Anarchy Greek Quotes

Art has no immediate future because all art is collective and there is no more collective life(there are only dead collections of people), and also because of this breaking of the true pact between the body and the soul. Greek art coincided with the beginning of geometry and with athleticism, the art of the Middle Ages with the craftsmen's guilds, the art of the Renaissance with the beginning of mechanics, etc....Since 1914 there has been a complete cut. Even comedy is almost impossible. There is only room for satire (when was it easier to understand Juvenal?). Art will never be reborn except from amidst a general anarchy - it will be epic no doubt, because affliction will have simplified a great many things...It is therefore quite useless for you to envy Leonardo or Bach. Greatness in our times must take a different course. Moreover it can only be solitary, obscure and without an echo...(but without an echo, no art).

This political disorder found expression in Machiavelli Prince. In the absence of any guiding principle, politics becomes a naked struggle for power; The Prince gives shrewd advice as to how to play this game successfully. What had happened in the great age of Greece happened again in Renaissance Italy: traditional moral restraints disappeared, because they were seen to be associated with superstition; the liberation from fetters made individuals energetic and creative, producing a rare florescence of genius; but the anarchy and treachery which inevitably resulted from the decay of morals made Italians collectively impotent, and they fell, like the Greeks, under the domination of nations less civilized than themselves but not so destitute of social cohesion.

Democracy, indeed, has a fair-appearing name and conveys the impression of bringing equal rights to all through equal laws, but its results are seen not to agree at all with its title. Monarchy, on the contrary, has an unpleasant sound, but is a most practical form of government to live under. For it is easier to find a single excellent man than many of them, section 2and if even this seems to some a difficult feat, it is quite inevitable that the other alternative should be acknowledged to be impossible; for it does not belong to the majority of men to acquire virtue. And again, even though a base man should obtain supreme power, yet he is preferable to the masses of like character, as the history of the Greeks and barbarians and of the Romans themselves proves. section 3For successes have always been greater and more frequent in the case both of cities and of individuals under kings than under popular rule, and disasters do not happen so frequently under monarchies as under mob-rule. Indeed, if ever there has been a prosperous democracy, it has in any case been at its best for only a brief period, so long, that is, as the people had neither the numbers nor the strength sufficient to cause insolence to spring up among them as the result of good fortune or jealousy as the result of ambition.

The misteaching of what Jesus meant by “repent” has kept people circling around in that cosmos of false beliefs and mindsets that lead nowhere.   The word Jesus actually used was metanoia. Meta means “beyond or outside,” while noia means “understanding.” Noia is derived from the Greek nous, which means “our minds.” In practical terms, metanoia means to “change the way we use our minds”—to think beyond the normal limits of the way we have been taught to reason. It implies that we haven’t been using our minds correctly. An example of this metanoia principle would be metaphysics. As mentioned, “meta” means outside or beyond, so metaphysics means outside the normal limits of physics. Likewise, metanoia is a spirit awareness that is beyond the normal reasoning of the mind, which is trained from birth to focus on our world. True metanoia is referencing our higher mind—the spirit.

Compare with Greek art, modern classical art is lacking in warmth and immediacy; it has a derived, retrospective, and, even in the Renaissance, a more or less classicistic character. It It is the reflection of a society which, filled with reminiscences of Roman heroism and medieval chivalry, tries to appear to be something which it is not, by following an artificially produced social and moral code, and which stylizes the whole pattern of its life in accordance with this fictitious scheme. Classical art describes this society as it wants to see itself and as it wants to be seen. There is hardly a feature in this art which would not, on closer examination, prove to be anything more than the translation into artistic terms of the aristocratic, conservative ideals cherished by this society striving for permanence and continuity. The whole artistic fromalism of the Cinquecento merely corresponds to the formalized system of moral conceptions and decorum which the upper class of the period imposes on itself. Just as the aristocracy and the aristocratically minded circles of society subject life to the rule of a formal code, in order to preserve it from the anarchy of the emotions, so they also submit the expression of the emotions in art to the censorship of definite, abstract, and impersonal forms.

creation of the Gerousia was a break from the anarchy and tyranny that had characterized most of the Greek Dark Ages.

In tragedy, if I may be allowed to make my meaning plain by a comparison, the monarchical constitution prevails, but a monarchy without despotism, such as it was in the heroic times of the Greeks: everything yields a willing obedience to the dignity of the heroic sceptre. Comedy, on the other hand, is the democracy of poetry, and is more inclined even to the confusion of anarchy than to any circumscription of the general liberty of its mental powers and purposes, and even of its separate thoughts, sallies, and allusions. Whatever is dignified, noble, and grand in human nature, admits only of a serious and earnest representation; for whoever attempts to represent it, feels himself, as it were, in the presence of a superior being, and is consequently awed and restrained by it. The comic poet, therefore, must divest his characters of all such qualities; he must place himself without the sphere of them; nay, even deny altogether their existence, and form an ideal of human nature the direct opposite of that of the tragedians, namely, as the odious and base. But as the tragic ideal is not a collective model of all possible virtues, so neither does this converse ideality consist in an aggregation, nowhere to be found in real life, of all moral enormities and marks of degeneracy, but rather in a dependence on the animal part of human nature, in that want of freedom and independence, that want of coherence, those inconsistencies of the inward man, in which all folly and infatuation originate.

Every democracy, whether ochlocracy, aristocracy, oligarchy, monarchy, anarchy, proletarian, popular, or liberal, is by its very nature always a scotocracy, that is, the rule of obscurants, derived from Greek words σκότος for darkness, and κράτος for power, dominion, strength. But the "power" of obscurants is based on ignorance and madness, and, like night, from which only shadows remain when the sun rises, is powerless against the light of knowledge and reason.