Clement of Alexandria, Exhortation to the Heathen

ΚΛΗΜΕΝΤΟΣ ΣΤΡΩΜΑΤΕΩΣ ΠΡΟΤΡΕΠΤΙΚΟΣ ΠΡΟΣ ΕΛΛΗΝΑΣ

Ἀμφίων ὁ Θηβαῖος καὶ Ἀρίων ὁ Μηθυμναῖος ἄμφω μὲν ἤστην ᾠδικώ, μῦθος δὲ ἄμφω (καὶ τὸ ᾆσμα εἰσέτι τοῦτο Ἑλλήνων ᾄδεται χορῷ), τέχνῃ τῇ μουσικῇ ὃ μὲν ἰ

Ἄδυτα τοίνυν ἄθεα μὴ πολυπραγμονεῖτε μηδὲ βαρά θρων στόματα τερατείας ἔμπλεα ἢ λέβητα Θεσπρώτιον ἢ τρίποδα Κιρραῖον ἢ ∆ωδωναῖον χαλκεῖον· γεράνδρυον δ

Φέρε δὴ οὖν καὶ τοῦτο προσθῶμεν, ὡς ἀπάνθρωποι καὶ μισάνθρωποι δαίμονες εἶεν ὑμῶν οἱ θεοὶ καὶ οὐχὶ μόνον ἐπιχαίροντες τῇ φρενοβλαβείᾳ τῶν ἀνθρώπων, πρ

Εἰ δ' ἔτι πρὸς τούτοις φέρων ὑμῖν τὰ ἀγάλματα αὐτὰ ἐπισκοπεῖν παραθείην, ἐπιόντες ὡς ἀληθῶς λῆρον εὑρήσετε τὴν συνήθειαν, ἔργα χειρῶν ἀνθρώπων ἀναίσ

Ἐπιδράμωμεν δέ, εἰ βούλει, καὶ τῶν φιλοσόφων τὰς δόξας, ὅσας αὐχοῦσι περὶ τῶν θεῶν, εἴ πως καὶ φιλοσο φίαν αὐτὴν κενοδοξίας ἕνεκεν ἀνειδωλοποιοῦσαν τὴ

Καὶ πολύς μοι ἐπιρρεῖ τοιοῦτος ὄχλος, οἱονεὶ μορμώ τινα δαιμονίων παρεισάγων ξένων ἄτοπον σκιαγραφίαν, μυθολογῶν ὕθλῳ γραϊκῷ· πολλοῦ γε δεῖ ἀνδράσιν ἐ

Ἴτω δὲ ἡμῖν (οὐ γὰρ αὐταρκεῖ μόνον ἡ φιλοσοφία) ἀλλὰ καὶ αὐτὴ ποιητικὴ ἡ περὶ τὸ ψεῦδος τὰ πάντα ἠσχο λημένη, μόλις ποτὲ ἤδη ἀλήθειαν μαρτυρήσουσα, μᾶ

Ὥρα τοίνυν τῶν ἄλλων ἡμῖν τῇ τάξει προδιηνυσμένων ἐπὶ τὰς προφητικὰς ἰέναι γραφάς· καὶ γὰρ οἱ χρησμοὶ τὰς εἰς τὴν θεοσέβειαν ἡμῖν ἀφορμὰς ἐναργέστατα

Καὶ μυρίας ἂν ἔχοιμί σοι γραφὰς παραφέρειν, ὧν οὐδὲ κεραία παρελεύσεται μία, μὴ οὐχὶ ἐπιτελὴς γενομένη· τὸ γὰρ στόμα κυρίου, τὸ ἅγιον πνεῦμα, ἐλά

Ἀλλ' ἐκ πατέρων, φατέ, παραδεδομένον ἡμῖν ἔθος ἀνατρέπειν οὐκ εὔλογον. Καὶ τί δὴ οὐχὶ τῇ πρώτῃ τροφῇ, τῷ γάλακτι, χρώμεθα, ᾧ δήπουθεν συνείθισαν ἡμᾶς

Μικρὸν δέ, εἰ βούλει, ἄνωθεν ἄθρει τὴν θείαν εὐεργε σίαν. Ὁ πρῶτος ὅτε ἐν παραδείσῳ ἔπαιζε λελυμένος, ἔτι παιδίον ἦν τοῦ θεοῦ· ὅτε δὲ ὑποπίπτων ἡδονῇ

Φύγωμεν οὖν τὴν συνήθειαν, φύγωμεν οἷον ἄκραν χαλε πὴν ἢ Χαρύβδεως ἀπειλὴν ἢ Σειρῆνας μυθικάς· ἄγχει τὸν ἄνθρωπον, τῆς ἀληθείας ἀποτρέπει, ἀπάγει τῆς

Chapter VII.—The Poets Also Bear Testimony to the Truth.

