As knowledge of the Greek language became more common throughout the Hellenistic world, literature in Greek also began to reflect the new conditions of life. At Athens, the focus on contemporary affairs and the fierce attacks on political leaders that had characterized the comedies of the fifth century B.C. soon disappeared as the city-state’s freedom from outside interference was lost to the kings. Instead, comic dramatists like Menander (c. 342–289 B.C.) and Philemon (c. 360–263 B.C.) now presented timeless plots concerning the trials and tribulations of fictional lovers, in works not unlike modern soap operas. These comedies of manners proved so popular that they were closely imitated in later times by Roman authors of comic plays.
Poets such as Theocritus from Syracuse in Sicily (born c. 300 B.C.) and Callimachus from Cyrene in North Africa (c. 305–240 B.C.), both of whom came to Alexandria to be supported by the patronage of the Ptolemaic kings, made individual emotions a central theme in their work. Their poetry broke new ground in demanding great intellectual effort from the audience, as well as personal emotional engagement. Only the erudite could fully appreciate the allusions and complex references to mythology that these poets employed in their elegant poems, which could be quite short, in contrast to Homeric epics. Theocritus was the first Greek poet to express a cultural split between the town and the countryside, a poetic stance corresponding to a growing reality. His pastoral poems in a collection called Idylls emphasized the discontinuity between the environment of the city and the bucolic life of the country dweller, although the rural people depicted in Theocritus’s poetry were Greeks in idealized landscapes rather than the actual workers of the Egyptian fields. Nevertheless, his literary pose as a sophisticated author reflected the fundamental social division of the Ptolemaic kingdom between the food consumers of the town and the food producers of the countryside.
The themes of Callimachus’s prolific output underlined the division in Hellenistic society between the intellectual elite and the uneducated masses. “I hate the common crowd and keep them at a distance,” as the Roman poet Horace expressed it (Odes 3.1), could stand for Callimachus’s authorial stance toward poetry and its audience. A comparison between Callimachus’s work and that of his fierce literary rival, Apollonius of Rhodes, emphasizes the Hellenistic development of intellectually demanding poetry suited only for an educated elite. Even though Apollonius wrote a long epic about Jason and the Argonauts instead of short poems like those of Callimachus, Apollonius’s verses too displayed an erudition that only readers with a literary education could share. Like the earlier lyric poets, who in the sixth and fifth centuries B.C. had often written to please rich patrons, these Hellenistic authors necessarily had to take into account the tastes of the royal patrons who were paying the bills. In one poem expressly praising his patron, Ptolemy II, Theocritus spelled out the quid pro quo of Hellenistic literary patronage: “The spokesmen of the Muses [that is, poets] celebrate Ptolemy in return for his benefactions” (Idylls 17.115–116).
The Hellenistic kings promoted intellectual life principally by offering scholars financial support to move to the royal capitals, as human proofs of the rulers’ royal magnanimity and grandeur. The Ptolemies won this particular form of competition with their fellow monarchs by making Alexandria the leading intellectual center of the Hellenistic world. There they established the world’s first scholarly research institute. Its massive library had the daunting goal of collecting all the books (that is, manuscripts) in the world; it grew to hold half a million scrolls, an enormous number for the time. Linked to it was a building in which the hired scholars dined together and produced encyclopedias of knowledge, such as The Wonders of the World and On the Rivers of Europe by Callimachus, whose more than 800 works included detailed prose works like these (neither of which has survived) in addition to erudite poetry. The name of this learned society maintained by the Ptolemaic kings in Alexandria was the Museum (meaning “place of the Muses,” the Greek goddesses of learning and the arts), a term that endures to this day as a designation for cultural institutions for the preservation and promotion of knowledge. The output of the Alexandrian scholars was prodigious. Their champion was Didymus (c. 80–10 B.C.), nicknamed “Bronze Guts” for his stamina in writing nearly four thousand books.
