DATE

5/21/25

TIME

4:15 PM

LOCATION

Oakland, CA

何为民主?

接《何为政治》

Origins of "Democracy"

DATE

5/21/25

TIME

4:15 PM

LOCATION

Oakland, CA

何为民主?

接《何为政治》

Origins of "Democracy"

DATE

5/21/25

TIME

4:15 PM

LOCATION

Oakland, CA

何为民主?

接《何为政治》

Origins of "Democracy"

A:

Democracy 来自希腊语 dēmokratía(δημοκρατία): dēmos(δήμος)是人民,kratos(κράτος)是权力、统治,意思即“人民统治”。雅典最初是一个由贵族统治的城邦,但内部不断爆发社会矛盾,贫富差距太大,很多平民因债务被奴役;政治排斥严重,只有贵族能参与治理;内乱频发,需要一种新机制来维稳和整合社会。这其实和中国之前的状况差不多,大部分时间都是多国混战,隔一段时间社会矛盾就会开始尖锐。他们说社会主义可以规避这些王朝反覆,但社会主义是资本主义的下一步,跳不过。

这时,雅典出现了几个关键改革者,首先是Solon。他通常就被称为 Solon of Athens,或希腊语原文 Σόλων ὁ Ἀθηναῖος。 他被誉为雅典七贤之一;是一位政治家、立法者、诗人。在古希腊,人的名字结构通常是名字 ,然后介绍自己来自哪里;或者名字,加上父亲名字。这点在《Game of Thrones》里面也常常看到。

Solon 出生于雅典一个贵族家庭,但家道中落。年轻时从事商业活动,广泛游历,接触各地文化,这些经历使他对社会问题有深入理解。Solon 并非“文艺诗人”,他的诗不是抒情,而是用来阐述理念、劝诫人民、批评敌人。事实证明,不管是什么变革,表达思想、传播思想都是第一步。当然,大肆逼迫别人同意自己的思想还是不太合适的。

雅典早期由贵族寡头统治,政治权利完全集中在少数家族手中。大批小农、手工业者陷入债务奴役,甚至被卖到外地当奴隶。社会结构也濒临瓦解,上层腐败、下层绝望、中层焦虑。历史学家普遍认为,再无调解,雅典可能步斯巴达或科林斯的军事独裁后尘。部分激进者要求重新瓜分土地、废除一切债务并将贵族处死。贵族内部也出现分裂,有人希望“改一点保地位”,有人主张武力镇压。

这时候,Solon被“共推”为仲裁官(Archon),原因是他最合适。他出身贵族,却不依附权贵;商人出身,了解社会下层痛苦;是诗人,有语言的力量,能跨越阶级传播理念;在战争中表现出国家至上的姿态,曾用诗歌激励士气收复失地。Archon 是古希腊的“执政官”,通常是贵族轮流担任。Solon 被“特别任命”为拥有立法权的仲裁官(Arbitrator with full powers),为期一年;地位类似一个“临时共和国总统 + 宪法制定者”。在此期间,他进行了改革。


B:他发布了《梭伦法典》废除债务奴隶制 seisachtheia,“摇掉债务的负担”,是全雅典最爆炸性的社会重置。他赎回被卖为奴的公民,并带他们回国。他将公民分为四个收入等级,高者可任职,低者可投票,首次形成“有限的政治平权”。除此之外,他还写诗。Solon没有用命令或强制推动改革,而是写诗, 朗诵给市民听,公开传播,让市民“感受到”他的中道哲学。

这些诗里,他不是“炫耀者”,而是自我克制者。他写道:“我力可掀翻贵族的特权,也可带动平民的狂潮;但我选择在两者之间,植入一把公正的天平。”


C:改革之后,Solon并不贪恋权力,他在改革后主动提出“自我流放”10年。他认为,如果继续留下来,不管做什么,都会被新贵族变为独裁者。他相信一个法制国家不能依赖一个人维持,而应靠制度。离开是一种“政治自限”:我不是掌权者,我是设定规则的人。这种“设限的自我”是最早的现代治理伦理,立法者的权威来自于“不掌控法律执行”,而非居高临下。但此时“民主”仍不是全民参与,而是有产公民参与。

