Athens Inspiration Quotes

Like madness is the glory of this life.

Poets represent love as sculptors design beauty, as musicians create melody; that is to say, endowed with an exquisite nervous organization, they gather up with discerning ardor the purest elements of life, the most beautiful lines of matter, and the most harmonious voices of nature. There lived, it is said, at Athens a great number of beautiful girls; Praxiteles drew them all one after another; then from these diverse types of beauty, each one of which had its defects, he formed a single faultless beauty and created Venus. The man who first created a musical instrument, and who gave to harmony its rules and its laws, had for a long time listened to the murmuring of reeds and the singing of birds. Thus the poets, who understand life, after knowing much of love, more or less transitory, after feeling that sublime exaltation which real passion can for the moment inspire, eliminating from human nature all that degrades it, created the mysterious names which through the ages fly from lip to lip: Daphnis and Chloe, Hero and Leander, Pyramus and Thisbe. To try to find in real life such love as this, eternal and absolute, is but to seek on public squares a woman such as Venus, or to expect nightingales to sing the symphonies of Beethoven.

The growth of the power of Athens, and the alarm which this inspired in Sparta, made war inevitable.

It’s no easier being an artist in modern Florence than it is a philosopher in modern Athens. The past can educate and inspire. It can also imprison. A

Epicurus founded a school of philosophy which placed great emphasis on the importance of pleasure. "Pleasure is the beginning and the goal of a happy life," he asserted, confirming what many had long thought, but philosophers had rarely accepted. Vulgar opinion at once imagined that the pleasure Epicurus had in mind involved a lot of money, sex, drink and debauchery (associations that survive in our use of the word 'Epicurean'). But true Epicureanism was more subtle. Epicurus led a very simple life, because after rational analysis, he had come to some striking conclusions about what actually made life pleasurable - and fortunately for those lacking a large income, it seemed that the essential ingredients of pleasure, however elusive, were not very expensive. The first ingredient was friendship. 'Of all the things that wisdom provides to help one live one's entire life in happiness, the greatest by far is the possession of friendship,' he wrote. So he bought a house near Athens where he lived in the company of congenial souls. The desire for riches should perhaps not always be understood as a simple hunger for a luxurious life, a more important motive might be the wish to be appreciated and treated nicely. We may seek a fortune for no greater reason than to secure the respect and attention of people who would otherwise look straight through us. Epicurus, discerning our underlying need, recognised that a handful of true friends could deliver the love and respect that even a fortune may not. Epicurus and his friends located a second secret of happiness: freedom. In order not to have to work for people they didn't like and answer to potentially humiliating whims, they removed themselves from employment in the commercial world of Athens ('We must free ourselves from the prison of everyday affairs and politics'), and began what could best have been described as a commune, accepting a simpler way of life in exchange for independence. They would have less money, but would never again have to follow the commands of odious superiors. The third ingredient of happiness was, in Epicurus's view, to lead an examined life. Epicurus was concerned that he and his friends learn to analyse their anxieties about money, illness, death and the supernatural. There are few better remedies for anxiety than thought. In writing a problem down or airing it in conversation we let its essential aspects emerge. And by knowing its character, we remove, if not the problem itself, then its secondary, aggravating characteristics: confusion, displacement, surprise. Wealth is of course unlikely ever to make anyone miserable. But the crux of Epicurus's argument is that if we have money without friends, freedom and an analysed life, we will never be truly happy. And if we have them, but are missing the fortune, we will never be unhappy.

In a fascinating study, psychologist David McClelland found a direct link between Greek accomplishments and the prominence of “achievement themes” in the literature of the day. The greater the amount of such inspirational literature, the greater their “real-world” achievements. Conversely, when the frequency of inspirational literature diminished, so did their accomplishments. At

One of these was Philo of Larisa, head of the Academy in Athens, founded by Plato three hundred years before. He inspired Cicero with a passion for philosophy, and in particular for the theories of Skepticism, which asserted that knowledge of the nature of things is in the nature of things unattainable. Such ideas were well judged to appeal to a student of rhetoric who had learned to argue all sides of a case.

Philo of Larisa, head of the Academy in Athens....inspired Cicero with a passion for philosophy, and in particular for the theories of Skepticism, which asserted that knowledge of the nature of things is in the nature of things unattainable. Such ideas were well judged to appeal to a student of rhetoric who had learned to argue all sides of a case. In his early twenties Cicero wrote the first two volumes of a work on 'inventin'--that is to say, the technique of finding ideas and arguments for a speech; in it he noted that the most important thing was 'that we do not recklessly and presumptuously assume something to be true.' This resolute uncertainty was to be a permanent feature of his thought.