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 monarch

Of the immortals; and there is none that may vie

with Him in power.”

Also on the stage they reveal the truth:—

“Look on the ether and heaven, and regard that as God,”

says Euripides. And Sophocles, the son of Sophilus, says:—

“One, in truth, one is God,

Who made both heaven and the far-stretching earth,

And ocean’s blue wave, and the mighty winds;

But many of us mortals, deceived in heart,

Have set up for ourselves, as a consolation in our afflictions,

Images of the gods of stone, or wood, or brass,

Or gold, or ivory;

And, appointing to those sacrifices and vain festal assemblages,

Are accustomed thus to practice religion.”

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 things

Which once appeared in your breast rob you of dear life;

But looking to the divine word, apply yourself to it,

Keeping right the seat of intellect and feeling; and walk well

In the straight path, and to the immortal King of the universe alone

Direct 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 mortal

Beholds 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 about

With an old woman, and enters houses

Carrying 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 Deity

Whither 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 living

Invented 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:—

“Thy godship abdicate!

Renounce Olympus!”70 Il., iii. 406.

And of Dionysus, Homer writes without reserve:—

“He, mid their frantic orgies, in the groves

Of lovely Nyssa, put to shameful rout

The youthful Bacchus’ nurses; they in fear,

Dropped each her thyrsus, scattered by the hand

Of fierce Lycurgus, with an ox-goad armed.”71 Il., 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,

“Who inhabits the sanctuary that is in the middle of the earth,

Dispensing most certain oracles to mortals,”

is thus exposed:—

“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 was

In right and justice.”72 Orestes, 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 barbarian host 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.”73 Ion, 442.