None of the women poets known from the Hellenistic period seems to have received royal patronage. Nevertheless, they earned fame for excelling in composing epigrams, a style of short poems originally used for funerary epitaphs and for which Callimachus was famous. In this era, the epigram was transformed into a vehicle for the expression of a wide variety of personal feelings, love above all. Elegantly worded epigrams survive from the pens of women from diverse regions of the Hellenistic world, such as Anyte of Tegea in the Peloponnese, Nossis of Locri in southern Italy, and Moiro of Byzantium at the mouth of the Black Sea. Women, from courtesans to respectable matrons, figured as frequent subjects in their poems. No Hellenistic literature better conveyed the depth of human emotion than their epigrams, such as Nossis’s poem on the power of Eros (Love, regarded as a divinity): “Nothing is sweeter than Eros. All other delights are second to it—from my mouth I spit out even honey. And this Nossis says: whoever Aphrodite has not kissed knows not what sort of flowers are her roses” (Palatine Anthology 5.170).
Like their literary contemporaries, Hellenistic sculptors and painters brought the emotions of the individual to the forefront in their art (fig. 10.2). Artists of the Classical Age had usually portrayed the faces of their subjects with a serene calm that represented an ideal rather than the reality of life. Hellenistic sculptors, by contrast, strove for a more naturalistic depiction of emotion in a variety of artistic genres. In portrait sculpture, Lysippus’s famous bust of Alexander the Great captured the passionate dreaminess of the young commander. A sculpture from Pergamum by an unknown artist commemorated the third-century B.C. Attalid victory over the plundering Gauls by showing a defeated Gallic warrior stabbing himself after having killed his wife to prevent her enslavement by the victors. This scene dramatically represented the pain and sacrifice demanded by a code of honor requiring noble suicide rather than disgraceful surrender. A large-scale painting of Alexander in battle against the Persian king Darius similarly portrayed Alexander’s intense concentration and Darius’s horrified expression. The artist, who was probably either Philoxenus of Eretria or a Greek woman from Egypt named Helena (one of the first female artists known), used foreshortening and strong contrasts between shadows and highlights to accentuate the emotional impact of the picture.
To appreciate fully the appeal of Hellenistic sculpture, we must remember that, like earlier Greek sculpture, it was painted in bright colors. The fourth-century B.C. sculptor Praxiteles, in fact, reportedly remarked that his best statues were “the ones colored by Nicias,” a leading painter of the time (Pliny, Natural History 35.133). Hellenistic art differed from Classical art, however, in its social context. Works of Classical art had been commissioned by the city-states as a whole for public display, or by wealthy individuals to present to their city-state. Now sculptors and painters created their works more and more as commissions from royalty and from the urban elites who wanted to demonstrate that they had artistic taste aligned with that of their social superiors in the royal family. To be successful, the artists had to please their rich patrons, and so the increasing diversity of subjects that emerged in Hellenistic art presumably represented a trend approved by kings, queens, and the elites. Sculpture best reveals this new preference for depictions of human beings in a wide variety of poses, many from private life, again in contrast with Classical art. Hellenistic sculptors portrayed subjects unknown in that earlier period: foreigners as paragons of noble behavior (such as a dying Gaul), drunkards, battered athletes, wrinkled old people. The female nude became a particular favorite. A naked Aphrodite, which Praxiteles sculpted for the city of Cnidos, became so renowned that Nicomedes, king of Bithynia in Anatolia, later offered to pay off Cnidos’s entire public debt if he could have the statu
e. The Cnidians refused.
Fig. 10.2: This bronze statue made in the Hellenistic Age depicts a veiled and masked female dancer in motion. Dance performances featured prominently in ancient Greek culture, both for entertainment in the theater and as part of the worship of divinities in religious rituals. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY.
One especially popular subject in Hellenistic art was the depiction of abstract ideas as sculptural types. Such statues were made to represent ideas as diverse as Peace and Insanity. Modern sculptures such as the Statue of Liberty in New York harbor belong in this same artistic tradition. So, too, modern neoclassical architecture imitates the imaginative public architecture of the Hellenistic period, whose architects often boldly combined the Doric and Ionic orders on the same building and energized the Corinthian order with exuberant decoration.
