Clement of Alexandria - Delphi Complete Works of Clement of Alexandria (Illustrated)

The Complete Works of

CLEMENT OF ALEXANDRIA

(AD c. 150 c. 215)

Contents

Delphi Classics 2016

Version 1

The Complete Works of

CLEMENT OF ALEXANDRIA

By Delphi Classics, 2016

Complete Works of Clement of Alexandria

First published in the United Kingdom in 2016 by Delphi Classics.

Delphi Classics, 2016.

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Alexandria, the capital of Roman Egypt Clements traditional birthplace

Roman ruins at Alexandria

Translated by G. W. Butterworth and William Wilson

The Protrepticus (Exhortation to the Greeks) is the first of Clements three surviving works, collectively known as the trilogy. The work is formed as an exhortation to the pagans of Greece to adopt Christianity, demonstrating the third century authors extensive knowledge of pagan mythology and theology. Protrepticus is chiefly important due to Clements exposition of religion as an anthropological phenomenon. After a short philosophical discussion, the book opens with a history of Greek religion in seven stages. Clement suggests that at first, men mistakenly believed the Sun, the Moon and other heavenly bodies to be gods. The next development involved the worship of the products of agriculture, from which he contends the cults of Demeter and Dionysus arose. Man then paid reverence to revenge and deified human feelings of love and fear, among others. In the following stage, the poets Hesiod and Homer attempted to enumerate the Gods, with Hesiods Theogony giving the number of twelve. Finally, men proclaimed other men, such as Asclepius and Heracles, deities. Discussing idolatry, Clement contends that the objects of primitive religion were unshaped wood and stone, and idols thus arose when such natural items were carved. Like Plato, Clement is critical of all forms of visual art, suggesting that artworks are but illusions and dangerous toys.

In Protrepticus Clement criticises Greek paganism on the basis that its deities present both false and poor moral examples and he attacks the mystery religions for their obscurantism and trivial rituals. In particular, the worshippers of Dionysus are ridiculed for their ritual use of childrens toys. Clement goes on to explore how sometimes the pagan deities are based on humans, but at others they are misanthropic demons and he cites several classical sources in support of this theory.

Like other pre-Nicene fathers, Clement writes favourably about Euhemerus and other rationalist philosophers, on the grounds that they at least saw the flaws in paganism. However, his greatest praise is reserved for Plato, whose apophatic views of God prefigure Christianity. The figure of Orpheus is prominent throughout the narrative and Clement contrasts his song, representing pagan superstition, with the divine Logos of Christ. According to Clement, through conversion to Christianity alone can we fully participate in the Logos , which is universal truth.

Clement of Alexandria, from Book 1, Folio 5 recto of Les vrais pourtraits et vies des hommes illustres grecz, latins et payens by Andr Thevet, 1584

The Orphic mysteries are used as an example of the false cults of Greek paganism in Protrepticus

AMPHION of Thebes and Arion of Methymna were both minstrels, and both were renowned in story. They are celebrated in song to this day in the chorus of the Greeks; the one for having allured the fishes, and the other for having surrounded Thebes with walls by the power of music. Another, a Thracian, a cunning master of his art (he also is the subject of a Hellenic legend), tamed the wild beasts by the mere might of song; and transplanted trees oaks by music. I might tell you also the story of another, a brother to these the subject of a myth, and a minstrel Eunomos the Locrian and the Pythic grasshopper. A solemn Hellenic assembly had met at Pytho, to celebrate the death of the Pythic serpent, when Eunomos sang the reptiles epitaph. Whether his ode was a hymn in praise of the serpent, or a dirge, I am not able to say. But there was a contest, and Eunomos was playing the lyre in the summer time: it was when the grasshoppers, warmed by the sun, were chirping beneath the leaves along the hills; but they were singing not to that dead dragon, but to God All-wise, a lay unfettered by rule, better than the numbers of Eunomos. The Locrian breaks a string. The grasshopper sprang on the neck of the instrument, and sang on it as on a branch; and the minstrel, adapting his strain to the grasshoppers song, made up for the want of the missing string. The grasshopper then was attracted by the song of Eunomos, as the fable represents, according to which also a brazen statue of Eunomos with his lyre, and the Locrians ally in the contest, was erected at Pytho. But of its own accord it flew to the lyre, and of its own accord sang, and was regarded by the Greeks as a musical performer.

How, let me ask, have you believed vain fables, and supposed animals to be charmed by music; while Truths shining face alone, as would seem, appears to you disguised, and is looked on with incredulous eyes? And so Cithron, and Helicon, and the mountains of the Odrysi, and the initiatory rites of the Thracians, mysteries of deceit, are hallowed and celebrated in hymns. For me, I am pained at such calamities as form the subjects of tragedy, though but myths; but by you the records of miseries are turned into dramatic compositions.

But the dramas and the raving poets, now quite intoxicated, let us crown with ivy; and distracted outright as they are, in Bacchic fashion, with the satyrs, and the frenzied rabble, and the rest of the demon crew, let us confine to Cithron and Helicon, now antiquated.