In the Indian Culture we have the perfectly ahistoric soul

In the Indian Culture we have the perfectly ahistoric soul. Its decisive expression is the Brahman Nirvana. There is no pure Indian astronomy, no calendar, and therefore no history so far as history is the track of a conscious spiritual evolution. Of the visible course of their Culture, which as regards its organic phase came to an end with the rise of Buddhism, we know even less than we do of Classical history, rich though it must have been in great events between the 12th and 8th centuries. And this is not surprising, since it was in dream shapes and mythological figures that both came to be fixed. It is a full millennium after Buddha, about 500 A.D., when Ceylon first produces something remotely resembling historical work, the “Mahavansa.”

The world consciousness of Indian man was so ahistorically built that it could not even treat the appearance of a book written by a single author as an event determinate in time. Instead of an organic series of writings by specific persons, there came into being gradually a vague mass of texts into which everyone inserted what he pleased, and notions such as those of intellectual individualism, intellectual evolution, intellectual epochs, played no part in the matter. It is in this anonymous form that we possess the Indian philosophy — which is at the same time all the Indian history that we have — and it is instructive to compare with it the philosophy-history of the West, which is a perfectly definite structure made up of individual books and personalities.

Indian man forgot everything, but Egyptian man forgot nothing. Hence, while the art of portraiture — which is biography in the kernel — was unknown in India, in Egypt it was practically the artist’s only theme.

The Egyptian soul, conspicuously historical in its texture and impelled with primitive passion towards the infinite, perceived past and future as its wholeworld, and the present (which is identical with waking consciousness) appeared to him simply as the narrow common frontier of two immeasurable stretches. The Egyptian Culture is an embodiment of care — which is the spiritual counterpoise of distance — care for the future expressed in the choice of granite or basalt as the craftsman’s materials,5 in the chiseled archives, in the elaborate administrative system, in the net of irrigation works,6 and, necessarily bound up therewith, care for the past. The Egyptian mummy is a symbol of the first importance. The body of the dead man was made everlasting, just as his personality, his “Ka,” was immortalized through the portrait statuettes, which were often made in many copies and to which it was conceived to be attached by a transcendental likeness.

There is a deep relation between the attitude that is taken towards the historic past and the conception that is formed of death, and this relation is expressed in the disposal of the dead. The Egyptian denied mortality, the Classical man affirmed it in the whole symbolism of his Culture. The Egyptians embalmed even their history in chronological dates and figures. From pre-Solonian Greece nothing has been handed down, not a year date, not a true name, not a tangible event — with the consequence that the later history, (which alone we know) assumes undue importance — but for Egypt we possess, from the 3rd millennium and even earlier, the names and even the exact reign dates of many of the kings, and the New Empire must have had a complete knowledge of them.

Today, pathetic symbols of the will to endure, the bodies of the great Pharaohs lie in our museums, their faces still recognizable. On the shining, polished granite peak of the pyramid of Amenemhet III we can read today the words “Amenemhet looks upon the beauty of the Sun” and, on the other side, “Higher is the soul of Amenemhet than the height of Orion, and it is united with the underworld.” Here indeed is victory over Mortality and the mere present; it is to the last degree un-Classical.

5 Contrast with this the fact, symbolically of the highest importance and unparalleled in art history, that the Hellenes, though they had before their eyes the works of the Mycenaean Age and their land was only too rich in stone, deliberately reverted to wood; hence the absence of architectural remains of the period 1200-600. The Egyptian plant column was from the outset of stone, whereas the Doric column was wooden, a clear indication of the intense antipathy of the Classical soul towards duration.

6 Is there any Hellenic city that ever carried out one single comprehensive work that tells of care for future generations? The road and water systems which research has assigned to the Mycenaean — i.e., the pre-Classical — age fell into disrepair and oblivion from the birth of the Classical peoples — that is, from the Homeric period. It is a remarkably curious fact, proved beyond doubt by the lack of epigraphic remains, that the Classical alphabet did not come into use till after 900, and even then only to a limited extent and for the most pressing economic needs. Whereas in the Egyptian, the Babylonian, the Mexican and the Chinese Cultures the formation of a script begins in the very twilight of dawn, whereas the Germans made themselves a Runic alphabet and presently developed that respect for writing as such which led to the successive refinements of ornamental calligraphy, the Classical primitives were entirely ignorant of the numerous alphabets that were current in the South and the East. We possess numerous inscriptions of Hittite Asia Minor and of Crete, but not one of Homeric Greece.

Spengler
The Decline of the West