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Updated: June 15, 2025
Grosville Park was rich in second-rate antiques; and there was a Greco-Roman head above the bookcase with which Ashe had been often compared. As he stood now leaning against the fireplace, the close-piled curls, and eyes somewhat "
Whether he was really under the influence of the debased Greco-Roman culture of the day, which consigned mankind to the dominion of fatality, or whether he deliberately masked his own standpoint to please his audience, he presented the history of the Hebrew nationality in the light of ideas of fate strange to it.
The Greco-Roman Paganism was, at this time, far more powerful than Druidism in Gaul, and yet more lukewarm and destitute of all religious vitality. It was the religion of the conquerors and of the state, and was invested, in that quality, with real power; but, beyond that, it had but the power derived from popular customs and superstitions.
But at the same time, where the story is most vivid and dramatic, its framework is most pagan. The Greco-Roman ideas of fate and nemesis, which dominate the shorter account of the king's life in the Wars, are still the underlying motives. The reason for the dramatic power and the pagan frame are one and the same: Josephus uses here a full source, and that source is a pagan writer.
During the Greco-Roman period an ever-increasing number of individuals appeared without these capacities. Intelligent reflection concerning things took their place. Mankind was more and more shut off from the immediate perception of the psycho-spiritual world, and was more and more restricted to forming a picture of it through intelligence and feeling.
Not to consider here anything except the Christian architecture of Europe, that younger sister of the great masonries of the Orient, it appears to the eyes as an immense formation divided into three well-defined zones, which are superposed, the one upon the other: the Romanesque zone*, the Gothic zone, the zone of the Renaissance, which we would gladly call the Greco-Roman zone.
The first point that Josephus seeks to make good in his apology is the antiquity of the Hebrew people and the historical character of their Scriptures. In the Greco-Roman world, which had lost confidence in itself, and looked for inspiration to the past, age was a title to respectability, and it was the aim of the Jewish apologist to explain away the silence of the Greeks.
As a specimen of Juan de Herrero's severe and majestic style, it is second to no other building excepting only that great masterwork, the Escorial, and perhaps parts of the Pillar at Saragosse. But as an art monument, where beauty and not Greco-Roman effects are sought, it is a failure.
One thing is certain: epochs far above our own in the sense of beauty the Renaissance and the Greco-Roman world could not dispense with this form of poetry. It may be urged in reply, that it is not the lack of a sense of beauty, but the greater seriousness and the altered method of scientific treatment which renders the poetical form inappropriate, on which point it is unnecessary to enter.
They all agreed with their whole heart in the denial of the Greco-Roman worship of great men, which worship was everywhere revived in modern Europe in poetry, philosophy, politics, art and even in theology. For eighteen hundred years Western Europe was the spokesman of the Christian world and Russia kept silent.
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