Greece Beauty Quotes

But  Phidias was better than most men since he made beautiful sculptures. He was even making one of her—well, he called it “Athena,” but anyone could see it looked like her.

You will have memories Because of what we did back then When we were new at this, Yes, we did many things, then - all Beautiful...

As Aristocleia raised her cup to toast Xanthippus, her gown slipped from her shoulders, exquisite as Aphrodite’s, and flowed like the water that slid over her naked breasts when she allowed him to watch her bathe. It was wonderful to possess a gem of a woman. It made a man feel beautiful and godlike himself, briefly.

Sexual frenzy is our compensation for the tedious moments we must suffer in the passage of life. 'Nothing in excess,' professed the ancient Greeks. Why if I spend half the month in healthy scholarship and pleasant sleep, shouldn't I be allowed the other half to howl at the moon and pillage the groins of Europe's great beauties?

Επιθυμίες Σαν σώματα ωραία νεκρών που δεν εγέρασαν και τάκλεισαν, με δάκρυα, σε μαυσωλείο λαμπρό, με ρόδα στο κεφάλι και στα πόδια γιασεμιά -- έτσ' η επιθυμίες μοιάζουν που επέρασαν χωρίς να εκπληρωθούν· χωρίς ν' αξιωθεί καμιά της ηδονής μια νύχτα, ή ένα πρωϊ της φεγγερό." Desires "Like beautiful bodies of the dead who had not grown old and they shut them, with tears, in a brilliant mausoleum, with roses at the head and jasmine at the feet -- this is what desires resemble that have passed without fulfillment; without any of them having achieved a night of sensual delight, or a morning of brightness.

The rich wanted to be kaloi k’agathoi, the beautiful and the good—so let them use their graces in the service of the democracy

It is a traveler’s fallacy that one should shop for clothing while abroad. Those white linen tunics, so elegant in Greece, emerge from the suitcase as mere hippie rags; the beautiful striped shirts of Rome are confined to the closet; and the delicate hand batiks of Bali are first cruise wear, then curtains, then signs of impending madness.

[O]ther thinkers have philosophised since the time of Plato, but that does not destroy the interest and beauty of his philosophy

Beauty will not come at the call of a legislature, nor will it repeat in England or America its history in Greece. It will come, as always, unannounced, and spring up between the feet of brave and earnest men.

In the Greece episode [of Parts Unknown], he asks a question in the voice-over, something to the effect of, “Is it worse to be in a bad place with people you like, or in a beautiful place all alone?” So much of his life was going to beautiful places and being all alone.

Do you know why our poetry today and especially our philosophy are such dead issues? Because they've cut themselves off from life. Now, Greece idealized on life's own level: an artist's life was already a poetic achievement; a philosopher's life was an enactment of his philosophy; and when they were a part of life that way, instead of ignoring each other, philosophy could nourish poetry, poetry express philosophy, and together achieve an admirable persuasiveness. Today beauty no longer acts; and action no longer bothers about being beautiful; and wisdom operates on the sidelines.

I want to see the Parthenon by moonlight.' I had my way. They floodlight it now, to great advantage I am told, but it was not so then, and since it was late in the year there were few tourists. My companions were all intelligent men, including my own husband, and they had the sense to stay mute. I suppose, being a woman, I confuse beauty with sentiment, but, as I looked on the Parthenon for the first time in my life, I found myself crying. It had never happened to me before. Your sunset weepers I despise. It was not full moon, or anywhere near it. The half circle put me in mind of the labrys, the Cretan double axe, and the pillars were the most ghostly in consequence. What a shock for the modern aesthete, I thought when my crying was done, if he could see the ruddy glow of colour, the painted eyes, the garish lips, the orange-reds and blues that were there once, and Athene herself a giantess on her pedestal touched by the rising sun. Even in those distant times the exigencies of a state religion had brought their own traffic, the buying and selling of doves, of trinkets: to find himself, a man had to go to the woods, to the hills. "Come on," said Stephen. "It's beautiful and stark, if you like, but so is St. Pancras station at 4 A.M. It depends on your association of ideas." We crammed into Burns's small car, and went back to our hotel. ("The Chamois")

My dear, I have known since I was a small boy on a hill in Greece that when I met you, you’d never tell me who you were, you would give another name. Equally beautiful and equally mystical. But I would know you by the music in your voice and the shadow of the forest on your beautiful face.

Do you know the reason why poetry and philosophy are nothing but dead-letter nowadays? It is because they have severed themselves from life. In Greece, ideas went hand-in-hand with life; so that the artist's life was already a poetic realisation, the philosopher's life a putting into action of his philosophy; in this way, as both philosophy and poetry took part in life, instead of remaining unacquainted with each other, philosophy provided food for poetry, and poetry gave expression to philosophy - and the result was admirably persuasive. Nowadays beauty no longer acts; action no longer desires to be beautiful; and wisdom works in a sphere apart.

Ancient Greece was and is a muse because it was the first to recognize beauty and march towards it without fear.

Her dress sparkled like the stars that blanketed the Mykonos night sky.

I think the secret is that it belongs to all of us - to us of the West. We've learned to think in its terms, and to live in its laws. It's given us almost everything that our world has that is worthwhile. Truth, straight thinking, freedom, beauty. It's our second language, our second line of thought, our second country. We all have our own country -- and Greece.

It is a traveler’s fallacy that one should shop for clothing while abroad. Those white linen tunics, so elegant in Greece, emerge from the suitcase as mere hippie rags; the beautiful striped shirts of Rome are confined to the closet; and the delicate hand batiks of Bali are first cruise wear, then curtains, then signs of impending madness. And then there is Paris.

