Basil Ii Quotes

Due to a century of successes at the hands of the aforementioned emperors—from Basil I to Basil II—a false sense of security prevailed. Vigilance was abandoned; rule “passed into the hands of a series of dotards, sensualists and courtesans—female rule once again predominated.” The twenty-nine-year reign of Empress Zoe, “a middle-aged harlot,” saw her marry and divorce—often by blinding or murdering—several men.27 Concern for the frontier and the struggle against Islam was dropped; the empire’s resources were squandered on the fancies of the civil bureaucracy, which came to rule in all but name.

A mere forty years after the death of Basil II, Byzantium found itself faced with new and aggressive enemies on all sides during the 1060s:

mere forty years after the death of Basil II, Byzantium found itself faced with new and aggressive enemies

Dar frumusetea, adevarata frumusete, sfarseste acolo unde apare expresivitatea intelectuala. In sine, intelectul este o maniera de exagerare si distruge armonia oricarui chip. In momentul in care te asezi sa gandesti, devii doar nas sau frunte sau ceva respingator. Uita-te la oamenii de succes din oricare dintre profesiunile intelectuale. Sunt perfect hidosi ! ‘’ 2.‘’Atunci cand imi plac enorm unii oameni, nu le spun numele altora. E ca si cum as renunta la o parte din ei. De la o vreme cultiv discretia. Se pare ca este acel lucru care face viata moderna misterioasa sau incredibil de minunata. Cel mai banal lucru devine incantator daca il ascunzi. Cand plec din oras nu spun nimanui unde ma duc. Daca as face-o, as pierde intreaga placere. E un obicei prostesc, as zice, dar se pare ca aduce o mare doza de aventura in propria-ti existenta. Imi inchipui ca ma crezi teribil de necugetat.’’ 3.‘’Constiinta si lasitatea sunt unul si acelasi lucru, Basil draga. Constiinta e doar numele comercial. Asta-i tot.’’ 4.‘’- Poetii nu sunt atat de scrupulosi ca tine. Ei stiu bine cat de utila este pasiunea pentru a putea publica o carte. In zilele noastre o inima distrusa se lasa tiparita in mai multe editii. -Ii urasc pentru asta, striga Hallward. Artistul trebuie sa creeze lucruri frumoase, dar nu trebuie sa puna nimic din viata lui in acestea. Traim intr-o epoca in care oamenii trateaza arta de parca ar fi o forma de autobiografie. Am pierdut sensul abstract al frumosului. ‘’ 5.’’Simt o placere cu totul ciudata in a-i spune lucruri de care stiu ca-mi va parea rau ca i le-am spus. De regula el se poarta fermecator; stam in atelier si vorbim despre o multime de lucruri. Totusi, din cand in cand e groaznic de necugetat si pare ca-i produce o mare placere sa ma faca sa sufar. In acele momente simt ca mi-am dat in intregime sufletul cuiva care il trateaza de parca ar fi o floare de pus la butoniera, asa, ceva decorativ care sa-i incante vanitatea, un ornament pentru o zi de vara.’’ 6.’’ Pentru ca a influenta pe cineva inseamna sa-i dai propriul suflet. Cel influentat nu mai gandeste cu propriile ganduri si nu mai arde cu propriile-i pasiuni. Pentru el virtutile nu mai sunt reale. Pacatele, daca exista intr-adevar pacate, sunt imprumutate. El devine ecoul muzicii altcuiva, un actor care joaca un rol ce nu a fost scris pentru el. Scopul vietii e dezvoltarea sinelui. Atingerea propriei naturi intr-un mod perfect-iata pentru ce suntem aici, pe pamant, fiecare dintre noi. Azi, oamenii se tem de ei insisi. Au uitat suprema datorie, datoria fata de sine.’’ 7. ‘’Pentru a-ti recastiga tineretea trebuie doar sa-ti repeti nebuniile. (…..)Azi cei mai multi oameni mor dintr-un soi de bun-simt infiorator si descopera atunci cand e prea tarziu ca singurele lucruri pe care nu le regreta sunt greselile comise. (…) Se juca cu idea si o continua cu obstinatie; o zvarlea in aer si o transforma, o lasa sa-i scape si o prindea din nou, o facea sa iradieze de fantezie si ii dadea apoi aripi de paradox.’’ 8. ‘’Femeile banale nu-ti starnesc imaginatia. Sunt limitate la secolul in care traiesc. Ghicesti ce gandesc la fel de usor cum le cunosti palariile. Le poti descoperi usor. Nu au nici un pic de mister. Au zambete stereotipe si maniere la moda. Sunt destul de transparente.’’ 9. ‘’Tocmai pasiunile asupra carora ne inselam ne tiranizeaza cu mai multa forta. Cele mai debile motive sunt cele de a caror natura suntem constienti. De cele mai multe ori se intampla ca, atunci cand credem ca facem experiente pe altii, sa facem de fapt experiente pe noi.’’ 10.’’Sufletul e o realitate teribila. Poate fi vandut si cumparat si pus la vanzare. Poate fi otravit sau adus la perfectiune. Toti avem un suflet. Stiu.

emperor Basil II estimated that powerful families stayed on the scene for about “seventy or a hundred years.

