Attic Greek Quotes

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

In summary, the typical educated Roman of this age was orderly, conservative, loyal, sober, reverent, tenacious, severe, practical. He enjoyed discipline, and would have no nonsense about liberty. He obeyed as a training for command. He took it for granted that the government had a right to inquire into his morals as well as his income, and to value him purely according to his services to the state. He distrusted individuality and genius. He had none of the charm, vivacity, and unstable fluency of the Attic Greek. He admired character and will as the Greek admired freedom and intellect; and organization was his forte. He lacked imagination, even to make a mythology of his own. He could with some effort love beauty, but he could seldom create it. He had no use for pure science, and was suspicious of philosophy as a devilish dissolvent of ancient beliefs and ways. He could not, for the life of him, understand Plato, or Archimedes, or Christ. He could only rule the world.

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

[F]or whenever I had taken in hand any Greek or Latin book, or had heard anything worth remembering, I used to jot down whatever took my fancy, of any and every kind, without any definite plan or order; and such notes I would lay away as an aid to my memory, like a kind of literary storehouse, so that when the need arose of a word or a subject which I chanced for the moment to have forgotten, and the books from which it had taken it were not at hand, I could readily find and produce it.

Nothing could have been less in line with contemporary conceptions of art than that the theatre should be divorced from all relation to life and politics. Greek tragedy was in the strictest sense ‘political drama’; the finale of Eumenides, with its fervent prayers for the prosperity of the Attic state, betrays the main purpose of the piece. This political control of the theatre brought back to currency the old view that the poet is guardian of a higher truth and an educator who leads his people up to a higher plane of humanity. Through the performance of tragedies on the state-ordained festivals and the circumstances that tragedy came to be looked upon as the authoritative interpretation of the national myths, the poet once more attains to a position almost equivalent to that of the priestly seer of prehistoric times.

Aphrodite is still outside the ranks of the Olympian deities, and continued to be so, as far as this story is concerned, even after she was received amongst them. One reason why she remained aloof from Olympus was her great sphere of dominion elsewhere: as, for the same reason, did Hekate, to whom she becomes closely similar when she is found, under the name of Aphrodite Zerynthia on the Thracian coast, or of Genetyllis on the Attic coast, receiving sacrifices of dogs. For the Athenians she was “the oldest Moira”.{162} Elsewhere, too, she was thought to resemble the Moirai and the Erinyes, in being, like them, a daughter of Kronos.{163} On the other hand, the tale of her being directly begotten by Ouranos connected our great love-goddess for all time with the sea. For us she was the Anadyomene, the goddess who “emerges” from the salt waves; and she also had the additional name of Pelagia, “she of the sea”.

Demeter lost her gaeity for ever when young Core, afterwards called Persephone, was taken from her. Hades fell in love with Core, and went to ask Zeus’s leave to marry her. Zeus feared to offtend his older brother by a downright refusal, but knew also that Demeter would not forgive him if Core were committed to Tartarus; he therefore answered politically that he could neither give nor withold his consent. This emboldened Hades to abduct the girl, as she was picking flowers in a meadow-it may have been at Sicilian Enno; r at Attic Colonus; or at Hermione; or somewhere in Crete, or near Pisa, or near Lerna; or beside Arcadian Phenus, or at Boetian Nysa, or anywhere else in the widely separated regions which Demeter visited in her wandering search for Core. But her own priests say it was at Eleusis. She sought Core without rest for nine days and nights, neither eating nor drinking, and calling fruitlessly all the while.

Well, let me weave together various sorts of tales, using the Milesian mode as a loom, if you will. Witty and dulcet tones are going to stroke your too-kind ears—as long as you don’t turn a spurning nose up at an Egyptian papyrus scrawled over with a sharp pen from the Nile. I’ll make you wonder at human forms and fortunes transfigured, torn apart but then mended back into their original state. Now to my preface. ‘Who’s writing there?’ you ask. In a few words: my ancient stock is from Attic Hymettus and the Ephyrean Isthmus and Spartan Taenarus. All that fertile sod has been immortalized by books more fertile still. There, as my boyhood began, I served my first tour of literary duty in the Athenian tongue. Then as a foreigner in the Latian city I invaded the speech native to the Quirites’ curriculum, settled on it, and worked it for all it was worth – and it was harrowing, as I had no teacher walking ahead and pointing out what to do. So here I am, pleading in advance to be let off if I commit some offense, as I’m still a greenhorn: to me, the speech of the Roman forum is outlandish. But this very change of language suits the genre-jumping training I have undertaken. The story we are starting has a Greek original, you see. Give heed, reader: there is delight to be had.

Oh, the strange and wonderful things that men could make women do! thought Jane. She remembered how once, long ago, she herself had started to learn Swedish—there was still a grammar now thick with dust lying in the attic; and when she had first met Nicholas she had tried Greek. And now here was her own daughter caught up in the higher flights of Geography! He seemed a nice young man, but that was only the least one could say. Was it also the most?

This neglect of lore associated with Crete is reflected in classical Greek art and literature although, paradoxically, its remnants are found only in Attic myths.6

[F]or whenever I had taken in hand any Greek or Latin book, or had heard anything worth remembering, I used to jot down whatever took my fancy, of any and every kind, without any definite plan or order; and such notes I would lay away as an aid to my memory, like a kind of literary storehouse, so that when the need arose of a word or a subject which I chanced for the moment to have forgotten, and the books from which it had taken it were not at hand, I could readily find and produce it.” (Attic Nights, Preface.)

[F]or whenever I had taken in hand any Greek or Latin book, or had heard anything worth remembering, I used to jot down whatever took my fancy, of any and every kind, without any definite plan or order; and such notes I would lay away as an aid to my memory, like a kind of literary storehouse, so that when the need arose of a word or a subject which I chanced for the moment to have forgotten, and the books from which it had taken it were not at hand, I could readily find and produce it. (Attic Nights, Preface.)

Croesus, King of Lydia, was considered the richest man of his time. To this day Romance languages use the expression “rich as Croesus” to describe a person of excessive wealth. He was said to be visited by Solon, the Greek legislator known for his dignity, reserve, upright morals, humility, frugality, wisdom, intelligence, and courage. Solon did not display the smallest surprise at the wealth and splendor surrounding his host, nor the tiniest admiration for their owner. Croesus was so irked by the manifest lack of impression on the part of this illustrious visitor that he attempted to extract from him some acknowledgment. He asked him if he had known a happier man than him. Solon cited the life of a man who led a noble existence and died while in battle. Prodded for more, he gave similar examples of heroic but terminated lives, until Croesus, irate, asked him point-blank if he was not to be considered the happiest man of all. Solon answered: “The observation of the numerous misfortunes that attend all conditions forbids us to grow insolent upon our present enjoyments, or to admire a man’s happiness that may yet, in course of time, suffer change. For the uncertain future has yet to come, with all variety of future; and him only to whom the divinity has [guaranteed] continued happiness until the end we may call happy.” The modern equivalent has been no less eloquently voiced by the baseball coach Yogi Berra, who seems to have translated Solon’s outburst from the pure Attic Greek into no less pure Brooklyn English with “it ain’t over until it’s over,” or, in a less dignified manner, with “it ain’t over until the fat lady sings.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.