Byron published the first two cantos of his epic poem Childe Harold’s Pilgrimage, a romanticized account of his wanderings through Portugal, Malta, and Greece, and, as he later remarked, “awoke one morning and found myself famous.” Beautiful, seductive, troubled, brooding, and sexually adventurous, he was living the life of a Byronic hero while creating the archetype in his poetry. He became the toast of literary London and was feted at three parties each day, most memorably a lavish morning dance hosted by Lady Caroline Lamb. Lady Caroline, though married to a politically powerful aristocrat who was later prime minister, fell madly in love with Byron. He thought she was “too thin,” yet she had an unconventional sexual ambiguity (she liked to dress as a page boy) that he found enticing. They had a turbulent affair, and after it ended she stalked him obsessively. She famously declared him to be “mad, bad, and dangerous to know,” which he was. So was she.

And no matter how romantic and beautiful Greece was, I wasn't going to break my vows to Henry, even if they technically didn't apply for the next six months. I loved him no matter which season it was.

Civilization is always older than we think; and under whatever sod we tread are the bones of men and women who also worked and loved, wrote songs and made beautiful things, but whose names and very being have been lost in the careless flow of time.

I tell you, because military training is not publicly recognised by the state, you must not make that an excuse for being a whit less careful in attending to it yourself. For you may rest assured that there is no kind of struggle, apart from war, and no undertaking in which you will be worse off by keeping your body in better fettle. "For in everything that men do the body is useful; and in all uses of the body it is of great importance to be in as high a state of physical efficiency as possible. Why, even in the process of thinking, in which the use of the body seems to be reduced to a minimum, it is matter of common knowledge that grave mistakes may often be traced to bad health. "And because the body is in a bad condition, loss of memory, depression, discontent, insanity often assail the mind so violently as to drive whatever knowledge it contains clean out of it. But a sound and healthy body is a strong protection to a man, and at least there is no danger then of such a calamity happening to him through physical weakness: on the contrary, it is likely that his sound condition will serve to produce effects the opposite of those that arise from bad condition. And surely a man of sense would submit to anything to obtain the effects that are the opposite of those mentioned in my list. "Besides, it is a disgrace to grow old through sheer carelessness before seeing what manner of man you may become by developing your bodily strength and beauty to their highest limit. But you cannot see that, if you are careless; for it will not come of its own accord.

There was no politics in Persia because the great king was the master of slaves, not rulers of citizens. The point is beautifully made by Herodotus, the father of history and our own starting point. The exiled Spartan king, Demaratus, had taken refuge at the court of the great king of Persia, Darius I, in 491 BCE. Darius made him the ruler of Pergamum and some other cities. In 480 Darius's son and successor, Xerxes, took him to see the enormous army he had assembled to avenge his father's humiliation by the Athenians in an earlier attempt to conquer Greece. 'Surely,' he said to Demaratus, "the Greeks will not fight against such odds.' He was displeased when Demaratus assured him that they certainly would. 'How is it possible that a thousand men-- or ten thousand, or fifty thousand should stand up to an army as big as mine, especially if they were not under a single master but all perfectly free to do as they pleased?' He could understand that they might feign courage if they were whipped into battle as his Persian troops would be, but it was absurd to suppose that they would fight against such odds. Not a bit of it, said Demaratus. THey would fight and die to preserve their freedom. He added, 'They are free--yes--but they are not wholly free; for they have a master, and that master is Law, which they fear much more than your subjects fear you. Whatever this master commands they do; and his command never varies: it is never to retreat in battle, however great the odds, but always to remain in formation and to conquer or die.' They were Citizens, not subjects, and free men, not slaves; they were disciplined but self-disciplined. Free men were not whipped into battle.

It has often been said that the New World is deficient in the elements of poetry and romance ; that its bards must of necessity linger over the classic ruins of other lands; and draw their sketches of character from foreign sources, and paint Nature under the soft beauty of an Eastern sky. On the contrary, New England is full of Romance....we have mountains pillaring a sky as blue as that which bends over classic Olympus; streams as bright and beautiful as those of Greece and Italy, and forests richer and nobler than those which of old were haunted by Sylph and Dryad.

Whoever has known the spiritual beauty of the Under­ground Church cannot be satisfied anymore with the emptiness of some Western churches. I suffer in the West more than I suffered in a Communist jail because now I see with my own eyes Western civilization dying. Oswald Spengler wrote in Decline of the West: You are dying. I see in you all the characteristic stigma of decay. I can prove that your great wealth and your great poverty, your capitalism and your socialism, your wars and your revolutions, your atheism and your ­pessimism and your cynicism, your immorality, your broken-down marriages, your birth-control, that is bleeding you from the bottom and killing you off at the top in your brains —can prove to you that there are characteristic marks of the dying ages of ancient states—Alexandria and Greece and neurotic Rome. This was written in 1926. Since then, democracy and civilization have

You see, the foundations of our culture were laid in classical Greece, where physical beauty and the body were celebrated. But our culture is also thoroughly permeated by the monotheistic tradition, which devalues the body in favor of the soul. These old conflicting impulses are rearing their heads again, this time in the calliagnosia debate.

The most important idea he gleaned from the swift, learned talk was that religion and knowledge could exist side by side, enriching each other. Greece and Rome, before the dawn of Christianity, had built gloriously in the arts, humanities, sciences, philosophy. Then for a thousand years all such wisdom and beauty had been crushed, declared anathema, buried in darkness. Now this little group of men, the sensual Poliziano, the lined Landino, the tiny Ficino, the golden-haired Pico della Mirandola, these few fragile men, led and aided by Lorenzo de' Medici, were attempting to create a new intellect under the banner of a word Michelangelo had never heard before: Humanism. What did it mean?

What's the matter with you? How can you, a musician, an educated man, come here with your mandolin and make beautiful tunes to a Greek, when all around you the island is pillaged and despoiled? And don't give me any of that shit about the restoration of the Roman Empire. If you really want to know, it was Greece that educated Rome, and we didn't do it by conquest either. What's the matter with you?