NEW IDEAS IN PHILOSOPHY AND SCIENCE
Greek philosophy in the Hellenistic period reached a wider audience than ever before. Although the mass of the working poor as usual had neither the leisure nor the resources to attend the lectures or read the works of the philosophers, the more affluent members of the population studied philosophy in growing numbers. Theophrastus (c. 370–285 B.C.), Aristotle’s most accomplished pupil, lectured to crowds of two thousand in Athens. Most of the students of philosophy continued to be men, but now women could also become members of the groups attached to certain philosophers. Kings competed to attract famous thinkers to their courts, and Greek settlers brought their interest in philosophy as the guide to life with them even to the most remote of the new Hellenistic cities. Archaeological excavation of a city located thousands of miles from Greece on the Oxus River in Afghanistan, for example, has turned up a Greek philosophical text, as well as inscriptions of moral advice attributed to Apollo’s oracle at Delphi.
Fewer thinkers now concentrated on metaphysics. Instead, philosophers concerned themselves with philosophical materialism, denying the concept of soul described by Plato and ignoring any other entities asserted to be beyond the reach of the senses. The goal of much philosophical inquiry was now centered on securing human independence from the effects of Chance or other worldly troubles. Scientific investigation of the physical world also tended to become a specialty separate from philosophy. Hellenistic philosophy itself was regularly divided into three related areas: logic (the process for discovering truth), physics (the fundamental truth about the nature of existence), and ethics (the way human beings should achieve happiness and well-being as a consequence of logic and physics). The most significant new philosophical schools of thought to arise were Epicureanism and Stoicism, and Epicurean and Stoic doctrines later proved exceptionally popular among upper-class Romans.
The various philosophies of the Hellenistic period were in many ways focused on the same question: What is the best way for human beings to live? Different philosophies recommended different paths to the same answer: individual human beings must attain personal tranquility to achieve freedom from the turbulence of outside forces. This philosophic goal had special emotional impact for Greeks experiencing the changes in political and social life that accompanied the rise to dominance of the Macedonian and later Hellenistic kingdoms. Outside forces in the persons of aggressive kings had robbed the city-states of their previous freedom of action internationally, and the fates and fortunes of city-states as well as individuals now often resided in the hands of distant, sometimes fickle monarchs. More than ever before, human life and opportunities for free choice seemed inclined to spin out of the control of individuals. It therefore made sense, at least for those people wealthy enough to spend time philosophizing, to study with philosophers to look for personal and private solutions to the unsettling new conditions of life in the Hellenistic Age.
Epicureanism took its name from its founder, Epicurus (341–271 B.C.), who settled his followers in Athens in a house set in a verdant garden (hence the Garden as the name of his informal school). Under the direction of Epicurus, the study of philosophy represented a new social form in opposition to previous traditions because he admitted women and slaves as regular members of his group. His lover, Leontion, became notorious for her treatise criticizing the views of Theophrastus. Epicurus believed that human beings should pursue pleasure, by which he did not mean what other people might expect. He insisted that true pleasure consisted of an “absence of disturbance” from pain and from the continuing, everyday turbulence, passions, and desires of an ordinary human existence. A quiet life lived in the society of friends apart from the cares of the common world could best provide this essential peace of mind. This teaching represented a serious challenge to the ideal of Greek citizenship, which required men of means to participate in the politics of the city-state and for women of the same class to participate in public religious cults.
Human beings should above all be free of worry about death, Epicurus taught. Since all matter consisted of microscopic atoms in random movement, as Democritus and Leucippus had earlier theorized, death was nothing more than the painless disassociation of the body’s atoms. Moreover, all human knowledge must be empirical, that is, derived from experience and perception. Phenomena that most people perceive as the work of the gods, such as thunder, do not result from divine intervention in the world. The gods live far away in perfect tranquility, taking no notice of human affairs. Human beings therefore have nothing to fear from gods, in life or in death.
The Stoics recommended a different, much more activist path for individuals. Their name derived from the Painted Stoa in Athens, where they discussed their doctrines. Zeno of Citium on Cyprus (c. 333–262 B.C.) founded stoicism, but Chrysippus from Cilicia in Anatolia (c. 280–206 B.C.) did the most to make it a comprehensive guide to life. Stoics believed that human beings should make their goal the pursuit of excellence. This, they said, consisted of putting oneself in harmony with universal Nature, the rational force of divine providence that directed all existence under the guise of Fate. Reason as well as experience should be used to discover the way to that harmony, which required the “perfect” excellences of good sense, justice, courage, and temperance. According to the Stoics, the doctrines of Zeno and Chrysippus applied to women as well as men. In his controversial work The Republic (Politeia), which survives only in fragments, Zeno even proposed that in an ideal, philosophically governed society, unisex clothing should be worn as a way to obliterate unnecessary distinctions between women and men.