Solon 并没有推翻整个社会秩序,而是以“平衡”为核心理念,既不让贵族继续为所欲为,也不让平民全面掀桌。他推行的“Seisachtheia”,废除以人身作抵押的债务机制;赎回已被卖为奴的雅典公民;禁止未来再以“自由公民”身份作担保。这不是不是“劫富济贫”,而是防止整个自由阶层被拖入奴隶制。他保住了城邦的“自由人基础”。

他将政治权利从血统转向“财富”,按照麦斗术分配权利。五百麦斗级(Pentacosiomedimnoi),可任高级官职。骑士级(Hippeis),300到500麦斗,可任中级职。轭农级(Zeugitae),200到300麦斗,有基本参政权。无产者(Thetes),也就是财富少于200麦斗米,仅能参与公民大会和陪审团。这种结构虽然造成了“阶层参与度差异”,但所有人都有一定发言权。这为民主化打下制度基础,但控制了改革幅度防止贵族反弹。

他进行法律制度改革,用法治取代私斗与血仇。他建立陪审法庭制度(Heliaia),所有自由民有权接受陪审团裁判。他允许平民对官员提起诉讼,打破贵族垄断司法。他废除Draco,即极端严苛的法律(如盗窃处以死刑)。顺带一提,Draco和哈利破特的马尔福家庭的last name同词,是jk rowling的隐喻。她这样的隐喻所有作品里到处都是。他建立陪庭制度(Heliaia),所有自由民有权接受陪审团裁判。他允许平民对官员提起诉讼,打破贵族垄断司法。

他还构建了议会,形成公共监督。他建立了“四百人议会”(Boule),每个部落推选100人组成,负责制定议案、监督官员;议会对官员有审查权,是后世“五百人议会”的前身。


D:

以上都是可以在现今社会里看到的体系。他进行自我放逐让我觉得很有趣。这被称为陶片放逐制的制度,后来被沿袭,被用于驱逐有“成为僭主”风险的人,也是非暴力的政治防腐机制。

看到这里,我不禁感叹古希腊哲学家好厉害,什么都想到了。虽然不完美,但自制能力很强。正如他们标榜的那样,很noble的人格。这不是说大话,是修养,对自己的要求,对人民的慈悲,对自己不完美的深刻了解。



A:

Democracy comes from the Greek word dēmokratía (δημοκρατία), where dēmos (δῆμος) means “the people” and kratos (κράτος) means “power” or “rule”—so it literally means “rule by the people.” Athens was originally a city-state ruled by aristocrats, but it experienced continuous internal conflicts due to massive wealth disparity. Many commoners were enslaved due to debt, and political participation was highly exclusive, limited to the noble class. Frequent unrest created the need for a new system to stabilize and integrate society. This situation wasn’t too different from early China, where multiple states were in constant conflict, and social tensions would intensify every few decades. Some have said socialism can prevent the cyclical collapse of dynasties, but socialism is supposed to be the next stage after capitalism—you can’t skip the steps.

It was in this context that several key reformers emerged in Athens, the most notable being Solon—commonly referred to as Solon of Athens, or in Greek, Σόλων ὁ Ἀθηναῖος. In ancient Greece, names were typically followed by the person’s city of origin or their father’s name—something we often see in Game of Thrones as well. Solon lived approximately from 638 BCE to 558 BCE and is recognized as one of the Seven Sages of Greece—a statesman, lawmaker, and poet.

Solon was born into a noble Athenian family that had fallen on hard times. As a young man, he engaged in commerce and traveled extensively, gaining deep insight into social issues. He was not a “literary poet” in the romantic sense; his poetry was a tool for expressing ideas, advising the public, and criticizing opponents. As history often proves, every transformation begins with the expression and spread of ideas. Of course, forcing others to accept your ideas wholesale is never ideal.

Early Athens was ruled by a narrow aristocracy. Political power was concentrated in a few elite families. Many small farmers and craftsmen fell into debt bondage and were even sold into slavery abroad. The social structure was on the verge of collapse—corruption at the top, desperation at the bottom, anxiety in the middle. Historians generally agree that without reform, Athens would have ended up like Sparta or Corinth—under military dictatorship. Some radicals demanded land redistribution, complete debt cancellation, and the execution of aristocrats. Even within the elite, there was division: some wanted limited reform to preserve their status, others advocated for brutal suppression.

