Erasmus Against War. Erasmus Desiderius

Чтение книги онлайн.

СКАЧАТЬ and was published at Venice by Aldus in September, 1508. The enlarged collection, to all intents and purposes a new work, consists of no less than three thousand two hundred and sixty heads. In a preface, Erasmus speaks slightingly of the Adagiorum Collectanea, with that affectation from which few authors are free, as a little collection carelessly made. “Some people got hold of it,” he adds, (and here the affectation becomes absolute untruth,) “and had it printed very incorrectly.” In the new work, however, much of the old disappears, much more is partially or wholly recast; and such of the old matter as is retained is dispersed at random among the new. In the Collectanea the commentaries had all been brief: here many are expanded into substantial treatises covering four or five pages of closely printed folio.

      The Aldine edition had been reprinted at Basel by Froben in 1513. Shortly afterwards Erasmus himself took up his permanent residence there. Under his immediate supervision there presently appeared what was to all intents and purposes the definitive edition of 1515. It is a book of nearly seven hundred folio pages, and contains, besides the introductory matter, three thousand four hundred and eleven headings. In his preface Erasmus gives some details with regard to its composition. Of the original Paris work he now says, no doubt with truth, that it was undertaken by him hastily and without enough method. When preparing the Venice edition he had better realized the magnitude of the enterprise, and was better fitted for it by reading and learning, more especially by the mass of Greek manuscripts, and of newly printed Greek first editions, to which he had access at Venice and in other parts of Italy. In England also, owing very largely to the kindness of Archbishop Warham, more leisure and an ampler library had been available.

      Among several important additions made in the edition of 1515, this essay, the text of which is the proverbial phrase “Dulce bellum inexpertis,” is at once the longest and the most remarkable. The adage itself, with a few lines of commentary, had indeed been in the original collection; but the treatise, in itself a substantial work, now appeared for the first time. It occupied a conspicuous place as the first heading in the fourth Chiliad of the complete work; and it was at once singled out from the rest as of special note and profound import. Froben was soon called upon for a separate edition. This appeared in April, 1517, in a quarto of twenty pages. This little book, the Bellum Erasmi as it was called for the sake of brevity, ran like wildfire from reader to reader. Half the scholarly presses of Europe were soon employed in reprinting it. Within ten years it had been reissued at Louvain, twice at Strasburg, twice at Mayence, at Leipsic, twice at Paris, twice at Cologne, at Antwerp, and at Venice. German translations of it were published at Basel and at Strasburg in 1519 and 1520. It soon made its way to England, and the translation here utilized was issued by Berthelet, the king’s printer, in the winter of 1533-4.

      Whether the translation be by Richard Taverner, the translator and editor, a few years later, of an epitome or selection of the Chiliades, or by some other hand, there are no direct means of ascertaining; nor except for purposes of curiosity is the question an important one. The version wholly lacks distinction. It is a work of adequate scholarship but of no independent literary merit. English prose was then hardly formed. The revival of letters had reached the country, but for political and social reasons which are readily to be found in any handbook of English history, it had found a soil, fertile indeed, but not yet broken up. Since Chaucer, English poetry had practically stood still, and except where poetry has cleared the way, prose does not in ordinary circumstances advance. A few adventurers in setting forth had appeared. More’s Utopia, one of the earliest of English prose classics, is a classic in virtue of its style as well as of its matter. Berners’s translation of Froissart, published in 1523, was the first and one of the finest of that magnificent series of translations which from this time onwards for about a century were produced in an almost continuous stream, and through which the secret of prose was slowly wrung from older and more accomplished languages. Latimer, about the same time, showed his countrymen how a vernacular prose, flexible, well knit, and nervous, might be written without its lines being traced on any ancient or foreign model. Coverdale, the greatest master of English prose whom the century produced, whose name has just missed the immortality that is secure for his work, must have substantially completed that magnificent version of the Bible which appeared in 1535, and to which the authorized version of the seventeenth century owes all that one work of genius can owe to another. It is not with these great men that the translator of this treatise can be compared. But he wrought, after his measure, on the same structure as they.

      It is then to the original Latin, not to this rude and stammering version, that scholars must turn now, as still more certainly they turned then, for the mind of Erasmus; for with him, even more eminently than with other authors, the style is the man, and his Latin is the substance, not merely the dress, of his thought. When he wrote it he was about forty-eight years of age. He was still in the fullness of his power. If he was often crippled by delicate health, that was no more than he had habitually been from boyhood. In this treatise we come very near the real man, with his strange mixture of liberalism and orthodoxy, of clear-sighted courage and a delicacy which nearly always might be mistaken for timidity.

      His text is that (in the translator’s words) “nothing is either more wicked or more wretched, nothing doth worse become a man (I will not say a Christian man) than war.” War was shocking to Erasmus alike on every side of his remarkably complex and sensitive nature. It was impious; it was inhuman; it was ugly; it was in every sense of the word barbarous, to one who before all things and in the full sense of the word was civilized and a lover of civilization. All these varied aspects of the case, seen by others singly and partially, were to him facets of one truth, rays of one light. His argument circles and flickers among them, hardly pausing to enforce one before passing insensibly to another. In the splendid vindication of the nature of man with which the treatise opens, the tone is rather that of Cicero than of the New Testament. The majesty of man resides above all in his capacity to “behold the very pure strength and nature of things;” in essence he is no fallen and corrupt creature, but a piece of workmanship such as Shakespeare describes him through the mouth of Hamlet. He was shaped to this heroic mould “by Nature, or rather god,” so the Tudor translation reads, and the use of capital letters, though only a freak of the printer, brings out with a singular suggestiveness the latent pantheism which underlies the thought of all the humanists. To this wonderful creature strife and warfare are naturally repugnant. Not only is his frame “weak and tender,” but he is “born to love and amity.” His chief end, the object to which all his highest and most distinctively human powers are directed, is coöperant labour in the pursuit of knowledge. War comes out of ignorance, and into ignorance it leads; of war comes contempt of virtue and of godly living. In the age of Machiavelli the word “virtue” had a double and sinister meaning; but here it is taken in its nobler sense. Yet, the argument continues, for “virtue,” even in the Florentine statesman’s sense, war gives but little room. It is waged mainly for “vain titles or childish wrath;” it does not foster, in those responsible for it, any one of the nobler excellences. The argument throughout this part of the treatise is, both in its substance and in its ornament, wholly apart from the dogmas of religion. The furies of war are described as rising out of a very pagan hell. The apostrophe of Nature to mankind immediately suggests the spirit as well as the language of Lucretius. Erasmus had clearly been reading the De Rerum Natura, and borrows some of his finest touches from that miraculous description of the growth of civilization in the fifth book, which is one of the noblest contributions of antiquity towards a real conception of the nature of the world and of man. The progressive degeneration of morality, because, as its scope becomes higher, practice falls further and further short of it, is insisted upon by both these great thinkers in much the same spirit and with much the same illustrations. The rise of empires, “of which there was never none yet in any nation, but it was gotten with the great shedding of man’s blood,” is seen by both in the same light. But Erasmus passes on to the more expressly religious aspect of the whole matter in the great double climax with which he crowns his argument, the wickedness of a Christian fighting against another man, the horror of a Christian fighting against another Christian. “Yea, and with a thing so devilish,” he breaks out in a mingling of intense scorn and profound pity, “we mingle Christ.”

      From this passionate appeal he passes to the praises of peace. Why should men add the horrors of war СКАЧАТЬ