however, he differed from the others; he had a bad heart, and liked much better to use his cleverness in getting gods and men into trouble than in making them happy. Besides this, he was very proud, and could not bear to submit even to Odin, the king of the gods. ”

“ In the evil heart of Loki there came a desire to overthrow the god who was beloved by all gods and by all men. He hated him because he was pure, and the mind of Loki was as a stream into which all the filth of the world is discharged. He hated him because Baldur was truth and loyalty, and he, Loki, was treachery and dishonour. He hated him because to Loki there came never a thought that was not full of meanness and greed and cruelty and vice, and Baldur was indeed one sans peur et sans reproche. ”

“ In the beginning, Loki was merely the personification of the hearth fire and of the spirit of life. At first a god, he gradually becomes “god and devil combined,” and ends in being held in general detestation as an exact counterpart of the mediæval Lucifer, the prince of lies, “the originator of deceit, and the back-biter” of the Æsir.
By some authorities Loki was said to be the brother of Odin, but others assert that the two were not related, but had merely gone through the form of swearing blood brotherhood common in the North. ”

“ Not until it passes completely away from Godhead, and is reborn as the soul of the hero, can it work anything but the confusion and destruction of the existing order. How is the world to be protected against it in the meantime? Clearly Loki's help is needed here: it is the Lie that must, on the highest principles, hide the Truth. ”

“ Odin and Hoenir at once shook off their human disguises, and, taking their own forms again, hastened with all speed home to Asgard. But Loki tarried a little while, and said to Hreidmar and his sons:
"By your greediness and falsehood you have won for yourselves the Curse of the Earth, which lies before you. It shall be your bane. It shall be the bane of everyone who holds it. It shall kindle strife between father and son, between brother and brother. It shall make you mean, selfish, beastly. It shall transform you into monsters. The noblest king among men folk shall feel its curse. ”

“ Morals have often been an appendix of fables, but they never enter into the primitive fable itself. [Pg 427] The elementary myth is a spontaneous production of imagination, and not of reflection. When the myth exists, art and religion may make use of it as an allegory for their æsthetic and moral ends; but the myth itself is devoid of moral conscience; the myth shows, as I have said, only more or less elevated instincts. ”

“ The explanations which men have given of their own sacred stories, the apologies for their own gods which they have been constrained to offer to themselves, were the earliest babblings of a science of mythology. That science was, in its dim beginnings, intended to satisfy a moral need. Man found that his gods, when mythically envisaged, were not made in his own moral image at its best, but in the image sometimes of the beasts, sometimes of his own moral nature at its very worst: in the likeness of robbers, wizards, sorcerers, and adulterers. ”

“ The new significance of mythology has obscured the old, and was a symbol for material facts has become a drama, an apologue, and an ideal. Thus one function of mythology has been nothing less than to carry religion over from superstition into wisdom, from an excuse and apology for magic into an ideal representation of moral goods. In his impotence and sore need a man appeals to magic ”

“ Here it is necessary to raise ourselves with a daring bound into a metaphysics of Art. I repeat, therefore, my former proposition, that it is only as an æsthetic phenomenon that existence and the world, appear justified: and in this sense it is precisely the function of tragic myth to convince us that even the Ugly and Discordant is an artistic game which the will, in the eternal fulness of its joy, plays with itself. ”

“ Nevertheless, nor poetry nor chant nor solemn ritual could make death other than death; and the Pyramid Texts, while refusing to utter the fatal word, give wistful reminiscences of that blessed age "before death came forth." However high the faith of man, the masterful negation and collapse of the body was a fact, and it was to keep that daring faith alive and aglow that The Mysteries were instituted. Beginning, it may be, in incantation, they rose to heights of influence and beauty, giving dramatic portrayal of the unconquerable faith of man. ”

“ Gliding back from these hortative tones into the mood which befits the contemplative man, I repeat that it can only be learnt from the Greeks what such a sudden and miraculous awakening of tragedy must signify for the essential basis of a people's life. It is the people of the tragic mysteries who fight the battles with the Persians: and again, the people who waged such wars required tragedy as a necessary healing potion. ”

“ These myths were born of hopes, and fears, and tears, and smiles, and they were touched and colored by all there is of joy and grief between the rosy dawn of birth, and death's sad night. They clothed even the stars with passion, and gave to gods the faults and frailties of the sons of men. ”

“ The latter help us not only to understand the dreams themselves, but also show their symbolism and close relationship with all psychic phenomena in general, especially with the day dreams or phantasies, with artistic creativeness, and with certain disturbances of the normal psychic function. A common share in all these productions belongs to a single psychic function, the human imagination. It is to this imaginative faculty—of humanity at large rather than individual—that the modern myth theory is obliged to concede a high rank, perhaps the first, for the ultimate origin of all myths. ”

“ History, when divested of the graces of eloquence, and of that veil which the imagination is taught to throw over antiquity, presents a disgusting, terrible list of crimes and calamities: murders, assassinations, battles, revolutions, are the memorable events of history. The love of glory atones for military barbarity; treachery and fraud are frequently dignified with the names of prudence and policy; and the historian, desirous to appear moral and sentimental, yet compelled to produce facts, makes out an inconsistent, ambiguous system of morality. ”

“ As it's been said many times, we must learn from the mistakes of history, or we're doomed to repeat them. We must all realize what we're capable of, when we close our hearts, and allow our minds to justify such brutal and inhuman acts. ”

“ Monumental history lives by false analogy; it entices the brave to rashness, and the enthusiastic to fanaticism by its tempting comparisons. Imagine this history in the hands —and the head—of a gifted egoist or an inspired scoundrel; kingdoms will be overthrown, princes murdered, war and revolution let loose, and the number of "effects in themselves"—in other words, effects without sufficient cause—increased. So much for the harm done by monumental history to the powerful men of action, be they good or bad ”

“ It seems as if we might accuse the Muse of History of plagiarizing herself, as if Fate had exhausted her possibilities, or as if she wanted to teach us the great moral lesson that mankind, untaught by the sufferings and the catastrophes of previous generations, shall be ever doomed to repeat the same blunders and the same crimes. ”

“ The World War has goaded us into thinking as we never thought before. It has constrained us to think of realities and especially to think of the supreme reality—the reality of Man. That is why the great Catastrophe marks the close of humanity's childhood. The period has been long and the manner of its end is memorable forever—a sudden, flaming, world-wide cataclysmic demonstration of fundamental ignorance—human ignorance of human nature. ”

“ We are the Greeks and the Romans, made what we now are by their deeds and thoughts and experiences, our world their world, at a later stage of an evolution never interrupted but always one and single. Our births and deaths are but a sleep and a forgetting in the unbroken biography of a spirit, not above but in us all, which is the hero of the history of European civilization, itself a part of the history of Humanity. Thus the history of Antiquity, and especially of Classical Antiquity, is the record of the thoughts and deeds of our own youth. ”

“ Almost, if not quite, every achievement of the Greeks and the Romans in thought, in science, in law, in the practical arts, is now a part of our civilization, either among the tools of our daily life or in the long-forgotten or perhaps disowned foundation-stones which have disappeared from sight because we have built some more complete structure upon them, a structure which never could have been built, however, had not these foundations first been laid by some one. All of real value which had been gained was to be preserved in the world's permanent civilization. ”