Plato's proposals in this matter are abhorrent to all true Christians. His intentions were, of course, excellent, for he desired the greatest possible improvement of the human race; but his good intentions led him to the proposal of measures which are necessarily unacceptable and repugnant to all those who adhere to Christian principles concerning the value of the human personality and the sanctity of human life. Moreover, it by no means follows that what has been found successful in the breeding of animals, will also prove successful when applied to the human race, for man has a rational soul which is not intrinsically dependent on matter but is directly created by Almighty God. Does a beautiful soul always go with a beautiful body or a good character with a strong body? Again, if such measures were successful — and what does "successful" mean in this connection? — in the case of the human race, it does not follow that the Government has the right to apply such measures. Those who to-day follow, or would like to follow, in the footsteps of Plato, advocating, e.g. compulsory sterilisation of the unfit, have not, be it remembered, Plato's excuse, that he lied at a period anterior to the presentation of the Christian ideals and principles. — 230

O Fabricius! What would your great soul have thought, if to your own misfortune you had been called back to life and had seen the pompous face of this Rome saved by your efforts and which your honourable name had distinguished more than all its conquests? 'Gods,' you would have said, 'what has happened to those thatched roofs and those rustic dwelling places where, back then, moderation and virtue lived? What fatal splendour has succeeded Roman simplicity? What is this strange language? What are these effeminate customs? What do these statues signify, these paintings, these buildings? You mad people, what have you done? You, masters of nations, have you turned yourself into the slaves of the frivolous men you conquered? Are you now governed by rhetoricians? Was it to enrich architects, painters, sculptors, and comic actors that you soaked Greece and Asia with your blood? Are the spoils of Carthage trophies for a flute player? Romans, hurry up and tear down these amphitheatres, break up these marbles, burn these paintings, chase out these slaves who are subjugating you, whose fatal arts are corrupting you. Let other hands distinguish themselves with vain talents. The only talent worthy of Rome is that of conquering the world and making virtue reign there. When Cineas took our Senate for an assembly of kings, he was not dazzled by vain pomp or by affected elegance. He did not hear there this frivolous eloquence, the study and charm of futile men. What then did Cineas see that was so majestic? O citizens! He saw a spectacle which your riches or your arts could never produce, the most beautiful sight which has ever appeared under heaven, an assembly of two hundred virtuous men, worthy of commanding in Rome and governing the earth.

Helen All Greece hates the still eyes in the white face, the lustre as of olives where she stands, and the white hands. All Greece reviles the wan face when she smiles, hating it deeper still when it grows wan and white, remembering past enchantments and past ills. Greece sees, unmoved, God’s daughter, born of love, the beauty of cool feet and slenderest knees, could love indeed the maid, only if she were laid, white ash amid funereal cypresses.

On the flight to LaGuardia I remember thinking that the most beautiful things I had ever seen had all been seen from airplanes. The way the American west opens up. The way in which, on a polar flight across the Arctic, the islands in the sea give way imperceptibly to lakes on the land. The sea between Greece and Cyprus in the morning. The Alps on the way to Milan. I saw all those things with John. How could I go back to Paris without him, how could I go back to Milan, Honolulu, Bogotá? I couldn’t even go to Boston.

Ukraine will become a new Greece; the beautiful sky under which these people live, their happy disposition, their musical nature, the fruitfulness of their land, etc. will awake some day; from so many small, savage peoples - as the Greeks too once were - will develop a civilized nation, whose territory will extend to the Black Sea and thence throughout the world. Hungary, these peoples, and a portion of Poland and Russia will become participants in this new culture, and its spirit will go forth from the northwest over Europe, which now lies asleep, and make a spiritual conquest of it.

There is indeed a poetical attitude to be adopted towards all things, but all things are not fit subjects for poetry. Into the secure and sacred house of Beauty the true artist will admit nothing that is harsh or disturbing, nothing that gives pain, nothing that is debatable, nothing about which men argue. He can steep himself, if he wishes, in the discussion of all the social problems of his day, poor-laws and local taxation, free trade and bimetallic currency, and the like; but when he writes on these subjects it will be, as Milton nobly expressed it, with his left hand, in prose and not in verse, in a pamphlet and not in a lyric. This exquisite spirit of artistic choice was not in Byron: Wordsworth had it not. In the work of both these men there is much that we have to reject, much that does not give us that sense of calm and perfect repose which should be the effect of all fine, imaginative work. But in Keats it seemed to have been incarnate, and in his lovely ODE ON A GRECIAN URN it found its most secure and faultless expression; in the pageant of the EARTHLY PARADISE and the knights and ladies of Burne-Jones it is the one dominant note. It is to no avail that the Muse of Poetry be called, even by such a clarion note as Whitman’s, to migrate from Greece and Ionia and to placard REMOVED and TO LET on the rocks of the snowy Parnassus. Calliope’s call is not yet closed, nor are the epics of Asia ended; the Sphinx is not yet silent, nor the fountain of Castaly dry. For art is very life itself and knows nothing of death; she is absolute truth and takes no care of fact; she sees (as I remember Mr. Swinburne insisting on at dinner) that Achilles is even now more actual and real than Wellington, not merely more noble and interesting as a type and figure but more positive and real.

Opinion polls showed that two-thirds of Greeks rejected the conditions attached to the bailout, but wanted to stay in the eurozone. Demonstrations spread throughout Greece advocating a “No” vote. So the Germans and French tried to frame the issue in a narrow way designed to get a “Yes” answer: Did voters want to be part of Europe? The aim was to avoid asking the really important question: Did Greek voters want to impose a decade of depression on themselves, cut public services, impose anti-union labor “reforms,” and sell off the Athenian water supply, its port, their beautiful islands and their gas rights in the Aegean to Germans and other creditors?

Saint Paul said the invisible must be understood by the visible. That was not a Hebrew idea, it was Greek. In Greece alone in the ancient world people were preoccupied with the visible; they were finding the satisfaction of their desires in what was actually in the world around them. The sculptor watched the athletes contending in the games and he felt that nothing he could imagine would be as beautiful as those strong young bodies. So he made his statue of Apollo. The storyteller found Hermes among the people he passed in the street. He saw the god “like a young man at the age when youth is loveliest,” as Homer says. Greek artists and poets realized how splendid a man could be, straight and swift and strong. He was the fulfillment of their search for beauty.