You all remember,” said the Controller, in his strong deep voice, “you all remember, I suppose, that beautiful and inspired saying of Our Ford’s: History is bunk. History,” he repeated slowly, “is bunk.” He waved his hand; and it was as though, with an invisible feather wisk, he had brushed away a little dust, and the dust was Harappa, was Ur of the Chaldees; some spider-webs, and they were Thebes and Babylon and Cnossos and Mycenae. Whisk. Whisk-and where was Odysseus, where was Job, where were Jupiter and Gotama and Jesus? Whisk-and those specks of antique dirt called Athens and Rome, Jerusalem and the Middle Kingdom-all were gone. Whisk-the place where Italy had been was empty. Whisk, the cathedrals; whisk, whisk, King Lear and the Thoughts of Pascal. Whisk, Passion; whisk, Requiem; whisk, Symphony; whisk...

In the mountains north-west of Athens, at Delphi, there stood an oracle; and so teasing were its revelations, so ambiguous and riddling its pronouncements, that Apollo, the god who inspired them, was hailed as Loxias—‘the Oblique One’. A deity less like Ahura Mazda it would have been hard to imagine.

... but every activity we pursue comes with an opportunity cost, as the economists remind us. Time spent commuting to work is time not spent with your kids. Time spent debating the relative merits of kale versus arugula is time not spent discussing the nature of beauty and truth. I look down at my plate of bland grub with newfound respect.

The causes which ruined the Republic of Athens illustrate the connection of ethics with politics rather than the vices inherent to democracy. A State which has only 30,000 full citizens in a population of 500,000, and is governed, practically, by about 3000 people at a public meeting, is scarcely democratic. The short triumph of Athenian liberty, and its quick decline, belong to an age which possessed no fixed standard of right and wrong. An unparalleled activity of intellect was shaking the credit of the gods, and the gods were the givers of the law. It was a very short step from the suspicion of Protagoras, that there were no gods, to the assertion of Critias that there is no sanction for laws. If nothing was certain in theology, there was no certainty in ethics and no moral obligation. The will of man, not the will of God, was the rule of life, and every man and body of men had the right to do what they had the means of doing. Tyranny was no wrong, and it was hypocrisy to deny oneself the enjoyment it affords. The doctrine of the Sophists gave no limits to power and no security to freedom; it inspired that cry of the Athenians, that they must not be hindered from doing what they pleased, and the speeches of men like Athenagoras and Euphemus, that the democracy may punish men who have done no wrong, and that nothing that is profitable is amiss. And Socrates perished by the reaction which they provoked.

Thalia is such a pretty name. Is it Greek?” The girl looked at her in surprise. “Very good, Lieutenant. My mother is from Athens. Thalia was the Muse of Comedy. She also worked part-time as one of the Graces—Thalia the Flowering. It’s a nice history. I’d like to think that I inspired some creativity at some point in my life. I’d like to teach art, so perhaps it was prophetic of my mother.” They had moved through the nave of the church now, and Thalia pointed to a door.

Marathon In 490 B.C., a Greek messenger named Pheidippides ran twenty-six miles, from Marathon to Athens, to bring the senate news of a battle. He died from exhaustion, but his memory lives on thanks to the “marathon,” a twenty-six-mile footrace named in his honor. I thought it would be neat to bring Pheidippides to a modern-day marathon and talk to him about his awesome legacy.   ME: So, Pheidippides: What was it like to run the first “marathon”? PHEIDIPPIDES: It was the worst experience of my life. ME: How did it come about? PHEIDIPPIDES: My general gave the order. I begged him, “Please, don’t make me do this.” But he hardened his heart and told me, “You must.” And so I ran the distance, and it caused my death. ME: How did you feel when you finally reached your destination? PHEIDIPPIDES: I was already on the brink of death when I entered the senate hall. I could actually feel my life slipping away. So I recited my simple message, and then, with my final breath, I prayed to the gods that no human being, be he Greek or Persian, would ever again have to experience so horrible an ordeal. ME: Hey, here come the runners! Wooooh! PHEIDIPPIDES: Who are these people? Where are they going? ME: From one end of New York to the other. It’s a twenty-six-mile distance. Sound familiar? PHEIDIPPIDES: What message do they carry…and to whom? ME: Oh, they’re not messengers. PHEIDIPPIDES: But then…who has forced them to do this? ME: No one. It’s like, you know, a way of testing yourself. PHEIDIPPIDES: But surely, a general or king has said to them, “You must do this. Do this or you will be killed.” ME: No, they just signed up. Hey, look at that old guy with the beard! Pretty inspiring, huh? Still shuffling around after all these years. PHEIDIPPIDES: We must rescue that man. We must save his life. ME: Oh, he knows what he’s doing. He probably runs this thing every year. PHEIDIPPIDES: Is he…under a curse? ME: No.

