It is the difference between a race naturally gifted with a delicate, æsthetic sense of beauty, and one in whom that sense was always subject to the perturbation, of gross instincts. But with the first century of the new age a change came over even the imagination of the Greeks. Though they never lost their distinction of style, that precious gift of lightness and good taste conferred upon them with their language, they borrowed something of their conquerors' vein. This makes itself felt in the Anthology. Straton and Rufinus suffered the contamination of the Roman genius, stronger in political organisation than that of Hellas, but coarser and less spiritually tempered in morals and in art. Straton was a native of Sardis, who flourished in the second century. He compiled a book of paiderastic poems, consisting in a great measure of his own and Meleager's compositions, which now forms the twelfth section of the Palatine Anthology. This book he dedicated, not to the Muse, but to Zeus; for Zeus was the boy-lover among deities;[1] he bade it carry forth his message of fair youths throughout the world;[2] and he claimed a special inspiration from heaven for singing of one sole subject, paiderastia.[3] It may be said with truth that Straton understood the bent of his own genius. We trace a blunt earnestness of intention in his epigrams, a certainty of feeling and directness of artistic treatment, which show that he had only one object in view. Meleager has far higher qualities as a poet, and his feeling, as well as his style, is more exquisite. But he wavered between the love of boys and women, seeking in both the satisfaction of emotional yearnings which in the modern world would have marked him as a sentimentalist. The so-called Mousa Paidiké, "Muse of Boyhood," is a collection of two hundred and fifty-eight short poems, some of them of great artistic merit, in praise of boys and boy-love. The common-places of these epigrams are Ganymede and Erôs;[4] we hear but little of Aphrodite—her domain is the other section of the Anthology, called Erotika. A very small percentage of these compositions can be described as obscene;[5] none are nasty, in the style of Martial or Ausonius; some are exceedingly picturesque;[6] a few are written in a strain of lofty or of lovely music;[7] one or two are delicate and subtle in their humour.[8] The whole collection supplies good means
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A PROBLEM IN GREEK ETHICS