Sumptuary laws were passed by the Senate limiting expenditure on banquets and clothing, but as the senators ignored these regulations, no one bothered to observe them. “The citizens,” Cato mourned, “no longer listen to good advice, for the belly has no ears.”9 The individual became rebelliously conscious of himself as against the state, the son as against the father, the woman as against the man. Usually the power of woman rises with the wealth of a society, for when the stomach is satisfied hunger leaves the field to love. Prostitution flourished. Homosexualism was stimulated by contact with Greece and Asia; many rich men paid a talent ($3600) for a male favorite; Cato complained that a pretty boy cost more than a farm.10 But women did not yield the field to these Greek and Syrian invaders. They took eagerly to all those supports of beauty that wealth now put within their reach. Cosmetics became a necessity, and caustic soap imported from Gaul tinged graying hair into auburn locks.11 The rich bourgeois took pride in adorning his wife and daughter with costly clothing or jewelry and made them the town criers of his prosperity. Even in government the role of women grew. Cato cried out that “all other men rule over women; but we Romans, who rule all men, are ruled by our women.”12 In 195 B.C.. the free women of Rome swept into the Forum and demanded the repeal of the Oppian Law of 215, which had forbidden women to use gold ornaments, varicolored dresses, or chariots. Cato predicted the ruin of Rome if the law should be repealed. Livy puts into his mouth a speech that every generation has heard:

Love, he said, is not a god, for a god cannot want anything; but one of those great spirits who are messengers between gods and men. He does not visit fools, who are content with their low condition, but those who aware of their own need and desire, by embracing the beautiful and good, to beget goodness and beauty; for creation is man’s immortality and brings him nearest to the gods. All creatures, he said, cherish the children of their flesh; yet the noblest progeny of love are wisdom and glorious deeds, for mortal children die, but these live forever; and these are begotten not of the body but the soul. Mortal passion sinks us in mortal pleasure, so that the wings of the soul grow weak; and such lovers may rise to the good indeed, but not to the very best. But the winged soul rises from love to love, from the beautiful that is born and dies, to beauty is only a moving shadow flung upon a wall.

The development of the telescope marks, indeed, a new phase in human thought, a new vision of life. It is an extraordinary thing that the Greeks, with their lively and penetrating minds, never realized the possibilities of either microscope or telescope. They made no use of the lens. Yet they lived in a world in which glass had been known and had been made beautiful for hundreds of years; they had about them glass flasks and bottles, through which they must have caught glimpses of things distorted and enlarged. But science in Greece was pursued by philosophers in an aristocratic spirit, men who, with a few such exceptions as the ingenious Archimedes and Hiero, were too proud to learn from such mere artisans as jewellers and metal- and glass-workers. Ignorance is the first penalty of pride. The philosopher had no mechanical skill and the artisan had no philosophical education, and it was left for another age, more than a thousand years later, to bring together glass and the astronomer.

Yet, on the whole, I think the Greeks were very wise in this matter of physical training. Young girls frequently appeared in public, not with the boys, but in groups apart. There was scarcely a festival, a sacrifice, or a procession without its bands of maidens, the daughters of the chief citizens. Crowned with flowers, chanting hymns, forming the chorus of the dance, bearing baskets, vases, offerings, they presented a charming spectacle to the depraved senses of the Greeks, a spectacle well fitted to efface the evil effects of their unseemly gymnastics. When the Greek women married, they disappeared from public life; within the four walls of their home they devoted themselves to the care of their household and family. This is the mode of life prescribed for women alike by nature and reason. These women gave birth to the healthiest, strongest, and best proportioned men who ever lived, and except in certain islands of ill repute, no women in the whole world, not even the Roman matrons, were ever at once so wise and so charming, so beautiful and so virtuous, as the women of ancient Greece.

By posing climate change as a battle between capitalism and the planet, I am not saying anything that we don't already know. the battle is already under way, but right now capitalism is winning hands down. it wins every time the need for economic growth is used as the excuse for putting off climate action yet again, of for breaking emission reduction commitments already made. it wins when Greeks are told that their only path out of economic crises is to open up their beautiful seas to high-risk oil and gas drilling. it wins when Canadians are told our only hope of not ending unlike Greece is to allow our boreal forests to be flayed so we can access the semisolid bitumen from the Alberta tar sands . it wins when a park in Istanbul is slotted for demolition to make way for yet another shopping mall. it wins when parents in Beijing are told that sending their wheezing kids to school in pollution masks decorated to look like cute cartoon characters is an acceptable price for economic progress. it wins every time we accept that we have only bad choices available to us: austerity or extraction, poisoning or poverty.

Aristotle, who lived from 384 to 322 BCE, concocted a climate theory to justify Greek superiority, saying that extreme hot or cold climates produced intellectually, physically, and morally inferior people who were ugly and lacked the capacity for freedom and self-government. Aristotle labeled Africans “burnt faces”—the original meaning in Greek of “Ethiopian”—and viewed the “ugly” extremes of pale or dark skins as the effect of the extreme cold or hot climates. All of this was in the interest of normalizing Greek slaveholding practices and Greece’s rule over the western Mediterranean. Aristotle situated the Greeks, in their supreme, intermediate climate, as the most beautifully endowed superior rulers and enslavers of the world. “Humanity is divided into two: the masters and the slaves; or, if one prefers it, the Greeks and the Barbarians, those who have the right to command; and those who are born to obey,” Aristotle said. For him, the enslaved peoples were “by nature incapable of reasoning and live a life of pure sensation, like certain tribes on the borders of the civilized world, or like people who are diseased through the onset of illnesses like epilepsy or madness.”4