But just like Romanos III, the Paphlagonians sought military prestige, so they reactivated Basil II’s final plan to conquer Sicily.

When his association with L’Indice ended in December 1931—the paper apparently ‘went bust’—he intensified his effort to play an active part in the literary and cultural life of Italy by getting a local vortex going in Rapallo. With Gino Saviotti and half a dozen other collaborators, notably Basil Bunting, Pound organised a ‘Supplemento Letterario’ which appeared every other week as an insert in Rapallo’s weekly paper, Il Mare. For eight months, from August 1932 to March 1933, it was a two-page supplement, and then, from April to July 1933, was reduced to a single ‘Pagina Letteraria’. The promise that it would reappear in October 1933, after taking a summer holiday, ‘with, as always, the collaboration of the best Italian and foreign writers’, was not kept. In its first phase the ‘Supplemento’ was determinedly international, with contributions from and about Italian, French, Spanish, German, and American writers and writing, and could claim to be giving a local focus to the most innovative and avant-garde work of its time. Pound contributed occasional ‘Appunti’, and recycled his Little Review ‘Study of French Poets’ and his notes on Vorticism. In one of his ‘Appunti’ he asserted that Futurism, the best of which satisfied the demands of Vorticism, had to be the dominant art of ‘l’Italia Nuova’.

bargaining tool for Vladimir when he was asked for help by Byzantine Emperor Basil II.

Never has been a LONG hortatory poem’, Pound advised John Hargrave, the leader of the Green Shirts, a militant wing of Social Credit: ‘Epic…is not incitement to IMMEDIATE act/ you tell the tale to direct the auditor toward admiration of certain nobilities, courage etc.’ Or, putting it another way, this time to Basil Bunting as a fellow poet, ‘The poet’s job is to define and yet again define till the detail of surface is in accord with the root in justice.

Never has been a LONG hortatory poem’, Pound advised John Hargrave, the leader of the Green Shirts, a militant wing of Social Credit: ‘Epic…is not incitement to IMMEDIATE act/ you tell the tale to direct the auditor toward admiration of certain nobilities, courage etc.’ Or, putting it another way, this time to Basil Bunting as a fellow poet, ‘The poet’s job is to define and yet again define till the detail of surface is in accord with the root in justice.’ Behind that lies the principle of le mot juste;

Never has been a LONG hortatory poem’, Pound advised John Hargrave, the leader of the Green Shirts, a militant wing of Social Credit: ‘Epic…is not incitement to IMMEDIATE act/ you tell the tale to direct the auditor toward admiration of certain nobilities, courage etc.’ Or, putting it another way, this time to Basil Bunting as a fellow poet, ‘The poet’s job is to define and yet again define till the detail of surface is in accord with the root in justice.’ Behind that lies the principle of le mot juste; but for the poet there is more to it than the accurate word; there must be justice also in the arrangement of the words and in their tones and rhythms. That sort of justice, the natural justice of language, does not come naturally. It was as much as he could do, it was like forging pokers, Pound told another young poet, Mary Barnard, ‘to get economic good and evil into verbal manifestation, not abstract, but so that the monetary system is as concrete as fate and not an abstraction’.

Disaster came when the Byzantine emperor Basil II surprised and destroyed a Bulgarian army at Balasita in 1018, and had the eyes gouged out of most of the surviving 15,000 Bulgarian prisoners, granting himself the title (Bulgar-oak-THONE-oss), “Slayer of the Bulgarians.

The Message of Fatima had, quite simply, been written out of existence, transformed into slogans of the Adaptation. And in line with this Stalinist Adaptation of the Church there would be censorship of anyone who hearkened to the former understanding of the old terms. In the same letter of February 16, Cardinal Castrillon Hoyos had demanded that Father Gruner "publicly retract" certain opinions in his apostolate's magazine that the Cardinal deemed objectionable. In a Church teeming with heretical literature which has undermined the faith of millions and engendered their souls, Carinal Castrillon Hoyos wished to censor the Fatima Crusader magazine! And why? Because the magazine had dared to criticize, not Catholic teaching on faith and morals, but the prudential decisions of Carinal Sodano and his collaborators - including their press conferences and dinners with the likes of Mikhail Gorbachev, their cozy relations with the schismatic CPA and their attempt to bury the Message of Fatima under of mountain of false interpretation. The treatment of Father Gruner, the Priestly Fraternity of St. Peter, Archbishop Lefebvre, the Society of St. Pius X, and other perceived obstacles to the new orientation of Vatican II illustrates that the post-conciliar epoch presents a situation very much that lamented by St. Basil at the height of the Arian heresy: "Only one offense is now vigorously punished: an accurate observance of our fathers' traditions . . ." Only one offense is now vigorously punished today: an accurate observance of the Church's constant pre-conciliar traditions . . .