Pericles’ speech is not only a programme. It is also a defence, and perhaps even an attack. It reads, as I have already hinted, like a direct attack on Plato. I do not doubt that it was directed, not only against the arrested tribalism of Sparta, but also against the totalitarian ring or ‘link’ at home; against the movement for the paternal state, the Athenian ‘Society of the Friends of Laconia’ (as Th. Gomperz called them in 190232). The speech is the earliest33 and at the same time perhaps the strongest statement ever made in opposition to this kind of movement. Its importance was felt by Plato, who caricatured Pericles’ oration half a century later in the passages of the Republic34 in which he attacks democracy, as well as in that undisguised parody, the dialogue called Menexenus or the Funeral Oration35. But the Friends of Laconia whom Pericles attacked retaliated long before Plato. Only five or six years after Pericles’ oration, a pamphlet on the Constitution of Athens36 was published by an unknown author (possibly Critias), now usually called the ‘Old Oligarch’. This ingenious pamphlet, the oldest extant treatise on political theory, is, at the same time, perhaps the oldest monument of the desertion of mankind by its intellectual leaders. It is a ruthless attack upon Athens, written no doubt by one of her best brains. Its central idea, an idea which became an article of faith with Thucydides and Plato, is the close connection between naval imperialism and democracy. And it tries to show that there can be no compromise in a conflict between two worlds37, the worlds of democracy and of oligarchy; that only the use of ruthless violence, of total measures, including the intervention of allies from outside (the Spartans), can put an end to the unholy rule of freedom. This remarkable pamphlet was to become the first of a practically infinite sequence of works on political philosophy which were to repeat more or less, openly or covertly, the same theme down to our own day. Unwilling and unable to help mankind along their difficult path into an unknown future which they have to create for themselves, some of the ‘educated’ tried to make them turn back into the past. Incapable of leading a new way, they could only make themselves leaders of the perennial revolt against freedom. It became the more necessary for them to assert their superiority by fighting against equality as they were (using Socratic language) misanthropists and misologists—incapable of that simple and ordinary generosity which inspires faith in men, and faith in human reason and freedom. Harsh as this judgement may sound, it is just, I fear, if it is applied to those intellectual leaders of the revolt against freedom who came after the Great Generation, and especially after Socrates. We can now try to see them against the background of our historical interpretation.

To find out, he hooked up a group of people—some highly creative and others less so—to EEG machines, then gave them a series of tests that measure creative thinking. The results were surprising: the more creatively inclined subjects showed lower cortical arousal while taking the test than did the noncreative subjects. The heightened concentration of cortical arousal is helpful when balancing your checkbook or evading a tiger, concluded Martindale, but not when trying to compose an opera or write a novel or come up with the Next Big Internet Thing. For that, we need to enter a state that Martindale called defocused, or diffused, attention. Someone in this state of mind is not scattered, at least not as we normally think of the word. Like Buddhists, they have mastered the art of “detached attachment.” They are both focused and unfocused at the same time. But why, Martindale wondered, are some people able to benefit from this diffused attention while others are not? Creative people are no more capable of controlling their cortical arousal levels than noncreative people. Creative achievements, he concluded, are based not on self-control “but rather on unintentional inspiration.” Unintentional inspiration? What can that mean? Martindale, who passed away in 2008, never said, but I can’t help but wonder if this phenomenon explains why creative people are often restless. By changing locations, they are unconsciously attempting to lower their levels of cortical arousal, defocus their attention.

God led me to a new family. Though I am scarred, I am still alive. Though I am in pain, I can still work and support myself. And I know what it feels like to love. I know the power of loyalty and the value of friendship. I would rather have felt those things, even if it hurts, than have them pass me by.