If we had no other knowledge of what the Greeks were like, if nothing were left of Greek art and literature, the fact that they were in love with play and played magnificently would be proof enough of how they lived and how they looked at life. Wretched people, toiling people, do not play. Nothing like the Greek games is conceivable in Egypt or Mesopotamia. The life of the Egyptian lies spread out in the mural paintings down to the minutest detail. If fun and sport had played any real part they would be there in some form for us to see. But the Egyptian did not play. “Solon, Solon, you Greeks are all children,” said the Egyptian priest to the great Athenian. At any rate, children or not, they enjoyed themselves. They had physical vigor and high spirits and time, too, for fun. The witness of the games is conclusive. And when Greece died and her reading of the great enigma was buried with her statues, play, too, died out of the world. The brutal, bloody Roman games had nothing to do with the spirit of play. They were fathered by the Orient, not by Greece. Play died when Greece died and many and many a century passed before it was resurrected. To rejoice in life, to find the world beautiful

There are ages in which the rational man and the intuitive man stand side by side, the one in fear of intuition, the other with scorn for abstraction. The latter is just as irrational as the former is inartistic. They both desire to rule over life: the former, by knowing how to meet his principle needs by means of foresight, prudence, and regularity; the latter, by disregarding these needs and, as an "overjoyed hero," counting as real only that life which has been disguised as illusion and beauty. Whenever, as was perhaps the case in ancient Greece, the intuitive man handles his weapons more authoritatively and victoriously than his opponent, then, under favorable circumstances, a culture can take shape and art's mastery over life can be established. All the manifestations of such a life will be accompanied by this dissimulation, this disavowal of indigence, this glitter of metaphorical intuitions, and, in general, this immediacy of deception: neither the house, nor the gait, nor the clothes, nor the clay jugs give evidence of having been invented because of a pressing need. It seems as if they were all intended to express an exalted happiness, an Olympian cloudlessness, and, as it were, a playing with seriousness. The man who is guided by concepts and abstractions only succeeds by such means in warding off misfortune, without ever gaining any happiness for himself from these abstractions. And while he aims for the greatest possible freedom from pain, the intuitive man, standing in the midst of a culture, already reaps from his intuition a harvest of continually inflowing illumination, cheer, and redemption—in addition to obtaining a defense against misfortune. To be sure, he suffers more intensely, when he suffers; he even suffers more frequently, since he does not understand how to learn from experience and keeps falling over and over again into the same ditch. He is then just as irrational in sorrow as he is in happiness: he cries aloud and will not be consoled. How differently the stoical man who learns from experience and governs himself by concepts is affected by the same misfortunes! This man, who at other times seeks nothing but sincerity, truth, freedom from deception, and protection against ensnaring surprise attacks, now executes a masterpiece of deception: he executes his masterpiece of deception in misfortune, as the other type of man executes his in times of happiness. He wears no quivering and changeable human face, but, as it were, a mask with dignified, symmetrical features. He does not cry; he does not even alter his voice. When a real storm cloud thunders above him, he wraps himself in his cloak, and with slow steps he walks from beneath it.

RESISTANCE TRAINING SHOULD HAVE BEEN INVENTED FOR WOMEN. The fitness industry has been plagued with more myths than ancient Greece. One of the most glaring is that women who weight train will look like Mr. Universe. There are still many women who are sidetracked by this common misperception, thereby avoiding weights altogether and bypassing the opportunity to achieve a beautiful, shapely body. One of the biggest differences between men and women is their hormone levels and how these hormones behave—most specifically, testosterone. Testosterone bulks up muscle mass in most men. Men have significantly higher testosterone levels than women, and therefore increasing muscle mass for men is much easier. The vast majority of women cannot build huge, bulging muscles because they have a tiny fraction of the testosterone found in men. There are so many benefits to resistance training for both men and women, but the some of the benefits are very specific to women’s health. For women, the truth is that resistance training increases your metabolism so that you burn fat more easily (and women tend to carry more body fat than men), you build bone mass and prevent osteoporosis (which affects more women than men), and you balance your hormones (which tend to fluctuate wildly in women as they age). Also, women who do resistance training feel a boost in self-esteem and gain renewed physical and mental strength because of their new sexy shape. Resistance training is a woman’s best friend. I rest my case.

In his well-known statement in the Poetics that poetry has a higher truth than history since it expresses truth of general application whereas that of history is partial and limited, he is not speaking as a scientist nor would the statement commend itself to the scientific mind outside of Greece. There is no evidence, again, of the scientist’s point of view in the great passage where he sets forth the reason for the work of his life, his search into the nature of all living things: The glory, doubtless, of the heavenly bodies fills us with more delight than the contemplation of these lowly things, but the heavens are high and far off, and the knowledge of celestial things that our senses give us, is scanty and dim. Living creatures, on the contrary, are at our door, and if we so desire we may gain full and certain knowledge of each and all. We take pleasure in a statue’s beauty; should not then the living fill us with delight? And all the more if in the spirit of the love of knowledge we search for causes and bring to light evidences of meaning. Then will nature’s purpose and her deep-seated laws be revealed in all things, all tending in her multitudinous work to one form or another of the beautiful. Did ever scientist outside of Greece so state the object of scientific research? To Aristotle, being a Greek, it was apparent that the full purpose of that high enterprise could not be expressed in any way except the way of poetry, and, being a Greek, he was able so to express it. Spirituality inevitably brings to our mind

At a time when I believed what people told me, I should have been tempted to believe Germany, then Bulgaria, then Greece when they proclaimed their pacific intentions. But since my life with Albertine and with Françoise had accustomed me to suspect those motives they did not express, I did not allow any word, however right in appearance of William II, Ferdinand of Bulgaria or Constantine of Greece to deceive my instinct which divined what each one of them was plotting. Doubtless my quarrels with Françoise and with Albertine had only been little personal quarrels, mattering only to the life of that little spiritual cellule which a human being is. But in the same way as there are bodies of animals, human bodies, that is to say, assemblages of cellules, which, in relation to one of them alone, are as great as a mountain, so there exist enormous organised groupings of individuals which we call nations; their life only repeats and amplifies the life of the composing cellules and he who is not capable of understanding the mystery, the reactions and the laws of those cellules, will only utter empty words when he talks about struggles between nations. But if he is master of the psychology of individuals, then these colossal masses of conglomerate individuals facing one another will assume in his eyes a more formidable beauty than a fight born only of a conflict between two characters, and he will see them on the scale on which the body of a tall man would be seen by infusoria of which it would require more than ten thousand to fill one cubic milimeter. Thus for some time past the great figure of France, filled to its perimeter with millions of little polygons of various shapes and the other figure of Germany filled with even more polygons were having one of those quarrels which, in a smaller measure, individuals have.

