I have enlarged upon the equivocal character of Tatian with melancholy interest, because I shall make sparing use of notes, in editing his sole surviving work, pronounced by Eusebius his masterpiece. I read it with sympathy, admiration, and instruction. I enjoy his biting satire of heathenism, his Pauline contempt for all philosophy save that of the Gospel, his touching reference to his own experiences, and his brilliant delineation of Christian innocence and of his own emancipation from the seductions of a deceitful and transient world. In short, I feel that Tatian deserves critical editing, in the original, at the hand and heart of some expert who can thoroughly appreciate his merits, and his relations to primitive Christianity.
The following is the original Introductory Notice:--
We learn from several sources that Tatian was an Assyrian, but know nothing very definite either as to the time or place of his birth. Epiphanius (Hær., xlvi.) declares that he was a native of Mesopotamia; and we infer from other ascertained facts regarding him, that he flourished about the middle of the second century. He was at first an eager student of heathen literature, and seems to have been especially devoted to researches in philosophy. But he found no satisfaction in the bewildering mazes of Greek speculation, while he became utterly disgusted with what heathenism presented to him under the name of religion. In these circumstances, he happily met with the sacred books of the Christians, and was powerfully attracted by the purity of morals which these inculcated, and by the means of deliverance from the bondage of sin which they revealed. He seems to have embraced Christianity at Rome, where he became acquainted with Justin Martyr, and enjoyed the instructions of that eminent teacher of the Gospel. After the death of Justin, Tatian unfortunately fell under the influence of the Gnostic heresy, and founded an ascetic sect, which, from the rigid principles it professed, was called that of the Encratites, that is, "The self-controlled," or, "The masters of themselves." Tatian latterly established himself at Antioch, and acquired a considerable number of disciples, who continued after his death to be distinguished by the practice of those austerities which he had enjoined. The sect of the Encratites is supposed to have been established about a.d. 166, and Tatian appears to have died some few years afterwards.
The only extant work of Tatian is his "Address to the Greeks." It is a most unsparing and direct exposure of the enormities of heathenism. Several other works are said to have been composed by Tatian; and of these, a Diatessaron, or Harmony of the Four Gospels, is specially mentioned. His Gnostic views led him to exclude from the continuous narrative of our Lord's life, given in this work, all those passages which bear upon the incarnation and true humanity of Christ. Not withstanding this defect, we cannot but regret the loss of this earliest Gospel harmony; but the very title it bore is important, as showing that the Four Gospels, and these only, were deemed authoritative about the middle of the second century.
[420] "Paul the aged" was only sixty when he gives himself this title. (Philem. 9). See the additional note, Speaker's Commentary, vol. iii. 843.
[421] See (vol. ii. p. 331.) Southey's Life of Wesley; an invaluable work, and one which presents this eminent saint in a most interesting light, even to worldly men. Ed. New York, Harpers, 1853.
Address of Tatian to the Greeks.
Chapter I.--The Greeks Claim, Without Reason, the Invention of the Arts.
Be not, O Greeks, so very hostilely disposed towards the Barbarians, nor look with ill will on their opinions. For which of your institutions has not been derived from the Barbarians? The most eminent of the Telmessians invented the art of divining by dreams; the Carians, that of prognosticating by the stars; the Phrygians and the most ancient Isaurians, augury by the flight of birds; the Cyprians, the art of inspecting victims. To the Babylonians you owe astronomy; to the Persians, magic; to the Egyptians, geometry; to the Phoenicians, instruction by alphabetic writing. Cease, then, to miscall these imitations inventions of your own. Orpheus, again, taught you poetry and song; from him, too, you learned the mysteries. The Tuscans taught you the plastic art; from the annals of the Egyptians you learned to write history; you acquired the art of playing the flute from Marsyas and Olympus,--these two rustic Phrygians constructed the harmony of the shepherd's pipe. The Tyrrhenians invented the trumpet; the Cyclopes, the smith's art; and a woman who was formerly a queen of the Persians, as Hellanicus tells us, the method of joining together epistolary tablets: [422] her name was Atossa. Wherefore lay aside this conceit, and be not ever boasting of your elegance of diction; for, while you applaud yourselves, your own people will of course side with you. But it becomes a man of sense to wait for the testimony of others, and it becomes men to be of one accord also in the pronunciation of their language. But, as matters stand, to you alone it has happened not to speak alike even in common intercourse; for the way of speaking among the Dorians is not the same as that of the inhabitants of Attica, nor do the Æolians speak like the Ionians. And, since such a discrepancy exists where it ought not to be, I am at a loss whom to call a Greek. And, what is strangest of all, you hold in honour expressions not of native growth, and by the intermixture of barbaric words have made your language a medley. On this account we have renounced your wisdom, though I was once a great proficient in it; for, as the comic poet [423] says,--
These are gleaners' grapes and small talk,--
Twittering places of swallows, corrupters of art.
Yet those who eagerly pursue it shout lustily, and croak like so many ravens. You have, too, contrived the art of rhetoric to serve injustice and slander, selling the free power of your speech for hire, and often representing the same thing at one time as right, at another time as not good. The poetic art, again, you employ to describe battles, and the amours of the gods, and the corruption of the soul.
[422] epistolas suntattein , i.e., for transmission by letter-carriers.--Otto.
[423] Aristoph., Ranæ, 92, 93.