Ἴτω δὲ ἡμῖν (οὐ γὰρ αὐταρκεῖ μόνον ἡ φιλοσοφία) ἀλλὰ καὶ αὐτὴ ποιητικὴ ἡ περὶ τὸ ψεῦδος τὰ πάντα ἠσχο λημένη, μόλις ποτὲ ἤδη ἀλήθειαν μαρτυρήσουσα, μᾶλλον δὲ ἐξομολογουμένη τῷ θεῷ τὴν μυθώδη παρέκβασιν· παρίτω δὴ ὅστις καὶ βούλεται ποιητὴς πρῶτος. Ἄρατος μὲν οὖν διὰ πάντων τὴν δύναμιν τοῦ θεοῦ διήκειν νοεῖ, ὄφρ' ἔμπεδα πάντα φύωνται, τῷ μιν ἀεὶ πρῶτόν τε καὶ ὕστατον ἱλάσκονται· χαῖρε, πάτερ, μέγα θαῦμα, μέγ' ἀνθρώποισιν ὄνειαρ. Ταύτῃ τοι καὶ ὁ Ἀσκραῖος αἰνίττεται Ἡσίοδος τὸν θεόν· αὐτὸς γὰρ πάντων βασιλεὺς καὶ κοίρανός ἐστιν· ἀθανάτων τῷ δ' οὔτις ἐρήρισται κράτος ἄλλος. Ἤδη δὲ καὶ ἐπὶ τῆς σκηνῆς παραγυμνοῦσι τὴν ἀλήθειαν· ὃ μὲν καὶ εἰς τὸν αἰθέρα καὶ εἰς τὸν οὐρανὸν ἀναβλέψας "τόνδε ἡγοῦ θεόν", φησίν, Εὐριπίδης· ὁ δὲ τοῦ Σοφίλλου Σοφοκλῆς, εἷς ταῖς ἀληθείαισιν, εἷς ἐστὶν θεός, ὃς οὐρανόν τ' ἔτευξε καὶ γαῖαν μακρὴν πόντου τε χαροπὸν οἶδμα καὶ ἀνέμων βίας· θνητοὶ δὲ πολλοὶ καρδίᾳ πλανώμενοι ἱδρυσάμεσθα πημάτων παραψυχὴν θεῶν ἀγάλματ' ἐκ λίθων, ἢ χαλκέων ἢ χρυσοτεύκτων ἢ ἐλεφαντίνων τύπους· θυσίας τε τούτοις καὶ κενὰς πανηγύρεις νέμοντες, οὕτως εὐσεβεῖν νομίζομεν. Οὑτοσὶ μὲν ἤδη καὶ παρακεκινδυνευμένως ἐπὶ τῆς σκηνῆς τὴν ἀλήθειαν τοῖς θεαταῖς παρεισήγαγεν. Ὁ δὲ Θρᾴκιος ἱεροφάντης καὶ ποιητὴς ἅμα, ὁ τοῦ Οἰάγρου Ὀρφεύς, μετὰ τὴν τῶν ὀργίων ἱεροφαντίαν καὶ τῶν εἰδώλων τὴν θεολογίαν, παλινῳδίαν ἀληθείας εἰσάγει, τὸν ἱερὸν ὄντως ὀψέ ποτε, ὅμως δ' οὖν ᾄδων λόγον· φθέγξομαι οἷς θέμις ἐστί· θύρας δ' ἐπίθεσθε βέβηλοι πάντες ὁμῶς· σὺ δ' ἄκουε, φαεσφόρου ἔκγονε Μήνης, Μουσαῖε, ἐξερέω γὰρ ἀληθέα, μηδέ σε τὰ πρὶν ἐν στήθεσσι φανέντα φίλης αἰῶνος ἀμέρσῃ. Εἰς δὲ λόγον θεῖον βλέψας τούτῳ προσέδρευε, ἰθύνων κραδίης νοερὸν κύτος· εὖ δ' ἐπίβαινε ἀτραπιτοῦ, μοῦνον δ' ἐσόρα κόσμοιο ἄνακτα ἀθάνατον. Εἶτα ὑποβὰς διαρρήδην ἐπιφέρει· εἷς ἔστ', αὐτογενής, ἑνὸς ἔκγονα πάντα τέτυκται· ἐν δ' αὐτοῖς αὐτὸς περινίσσεται, οὐδέ τις αὐτὸν εἰσορᾷ θνητῶν, αὐτὸς δέ γε πάντας ὁρᾶται. Οὕτως μὲν δὴ Ὀρφεὺς χρόνῳ τέ ποτε συνῆκεν πεπλανημένος. Ἀλλὰ σὺ μὴ μέλλων, βροτὲ ποικιλόμητι, βράδυνε, ἀλλὰ παλίμπλαγκτος στρέψας θεὸν ἱλάσκοιο. Εἰ γὰρ καὶ τὰ μάλιστα ἐναύσματά τινα τοῦ λόγου τοῦ θείου λαβόντες Ἕλληνες ὀλίγα ἄττα τῆς ἀληθείας ἐφθέγξαντο, προσμαρτυροῦσι μὲν τὴν δύναμιν αὐτῆς οὐκ ἀποκεκρυμμένην, σφᾶς δὲ αὐτοὺς ἐλέγχουσιν ἀσθενεῖς, οὐκ ἐφικόμενοι τοῦ τέλους. Ἤδη γὰρ οἶμαι παντί τῳ δῆλον γεγονέναι ὡς τῶν χωρὶς τοῦ λόγου τῆς ἀληθείας ἐνεργούντων τι ἢ καὶ φθεγγο μένων ὁμοίων ὄντων τοῖς χωρὶς βάσεως βαδίζειν βιαζο μένοις. ∆υσωπούντων δέ σε εἰς σωτηρίαν καὶ οἱ περὶ τοὺς θεοὺς ὑμῶν ἔλεγχοι, οὓς διὰ τὴν ἀλήθειαν ἐκβιαζόμενοι κωμῳδοῦσι ποιηταί. Μένανδρος γοῦν ὁ κωμικὸς ἐν Ἡνιόχῳ [ἐν Ὑποβολιμαίῳ] τῷ δράματι οὐδείς μ' ἀρέσκει (φησὶ) περιπατῶν ἔξω θεὸς μετὰ γραός, οὐδ' εἰς οἰκίας παρεισιὼν ἐπὶ τοῦ σανιδίου μητραγύρτης· τοιοῦτοι γὰρ οἱ μητραγύρται. Ὅθεν εἰκότως ὁ Ἀντισθένης ἔλεγεν αὐτοῖς μεταιτοῦσιν· "οὐ τρέφω τὴν μητέρα τῶν θεῶν, ἣν οἱ θεοὶ τρέφωσιν". Πάλιν δὲ ὁ αὐτὸς κωμῳδιοποιὸς ἐν Ἱερείᾳ τῷ δράματι χαλεπαίνων πρὸς τὴν συνήθειαν διελέγχειν πειρᾶται τὸν ἄθεον τῆς πλάνης τῦφον, ἐπιφθεγγόμενος ἐμφρόνως εἰ γὰρ ἕλκει τὸν θεὸν τοῖς κυμβάλοις ἄνθρωπος εἰς ὃ βούλεται, ὁ τοῦτο ποιῶν ἐστι μείζων τοῦ θεοῦ· ἀλλ' ἔστι τόλμης καὶ βίας ταῦτ' ὄργανα εὑρημέν' ἀνθρώποισιν. Καὶ οὐχὶ μόνος ὁ Μένανδρος, ἀλλὰ καὶ Ὅμηρος καὶ Εὐριπίδης καὶ ἄλλοι συχνοὶ ποιηταὶ διελέγχουσιν ὑμῶν τοὺς θεοὺς καὶ λοιδορεῖσθαι οὐ δεδίασιν οὐδὲ καθ' ὁπόσον αὐτοῖς. Αὐτίκα τὴν Ἀθηνᾶν "κυνάμυιαν" καὶ τὸν Ἥφαιστον "ἀμφιγύην" καλοῦσιν, τῇ δὲ Ἀφροδίτῃ ἡ Ἑλένη φησὶ μηκέτι σοῖσι πόδεσσιν ὑποστρέψειας Ὄλυμπον. Ἐπὶ δὲ τοῦ ∆ιονύσου ἀναφανδὸν Ὅμηρος γράφει ὅς ποτε μαινομένοιο ∆ιωνύσοιο τιθήνας σεῦε κατ' ἠγάθεον Νυσήιον· αἳ δ' ἅμα πᾶσαι θύσθλα χαμαὶ κατέχευαν ὑπ' ἀνδροφόνοιο Λυκούργου. Ἄξιος ὡς ἀληθῶς Σωκρατικῆς διατριβῆς ὁ Εὐριπίδης εἰς τὴν ἀλήθειαν ἀπιδὼν καὶ τοὺς θεατὰς ὑπεριδών, ποτὲ μὲν τὸν Ἀπόλλωνα, ὃς μεσομφάλους ἕδρας ναίει βροτοῖσι στόμα νέμων σαφέστατα, διελέγχων, κείνῳ πειθόμενος τὴν τεκοῦσαν ἔκτανον, ἐκεῖνον ἡγεῖσθ' ἀνόσιον καὶ κτείνετε· ἐκεῖνος ἥμαρτ', οὐκ ἐγώ, ἀμαθέστερος ὢν τοῦ καλοῦ καὶ τῆς δίκης, τοτὲ δ' ἐμμανῆ εἰσάγων Ἡρακλέα καὶ μεθύοντα ἀλλαχόθι καὶ ἄπληστον· πῶς γὰρ οὐχί; Ὃς ἑστιώμενος τοῖς κρέασι χλωρὰ σῦκ' ἐπήσθιεν ἄμουσ' ὑλακτῶν ὥστε βαρβάρῳ μαθεῖν. Ἥδη δὲ ἐν Ἴωνι τῷ δράματι γυμνῇ τῇ κεφαλῇ ἐκκυκλεῖ τῷ θεάτρῳ τοὺς θεούς· πῶς οὖν δίκαιον τοὺς νόμους ὑμᾶς βροτοῖς γράψαντας αὐτοὺς ἀδικίας ὀφλισκάνειν; Εἰ δ', οὐ γὰρ ἔσται, τῷ λόγῳ δὲ χρήσομαι, δίκας βιαίων δώσετ' ἀνθρώποις γάμων, σὺ καὶ Ποσειδῶν Ζεὺς δ', ὃς οὐρανοῦ κρατεῖ, ναοὺς τίνοντες ἀδικίας κενώσετε.