A little later, strolling about the town, I, stopped into a shop near the museum, where they sold souvenirs and post-cards. I looked over the cards leisurely; the ones I liked best were soiled and wrinkled. The man, who spoke French fluently, offered to make the cards presentable. He asked me to wait a few minutes while he ran over to the house and cleaned and ironed them. He said he would make them look like new. I was so dumbfounded that before I could say anything he had disappeared, leaving me in charge of the shop. After a few minutes his wife came in. I thought she looked strange for a Greek woman. After a few words had passed I realized that she was French and she, when she learned that I hailed from Paris, was overjoyed to speak with me. We got along beautifully until she began talking about Greece. She hated Crete, she said. It was too dry, too dusty, too hot, too bare. She missed the beautiful trees of Normandy, the gardens with the high walls, the orchards, and so on. Didn't I agree with her? I said NO, flatly. "Monsieur!" she said, rising up in her pride and dignity, as if I had slapped her in the face. "I don't miss anything," I said, pressing the point home. "I think this is marvellous. I don't like your gardens with their high walls, I don't like your pretty little orchards and your well-cultivated-fields. I like this …" and I pointed outdobrs to the dusty road on which a sorely-laden donkey was plodding along dejectedly. "But it's not civilized," she said, in a sharp, shrill voice which reminded me of the miserly tobacconiste in the Rue de la Tombe-Issoire. "Je m'en fous da la civilisation européenne!" I blurted out. "Monsieur!" she said again, her feathers ruffled and her nose turning blue with malice. Fortunately her husband reappeared at this point with the post-cards which he had given a dry-cleaning.

The modem European is characterized by two apparently opposite traits: individualism and the demand for equal rights; that I have at last come to understand. The individual is an extremely vulnerable piece of vanity: conscious of how easily it suffers. This vanity demands that every other shall count as its equal, that it should be only inter pares. In this way a social race is characterized in which talents and powers do not diverge very much. The pride that desires solitude and few admirers is quite beyond comprehension; a really "great" success is possible ony through the masses, indeed one hardly grasps the fact any more that a success with the masses is always really a petty success: because pulchrum est paucorum hominum (Beauty belongs to the few) All moralities know nothing of an "order of rank" among men; teachers of law nothing of a communal conscience. The principle of the individual rejects very great human beings and demands, among men approximately equal, the subtlest eye and the speediest recognition of a talent. And because everyone has some kind of talent in such late and civilized cultures - and therefore can expect to receive back his share of honor - there is more flattering of modest merits today than ever before: it gives the age a veneer of boundless fairness. Its unfairness consists in a boundless rage, not against tyrants and public flatterers even in the arts, but against noble men, who despise the praise of the many. The demand for equal rights (i.e. to be allowed to sit in judgment on everything and everyone) is anti-aristocratic. Equally strange to the age is the vanished individual, the absorption in a great type, the desire not to be a personality - which constituted the distinction and ambition of many lofty men in earlier days (the greatest poets among them); or "to be a city" as in Greece, Jesuitism, Prussian officer corps and bureaucracy, or to be a pupil and continuator of great masters - for which non-social conditions and a lack of petty vanity are needed.

At a time when I believed what people told me, I should have been tempted to believe Germany, then Bulgaria, then Greece when they proclaimed their pacific intentions. But since my life with Albertine and with Françoise had accustomed me to suspect those motives they did not express, I did not allow any word, however right in appearance of William II, Ferdinand of Bulgaria or Constantine of Greece to deceive my instinct which divined what each one of them was plotting. Doubtless my quarrels with Françoise and with Albertine had only been little personal quarrels, mattering only to the life of that little spiritual cellule which a human being is. But in the same way as there are bodies of animals, human bodies, that is to say, assemblages of cellules, which, in relation to one of them alone, are as great as a mountain, so there exist enormous organised groupings of individuals which we call nations; their life only repeats and amplifies the life of the composing cellules and he who is not capable of understanding the mystery, the reactions and the laws of those cellules, will only utter empty words when he talks about struggles between nations. But if he is master of the psychology of individuals, then these colossal masses of conglomerate individuals facing one another will assume in his eyes a more formidable beauty than a fight born only of a conflict between two characters, and he will see them on the scale on which the body of a tall man would be seen by infusoria of which it would require more than ten thousand to fill one cubic milimeter. Thus for some time past the great figure of France, filled to its perimeter with millions of little polygons of various shapes and the other figure of Germany filled with even more polygons were having one of those quarrels which, in a smaller measure, individuals have. But the blows that they were exchanging were regulated by those numberless boxing-matches of which Saint-Loup had explained the principles to me. And because, even in considering them from the point of view of individuals they were gigantic assemblages, the quarrel assumed enormous and magnificent forms like the uprising of an ocean which with its millions of waves seeks to demolish a secular line of cliffs or like giant glaciers which, with their slow and destructive oscillation, attempt to disrupt the frame of the mountain by which they are circumscribed. In spite of this, life continued almost the same for many people who have figured in this narrative, notably for M. de Charlus and for the Verdurins, as though the Germans had not been so near to them; a permanent menace in spite of its being concentrated in one immediate peril leaving us entirely unmoved if we do not realise it.