The Stoics’ belief that fate was responsible for everything that happened gave rise to the question of whether human beings truly have free will. Employing some of the subtlest reasoning ever brought to bear on this fundamental issue, Stoic philosophers concluded that purposeful human actions did have significance. A Stoic should therefore take action against evil, for example, by participating in politics. Nature, itself good, did not prevent vice from occurring because otherwise moral excellence would have no meaning. What mattered in life, indeed, was the striving for good, not the result. In addition, to be a Stoic meant to shun desire and anger while enduring pain and sorrow calmly, an attitude that informs the meaning of the word “stoic” today. Through endurance and self-control, a Stoic attained tranquility. Death was not to be feared because, Stoics believed, we will all live our lives over and over again an infinite number of times in a fashion identical with our present lives. This repetition will occur as the world is periodically destroyed by fire and then reformed after the conflagration.
Other schools of thought carried on the work of earlier philosophical leaders such as Plato and Pythagoras. Still others like the Sceptics and the Cynics struck out in idiosyncratic directions. Sceptics aimed at the same state of personal imperturbability as did Epicureans, but from a completely different premise. Following the doctrines of Pyrrho of Elis in the Peloponnese (c. 360–270 B.C.), they believed that secure knowledge about anything was impossible because the human senses yield contradictory information about the world. All human beings can do, t
hey insisted, is to depend on the appearances of things while suspending judgment about their reality. Pyrrho’s thought had been influenced by the Indian ascetic wise men that he met as a member of Alexander the Great’s entourage. The basic premise of skepticism inevitably precluded any unity of doctrine.
Cynics ostentatiously rejected every convention of ordinary life, especially wealth and material comfort. Human beings should instead aim at a life of complete self-sufficiency. Whatever was natural was good and could be done without shame before anyone; even public defecation and intercourse, for example, were acceptable, according to this idea. Women and men alike were free to follow their sexual inclinations. Above all, Cynics should disdain the comforts and luxuries of a comfortable life. The name Cynic, which meant “like a dog,” reflected the common evaluation of this ascetic and unconventional way of life. The most famous early Cynic, Diogenes from Sinope on the Black Sea (c. 400–c. 325 B.C.), was reported to go around wearing borrowed clothing, and very little of that, and to sleep outside in a big storage jar. Almost as notorious was Hipparchia, a female Cynic of the late fourth century B.C. She once bested an obnoxious philosophical opponent named Theodorus the Atheist with the following argument, which recalled the climactic episode between father and son in Aristophanes’ Clouds: “That which would not be considered wrong if done by Theodorus would also not be considered wrong if done by Hipparchia. Now if Theodorus strikes himself, he does no wrong. Therefore, if Hipparchia strikes Theodorus, she does no wrong” (Diogenes Laertius, Lives of Eminent Philosophers 6.97).
Science benefited from its widening divorce from philosophy during the Hellenistic Age. Indeed, historians have called this era the Golden Age of ancient science. Various factors contributed to this flourishing of thought and discovery: the expeditions of Alexander and his support of scientific investigators had encouraged curiosity and increased knowledge about the extent and differing features of the world; royal patronage provided Hellenistic scientists with financial support; and the gathering together of scientists in Alexandria promoted an ongoing scholarly exchange of ideas that could not otherwise take place because travel and communication were so difficult. The greatest advances came in geometry and mathematics. Euclid, who taught at Alexandria around 300 B.C., made revolutionary progress in the analysis of two-and three-dimensional space. The fame and utility of Euclidean geometry endures to this day. Archimedes of Syracuse (287–212 B.C.) was an arithmetical polymath, who calculated the approximate value of pi and devised a way to manipulate very large numbers. He also invented hydrostatics (the science of the equilibrium of a fluid system) and mechanical devices such as a screw for lifting water to a higher elevation. The modern expression “Eureka!” immortalizes Archimedes’ shout of delight “I have found it” (heurēka in Greek) when the solution to a problem came to him as he immersed himself into a bathing pool (Vitruvius, On Architecture 9, preface 10).
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