You all remember," said the Controller, in his strong deep voice, "you all remember, I suppose, that beautiful and inspired saying of Our Ford's: History is bunk. History," he repeated slowly, "is bunk." He waved his hand; and it was as though, with an invisible feather wisk, he had brushed away a little dust, and the dust was Harappa, was Ur of the Chaldees; some spider-webs, and they were Thebes and Babylon and Cnossos and Mycenae. Whisk. Whisk-and where was Odysseus, where was Job, where were Jupiter and Gotama and Jesus? Whisk-and those specks of antique dirt called Athens and Rome, Jerusalem and the Middle Kingdom-all were gone. Whisk-the place where Italy had been was empty. Whisk, the cathedrals; whisk, whisk, King Lear and the Thoughts of Pascal. Whisk, Passion; whisk, Requiem; whisk, Symphony; whisk…

Kara gave me a nudge with her foot under the table. I woke out of my reverie and looked at her, my first thought being, who is this girl, and how can she be so cool?” “You were drifting off.” “Oh wow. I’m sorry. I’m really bushed, I guess. The months in Berlin were intense. And then I was on the road like I never could have imagined. I was almost killed in a tunnel in Yugoslavia. Athens was crazy. The last two days have been a blur. I was almost squashed by a bus earlier today, and then I run into someone like you.” “And who is someone like me?” Kara teased.

Have you ever been to the Parthenon in Athens? If you’ve seen a photo, it’s nice, right? The photo is nice, but the real thing is fucking amazing. That’s like you. The best photo of you is nothing like being in the room with you.

thought you had liberal views on what women should be allowed to do. It’s not as if I were suggesting joining one of your hideous hunts. I imagine that there aren’t wild animals behind every rock in Turkey waiting to charge at helpless humans.” “I wouldn’t object in principle to your going to Troy, but I will admit that I don’t view you as an adventurous type.” His eyes searched my own. “Beast! You don’t know me at all.” “Would you have the wardrobe?” He was laughing, and I realized he was teasing me. “Isn’t Ephesus in Turkey? Perhaps I could visit there on the same trip. I’ll send you a note from the Temple of Artemis, where I assure you I will not appear in evening clothes.” “I didn’t realize you had an interest in antiquity.” “Philip inspired me.” We had reached the rue de Rivoli and were nearly at the Meurice. “Let’s keep walking; I would like to see the river at night.” We turned away from the hotel and walked until we reached the Pont-Neuf. The air had grown chilly, and I had not worn even a light wrap; Colin stood near me to shield me from the wind blowing over the bridge. “Can you imagine how many people have crossed this bridge?” I asked. “It must be three hundred years old. Do you think that Marie Antoinette ever stood here and looked across the Seine at the city?” “Hardly. I think she would have had a greater appreciation for the views at Versailles.” “We consider this bridge old, but if it were in Athens, would anyone even comment on it? I shouldn’t be impressed with anything less than two thousand years old if I were in Greece.” “Then you would miss some particularly fine Roman ruins, my dear. Why don’t you plan a nice, civilized trip to Athens on your way to Santorini when you go?” “I shall have to see how it fits with my plan to visit Troy.” Colin shook his head and took my arm. I let him guide me back to the hotel, but not before contemplating at some length the pleasure I derived from his standing so close to me.   COLIN CALLED ON ME the next afternoon, and I confess I was delighted to see him. I planned to dine in my rooms that evening and invited him to join me. He readily accepted. “What time shall I return?” he asked. “I’ll only need to dress.” “Don’t be silly,” I replied. “We shan’t dress. I ordered a light supper and asked to have it early. It’s only the two of us, and

President Thomas Jefferson, a Deist who believed Jesus to be merely a powerful moral teacher of reason, cut up and pasted together portions of the four Gospels that reinforced his belief in a naturalized, nonmiraculous, nonauthoritative Jesus. The result was the severely edited Life and Morals of Jesus of Nazareth Extracted Textually from the Gospels—or, The Jefferson Bible. He believed he could easily extract the “lustre” of the real Jesus “from the dross of his biographers, and as separate from that as the diamond from the dung hill.” Jefferson believed Jesus was “a man, of illegitimate birth, of a benevolent heart, [and an] enthusiastic mind, who set out without pretensions of divinity, ended in believing them, and was punished capitally for sedition by being gibbeted [i.e., crucified] according to Roman law.”1 Jefferson edited Luke 2:40, “And [Jesus] grew, and waxed strong in spirit, filled with wisdom,” omitting “and the grace of God was upon him.” This “Bible” ends with a quite unresurrected Jesus: “There they laid Jesus, and rolled a great stone to the door of the sepulchre, and departed.” Deism’s chief motivation for rejecting miracles—along with special revelation—was that they suggested an inept Creator: He didn’t get everything right at the outset; so he needed to tinker with the world, adjusting it as necessary. The biblical picture of miracles, though, shows them to be an indication of a ruling God’s care for and involvement in the world. Indeed, many in modern times have witnessed specific indicators of direct divine action and answers to prayer.2 The Christian faith stands or falls on God’s miraculous activity, particularly in Jesus’ resurrection (1 Corinthians 15). Scripture readily acknowledges the possibility of miracles in nonbiblical religious settings. Some may be demonically inspired,3 but we shouldn’t rule out God’s gracious, miraculous actions in pagan settings—say, the response of the “unknown God” to prayers so that a destructive plague in Athens might be stayed. However, we’ll note below that, unlike many divinely wrought miracles in Scripture, miracle claims in other religions are incidental—not foundational—to the pagan religion’s existence.