The Parthenon was 228 feet long by 101 broad, and 64 feet high; the porticoes at each end had a double row of eight columns; the sculptures in the pediments were in full relief, representing in the eastern the Birth of Athene, and in the western the Struggle between that goddess and Poseidon, whilst those on the metopes, some of which are supposed to be from the hand of Alcamenes, the contemporary and rival of Phidias, rendered scenes from battles between the Gods and Giants, the Greeks and the Amazons, and the Centaurs and Lapithæ. Of somewhat later date than the Parthenon and resembling it in general style, though it is very considerably smaller, is the Theseum or Temple of Theseus on the plain on the north-west of the Acropolis, and at Bassæ in Arcadia is a Doric building, dedicated to Apollo Epicurius and designed by Ictinus, that has the peculiarity of facing north and south instead of, as was usual, east and west. Scarcely less beautiful than the Parthenon itself is the grand triple portico known as the Propylæa that gives access to it on the western side. It was designed about 430 by Mnesicles, and in it the Doric and Ionic styles are admirably combined, whilst in the Erectheum, sacred to the memory of Erechtheus, a hero of Attica, the Ionic order is seen at its best, so delicate is the carving of the capitals of its columns. It has moreover the rare and distinctive feature of what is known as a caryatid porch, that is to say, one in which the entablature is upheld by caryatides or statues representing female figures. Other good examples of the Ionic style are the small Temple of Niké Apteros, or the Wingless Victory, situated not far from the Propylæa and the Parthenon of Athens, the more important Temple of Apollo at Branchidæ near Miletus, originally of most imposing dimensions, and that of Artemis at Ephesus, of which however only a few fragments remain in situ. Of the sacred buildings of Greece in which the Corinthian order was employed there exist, with the exception of the Temple of Jupiter at Athens already referred to, but a few scattered remains, such as the columns from Epidaurus now in the Athens Museum, that formed part of a circlet of Corinthian pillars within a Doric colonnade. In the Temple of Athena Alea at Tegea, designed by Scopas in 394, however, the transition from the Ionic to the Corinthian style is very clearly illustrated, and in the circular Monument of Lysicrates, erected in 334 B.C. to commemorate the triumph of that hero's troop in the choric dances in honour of Dionysos, and the Tower of the Winds, both at Athens, the Corinthian style is seen at its best. In addition to the temples described above, some remains of tombs, notably that of the huge Mausoleum at Halicarnassus in memory of King Mausolus, who died in 353 B.C., and several theatres, including that of Dionysos at Athens, with a well-preserved one of larger size at Epidaurus, bear witness to the general prevalence of Doric features in funereal monuments and secular buildings, but of the palaces and humbler dwelling-houses in the three Greek styles, of which there must have been many fine examples, no trace remains. There is however no doubt that the Corinthian style was very constantly employed after the power of the great republics had been broken, and the Oriental taste for lavish decoration replaced the love for austere simplicity of the virile people of Greece and its dependencies. CHAPTER III

His knowledge of ancient Greece was based entirely on a poem Edgar Allan Poe, a few homosexual encounters with restaurateurs (he ate free at almost every soda fountain in the city), and a plaster reproduction of the Akropolis which, for some reason, he had coated with red nail polish.

Cultures are organisms," Spengler explains, "and world-history is their collective biography." Like any other vital organism, then, each culture goes through the stages of youth, maturity, and decline. "Culture is the prime phenomenon of all past and future world-history." "Every Culture has its own Civilization...The Civilization is the inevitable destiny of the Culture....Civilizations are the most external and artificial states of which a species of developed humanity is capable. They are a conclusion, the thing-become succeeding the thing-becoming, death following life, rigidity following expansion, intellectual age and the stone-built, petrifying world-city following mother-earth and the spiritual childhood of Doric and Gothic. They are an end, irrevocable, yet by inward necessity reached again and again." Thus, while the culture is a period of ebullient creativity, the civilization that inevitably follows is a period of reflection, organization, and search for material comfort and convenience. For example, classical Greece was the culture; imperial Rome the civilization. From the beauties of Greek poetry to the imperialism of Roman law, we now live in the civilization of Western ("Faustian") culture and cannot avoid the consequences. Among these Spengler foresaw the "megalopolis," the city of faceless masses, the omnipotence of money, and a new Caesarism.

To those who have been accustomed to the difficulties and dangers of a sea-faring life, there are no lines which speak more forcibly to the imagination, or prove the beauty and power of the Greek poet, than those in the noble prayer of Ajax: "Lord of earth and air, O king! O father! hear my humble prayer. Dispel this cloud, that light of heaven restore; Give me to see - and Ajax asks no more, If Greece must perish - we Thy will obey; But let us perish in the face of day!

All tradition,’ said the Professor, ‘is a type of spiritual truth. The superstitions of the East, and the mythologies of the North—the beautiful Fables of old Greece, and the bold investigations of modern science—all tend to elucidate the same principles; all take their root in those promptings and questionings which are innate in the brain and heart of man. Plato believed that the soul was immortal, and born frequently; that it knew all things; and that what we call learning is but the effort which it makes to recall the wisdom of the Past. “For to search and to learn,” said the poet-philosopher, “is reminiscence all.” At the bottom of every religious theory, however wild and savage, lies a perception—dim perhaps, and distorted, but still a perception—of God and immortality.

cycling, and from my first days living in Italy I couldn’t help but feel its influence and importance. It played a pivotal part in where I was, what I was doing and who I was trying to become. Once I was in Italy the Giro was forever on my mind. The thing about Italians is they love to talk. They love to talk about anything, but much in line with their Mediterranean cousins in Greece and Spain they love to debate. In Italian the word is polemica – it is what keeps bars in business, cafés bustling, and it is what makes cycling, along with football and politics, so important. The drama and aesthetic beauty set against the titanic physical struggle of cycling make it the perfect subject matter for this kind of debate. In Italy, while one-day races might provide reasons for a good debate for a day or two at best, the real winner is the Giro. It provides one whole month of conversation and argument, and the newspapers and television stations delight in fuelling the conversation – they exist purely to stoke the fire of debate.