It was in this moment that Solon was chosen by consensus to serve as Archon, because he was uniquely suited for the role. He was of noble birth but did not cling to privilege; his commercial background gave him empathy for the lower classes; his skill as a poet allowed him to communicate across social divides; and in war, he had demonstrated patriotism and had even used poetry to boost morale and recover lost territories. In classical Athens, Archon was a high magistrate position typically rotated among aristocrats. But Solon was given special status as an Arbitrator with full legislative powers—essentially a “temporary president of the republic and constitutional architect.” His term lasted one year, during which he carried out sweeping reforms.


B:

Solon issued the Code of Solon and abolished debt slavery—a reform known as seisachtheia, meaning “the shaking off of burdens.” This was a radical reset of Athenian society. He repurchased enslaved citizens and brought them back from abroad. He divided citizens into four income-based classes. The upper classes could hold office; the lower could vote—marking the first time limited political equality was introduced. In addition to writing laws, he also wrote poems. Solon did not force his reforms through authoritarian means; he composed verses, recited them to the citizens, and used poetry to publicly communicate his moderate philosophy.

In these poems, he wasn’t a “self-glorifier” but someone who exercised restraint. He wrote:

“I had the power to tear down aristocratic privilege and to fan the flames of popular uprising, but I chose instead to place a just scale between the two.”


C:

After enacting his reforms, Solon did not cling to power. He voluntarily exiled himself for ten years. He believed that staying would inevitably lead to accusations of tyranny, no matter what he did. Solon maintained that a law-based state must not rely on any one person but on institutional design. His departure was a self-imposed limitation: “I am not your ruler—I am the one who designed the rules.” This kind of self-limiting ethos is one of the earliest examples of modern governance ethics—that the authority of the legislator comes not from executing laws, but from not placing himself above them. Still, this was not full democracy: participation was limited to propertied male citizens.

Solon did not overturn the entire social order. His central principle was balance: he prevented both the aristocracy from unchecked domination and the commoners from overthrowing the table entirely. His seisachtheia canceled debt backed by personal bondage, redeemed citizens already sold into slavery, and banned the use of freemen as collateral in the future. This wasn’t about “robbing the rich to feed the poor,” but about preserving a freeman-based citizenry and avoiding the complete collapse of the middle class.

He shifted political power from lineage to wealth, dividing citizens into four income classes by the medimnos grain measure:

• Pentacosiomedimnoi (500+ medimnoi): eligible for top office
• Hippeis (300–500 medimnoi): mid-level offices
• Zeugitae (200–300): basic political rights
• Thetes (below 200): could participate in the assembly and juries only

While this system still reflected class-based participation, everyone had some voice, laying the institutional groundwork for democracy while keeping reforms moderate enough to avoid aristocratic backlash.

He replaced private vengeance and blood feuds with rule of law. Solon established a jury court system (Heliaia) where all freemen had the right to trial by jury. He allowed citizens to sue public officials, breaking the aristocracy’s monopoly on justice. He repealed Draco’s harsh laws, such as the death penalty for theft. (Fun fact: the name “Draco,” shared by the Harry Potter character Draco Malfoy, was an intentional metaphor by J.K. Rowling—she embeds these allusions everywhere in her work.)

Solon also introduced a council system to provide public oversight. He created the Council of Four Hundred (Boule), with each tribe electing 100 members. The council was responsible for proposing laws and supervising officials. It had the power to review magistrates and was the predecessor to the later Council of Five Hundred.


D:

All of these elements are still visible in modern systems today, but one innovation struck me as particularly interesting: ostracism—a nonviolent political safeguard. Solon used this on himself by leaving Athens voluntarily. The system was later formalized to exile individuals deemed a threat to democracy, preventing the rise of tyranny.

Reading all this, I can’t help but admire how Greek thinkers seemed to anticipate everything. Though far from perfect, their self-restraint was remarkable. As they themselves aspired to be: noble not in name, but in character. This isn’t about sounding lofty—it reflects their discipline, their compassion for the people, and their profound awareness of their own imperfection.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。