The Crown of Wild Olive. Ruskin John
Читать онлайн книгу.
representation of war, or of the exercises which prepare for it, in their connection with offices of religion. All Greek institutions had first respect to war; and their conception of it, as one necessary office of all human and divine life, is expressed simply by the images of their guiding gods. Apollo is the god of all wisdom of the intellect; he bears the arrow and the bow, before he bears the lyre. Again, Athena is the goddess of all wisdom in conduct. It is by the helmet and the shield, oftener than by the shuttle, that she is distinguished from other deities.
There were, however, two great differences in principle between the Greek and the Egyptian theories of policy. In Greece there was no soldier caste; every citizen was necessarily a soldier. And, again, while the Greeks rightly despised mechanical arts as much as the Egyptians, they did not make the fatal mistake of despising agricultural and pastoral life; but perfectly honoured both. These two conditions of truer thought raise them quite into the highest rank of wise manhood that has yet been reached; for all our great arts, and nearly all our great thoughts, have been borrowed or derived from them. Take away from us what they have given; and I hardly can imagine how low the modern European would stand.
Now, you are to remember, in passing to the next phase of history, that though you must have war to produce art—you must also have much more than war; namely, an art-instinct or genius in the people; and that, though all the talent for painting in the world won't make painters of you, unless you have a gift for fighting as well, you may have the gift for fighting, and none for painting. Now, in the next great dynasty of soldiers, the art-instinct is wholly wanting. I have not yet investigated the Roman character enough to tell you the causes of this; but I believe, paradoxical as it may seem to you, that, however truly the Roman might say of himself that he was born of Mars, and suckled by the wolf, he was nevertheless, at heart, more of a farmer than a soldier. The exercises of war were with him practical, not poetical; his poetry was in domestic life only, and the object of battle, 'pacis imponere morem.' And the arts are extinguished in his hands, and do not rise again, until, with Gothic chivalry, there comes back into the mind of Europe a passionate delight in war itself, for the sake of war. And then, with the romantic knighthood which can imagine no other noble employment,—under the fighting kings of France, England, and Spain; and under the fighting dukeships and citizenships of Italy, art is born again, and rises to her height in the great valleys of Lombardy and Tuscany, through which there flows not a single stream, from all their Alps or Apennines, that did not once run dark red from battle: and it reaches its culminating glory in the city which gave to history the most intense type of soldiership yet seen among men;—the city whose armies were led in their assault by their king, led through it to victory by their king, and so led, though that king of theirs was blind, and in the extremity of his age.
And from this time forward, as peace is established or extended in Europe, the arts decline. They reach an unparalleled pitch of costliness, but lose their life, enlist themselves at last on the side of luxury and various corruption, and, among wholly tranquil nations, wither utterly away; remaining only in partial practice among races who, like the French and us, have still the minds, though we cannot all live the lives, of soldiers.
'It may be so,' I can suppose that a philanthropist might exclaim. 'Perish then the arts, if they can flourish only at such a cost. What worth is there in toys of canvas and stone if compared to the joy and peace of artless domestic life?' And the answer is—truly, in themselves, none. But as expressions of the highest state of the human spirit, their worth is infinite. As results they may be worthless, but, as signs, they are above price. For it is an assured truth that, whenever the faculties of men are at their fulness, they must express themselves by art; and to say that a state is without such expression, is to say that it is sunk from its proper level of manly nature. So that, when I tell you that war is the foundation of all the arts, I mean also that it is the foundation of all the high virtues and faculties of men.
It was very strange to me to discover this; and very dreadful—but I saw it to be quite an undeniable fact. The common notion that peace and the virtues of civil life flourished together, I found, to be wholly untenable. Peace and the vices of civil life only flourish together. We talk of peace and learning, and of peace and plenty, and of peace and civilisation; but I found that those were not the words which the Muse of History coupled together: that on her lips, the words were—peace and sensuality, peace and selfishness, peace and corruption, peace and death. I found, in brief, that all great nations learned their truth of word, and strength of thought, in war; that they were nourished in war, and wasted by peace; taught by war, and deceived by peace; trained by war, and betrayed by peace;—in a word, that they were born in war, and expired in peace.
Yet now note carefully, in the second place, it is not all war of which this can be said—nor all dragon's teeth, which, sown, will start up into men. It is not the ravage of a barbarian wolf-flock, as under Genseric or Suwarrow; nor the habitual restlessness and rapine of mountaineers, as on the old borders of Scotland; nor the occasional struggle of a strong peaceful nation for its life, as in the wars of the Swiss with Austria; nor the contest of merely ambitious nations for extent of power, as in the wars of France under Napoleon, or the just terminated war in America. None of these forms of war build anything but tombs. But the creative or foundational war is that in which the natural restlessness and love of contest among men are disciplined, by consent, into modes of beautiful—though it may be fatal—play: in which the natural ambition and love of power of men are disciplined into the aggressive conquest of surrounding evil: and in which the natural instincts of self-defence are sanctified by the nobleness of the institutions, and purity of the households, which they are appointed to defend. To such war as this all men are born; in such war as this any man may happily die; and forth from such war as this have arisen throughout the extent of past ages, all the highest sanctities and virtues of humanity.
I shall therefore divide the war of which I would speak to you into three heads. War for exercise or play; war for dominion; and, war for defence.
I. And first, of war for exercise or play. I speak of it primarily in this light, because, through all past history, manly war has been more an exercise than anything else, among the classes who cause, and proclaim it. It is not a game to the conscript, or the pressed sailor; but neither of these are the causers of it. To the governor who determines that war shall be, and to the youths who voluntarily adopt it as their profession, it has always been a grand pastime; and chiefly pursued because they had nothing else to do. And this is true without any exception. No king whose mind was fully occupied with the development of the inner resources of his kingdom, or with any other sufficing subject of thought, ever entered into war but on compulsion. No youth who was earnestly busy with any peaceful subject of study, or set on any serviceable course of action, ever voluntarily became a soldier. Occupy him early, and wisely, in agriculture or business, in science or in literature, and he will never think of war otherwise than as a calamity. But leave him idle; and, the more brave and active and capable he is by nature, the more he will thirst for some appointed field for action; and find, in the passion and peril of battle, the only satisfying fulfilment of his unoccupied being. And from the earliest incipient civilisation until now, the population of the earth divides itself, when you look at it widely, into two races; one of workers, and the other of players—one tilling the ground, manufacturing, building, and otherwise providing for the necessities of life;—the other part proudly idle, and continually therefore needing recreation, in which they use the productive and laborious orders partly as their cattle, and partly as their puppets or pieces in the game of death.
Now, remember, whatever virtue or goodliness there may be in this game of war, rightly played, there is none when you thus play it with a multitude of small human pawns.
If you, the gentlemen of this or any other kingdom, choose to make your pastime of contest, do so, and welcome; but set not up these unhappy peasant-pieces upon the green fielded board. If the wager is to be of death, lay it on your own heads, not theirs. A goodly struggle in the Olympic dust, though it be the dust of the grave, the gods will look upon, and be with you in; but they will not be with you, if you sit on the sides of the amphitheatre, whose steps are the mountains of earth, whose arena its valleys, to urge your peasant millions into gladiatorial war. You also, you tender and delicate women, for whom, and by whose command, all true battle has been, and must ever be; you would perhaps shrink now, though you need not, from the thought of sitting as queens above set