Inspired by the works of Homer—and armed with a vase decoration technique that allowed the clay’s natural color to shine through to represent the tanned bodies of gods and warriors in more realistic colors—Euphronios and his cohorts established history’s earliest known “school” of art. They worked together in a part of Athens called the Kerameikos—a name taken from the word keramos, or clay, from which our “ceramic” is derived. Euphronios and his coterie of painters are known today as the Pioneers for the mark they made by popularizing the red-figure style.

You all remember,” said the Controller, in his strong deep voice, “you all remember, I suppose, that beautiful and inspired saying of Our Ford’s: History is bunk. History,” he repeated slowly, “is bunk.” He waved his hand; and it was as though, with an invisible feather wisk, he had brushed away a little dust, and the dust was Harappa, was Ur of the Chaldees; some spider-webs, and they were Thebes and Babylon and Cnossos and Mycenae. Whisk. Whisk—and where was Odysseus, where was Job, where were Jupiter and Gotama and Jesus? Whisk—and those specks of antique dirt called Athens and Rome, Jerusalem and the Middle Kingdom—all were gone. Whisk—the place where Italy had been was empty. Whisk, the cathedrals; whisk, whisk, King Lear and the Thoughts of Pascal. Whisk, Passion; whisk, Requiem; whisk, Symphony; whisk . .

Giannis Antetokounmpo was born in Athens, Greece on December 6, 1994, to Charles and Veronica Antetokounmpo, who migrated from Nigeria all the way to Greece. Charles was a former soccer player while Veronica was a high-jumper. However, both Charles and Veronica were illegal immigrants to Greece. As such, Giannis and two of his other brothers, who were also born in Greece, had no citizenship and were neither Nigerian nor Greek.

Finally Aegeus was forced to surrender. Minos promised to lay off the destruction, but once every seven years, Athens had to send their seven bravest young men and seven most beautiful young ladies to Crete as tributes, where they were fed to the Minotaur in the Labyrinth. If you’re thinking that sounds like The Hunger Games, that’s because this story inspired that one. And, no, the Labyrinth wasn’t televised, but only because Daedalus hadn’t invented TV yet.

Living a life of faith doesn’t mean everything will be easy. It just means you have better perspective when the hard things come.

I need hope. I need peace. And I need a Savior. He asks for sacrifices sometimes: obedience, humility. But He offers His love regardless.

with its own laws inspired by those of Athens.

All in all, ethnic and religious and color prejudice existed in the ancient world. Constructions of races—White Europe, Black Africa, for instance—did not, and therefore racist ideas did not. But crucially, the foundations of race and racist ideas were laid. And so were the foundations for egalitarianism, antiracism, and antislavery laid in Greco-Roman antiquity. “The deity gave liberty to all men, and nature created no one a slave,” wrote Alkidamas, Aristotle’s rival in Athens. When Herodotus, the foremost historian of ancient Greece, traveled up the Nile River, he found the Nubians “the most handsome of peoples.” Lactantius, an adviser to Constantine I, the first Christian Roman emperor, announced early in the fourth century: “God who creates and inspires men wished them all to be fair, that is, equal.” St. Augustine, an African church father in the fourth and fifth centuries, maintained that “whoever is born anywhere as a human being, that is, as a rational mortal creature, however strange he may appear to our senses in bodily form or colour or motion or utterance, or in any faculty, part or quality of his nature whatsoever, let no true believer have any doubt that such an individual is descended from the one man who was first created.” However, these antislavery and egalitarian champions did not accompany Aristotle and St. Paul into the modern era, into the new Harvard curriculum, or into the New England mind seeking to justify slavery and the racial hierarchy it produced.

Cyrus had provided them with a model of kingship. The heavens, in the wake of their return from Babylon, had taken on something of the appearance of the Persian court. ‘From where do you come?’ So asked God, in the Book of Job, of an official in his retinue titled the Adversary—the Satan. Back came the reply: ‘From roaming through the earth and going to and fro in it.’38 In Athens, dread of the Great King’s secret agents had inspired Aristophanes to portray one of them as a giant eye; but in Jewish scripture there was no laughing at the royal spies.