Of all the high-ranking Christian leaders across Nazi-occupied Europe, Bishop Damaskinos of Greece was the only one who publicly stood up to denounce the Nazis' deportation of Jews.

You see, the foundations of our culture were laid in classical Greece, where physical beauty and the body were celebrated. But our culture is also thoroughly permeated by the monotheistic tradition, which devalues the body in favor of the soul.

The joyous meaning of merry was a beautiful demonstration of the element of chance in how words’ meanings move along. The earliest rendition we can get a sense of for merry is that on the Ukrainian steppes several thousand years ago, in Proto-Indo-European, it was mregh. In Greece, this word for “short” morphed not into merriment but into the word for upper arm, brakhion. The sounds in mregh and brakh match better than it looks on paper: for one thing, both m and b are produced by putting your lips together, and so it’s easy for one to change into the other. As to meaning, it was a matter of implications, this time in one of the things the word was applied to rather than the word itself. The upper arm is shorter than the lower, and hence one might start referring to the upper arm as the “shorter,” and the rest was history. Calling your upper arm your “shorter” is not appreciably odder than calling cutoff pants shorts, after all. The process never stops. It seems that in Latin this brakh ended up, among other places, in a pastry, namely, one resembling folded arms, called a brachitella. Old High German picked that up as brezitella; by Middle High German people were saying brezel. Today, brezel is pretzel—from that same word that meant short and now connotes joyousness in English. In France, that brach root drifted into a word referring to shoulder straps or, by extension, a child’s little chemise undershirt. Women can wear chemises, too, but garments, like words, have a way of changing over the centuries, and after a while the brassière had evolved into a more specific anatomical dedication than a chemise’s. The modern word bra, then, is what happens when a word for “short” drifts step by step into new realms. Merry, pretzel, and bra are, in a sense, all the same word—yet contests could be held challenging people to even use all three in a sentence (or at least one that made any sense).

You can take my word for it too that Greece, Egypt, ancient India and ancient China, the beauty of the world, the pure and authentic reflections of this beauty in art and science, what I have seen of the inner recesses of human hearts where religious belief is unknown, all these things have done as much as the visibly Christian ones to deliver me into Christ's hands as his captive. I think I might even say more. The love of those things which are outside visible Christianity keeps me outside the Church. Such a spiritual destiny must seem unintelligible to you. But for this very reason it provides useful matter for reflection. It is good to reflect about whatever forces us to come out of ourselves. I have difficult in imagining how it can be that you really have some friendship in me; but as you apparently have, it may be for this purpose.

There was a Temple of Asclepius in Greece which was one of the most beautiful in the country, and it was there that sick people came from all over. They were told to lie down on pallets on a great veranda, called the abaton, outside of the temple. The priests would walk in bearing bowls of fire, and the patients were commanded to sleep. There were serpents—a species of large yellowish snake—that were given free run of the temple grounds. The patients were told that when they went to sleep in the temple they would dream, and in their dreams Asclepius would appear to them in the form of a serpent. So, that’s the way they were healed: they were healed by dreaming. Now, science and technology—all of our medical advances—notwithstanding, I think that was a superior way to be healed—by a whole lot—than by going in and having, say, open heart surgery. The Greeks healed by dreaming! We’ve never reached those heights in medicine since. There are many testimonials by patients, carved into the stellae, these stone pillars, attributing their cures to this experience of being touched by the serpents in their dreams.

Render us rich and flourishing,” says an Orphic hymn; “make us also wise and chaste.” Thus the hearth-fire is a sort of a moral being; it shines, and warms, and cooks the sacred food, but at the same time it thinks, and has a conscience; it knows men’s duties, and sees that they are fulfilled. One might call it human, for it has the double nature of man; physically, it blazes up, it moves, it lives, it procures abundance, it prepares the repast, it nourishes the body; morally, it has sentiments and affections, it gives man purity, it enjoins the beautiful and the good, it nourishes the soul. One might say that it supports human life in the double series of its manifestations. It is at the same time the source of wealth, of health, of virtue. It is truly the god of human nature. Later, when this worship had been assigned to a second place by Brahma or by Zeus, there still remained in the hearth-fire whatever of divine was most accessible to man. It became his mediator with the gods of physical nature; it undertook to carry to heaven the prayer and the offering of man, and to bring the divine favors back to him. Still later, when they made the great Vesta of this myth of the sacred fire, Vesta was the virgin goddess. She represented in the world neither fecundity nor power; she was order, but not rigorous, abstract, mathematical order, the imperious and unchangeable law, ἀνάγκη [“necessity”], which was early perceived in physical nature. She was moral order. They imagined her as a sort of universal soul, which regulated the different movements of worlds, as the human soul keeps order in the human system. Thus are we permitted to look into the way of thinking of primitive generations. The principle of this worship is outside of physical nature, and is found in this little mysterious world, this microcosm—man.

So Leda's daughters, two lethal brides, will twice and thrice wed. One will launch Greece in a thousand ships, her beauty the ruin of her land, and the men sent to rescue her will come back ashes and bones. The other, the queen hell-bent on revenge, will rise in the house of Mycenae, loyal to those who revere her, savage to those who oppose her.

Solemn, grand, and beautiful, it will always remain in our memories." Mark Twain

We dare not be original; our American Pine must be cut to the trim pattern of the English Yew, though the Pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might better be sung on the Rhine than the Kennebec. They are not American in form or feeling; they have not the breath of our air; the smell of our ground is not in them. Hence our poet seems cold and poor. He loves the old mythology; talks about Pluto—the Greek devil,—— the Fates and Furies—witches of old time in Greece,—-but would blush to use our mythology, or breathe the name in verse of our Devil, or our own Witches, lest he should be thought to believe what he wrote. The mother and sisters, who with many a pinch and pain sent the hopeful boyto college, must turn over the Classical Dictionary before they can find out what the youth would be at in his rhymes. Our Poet is not deep enough to see that Aphrodite came from the ordinary waters, that Homer only hitched into rhythm and furnished the accomplishment of verse to street talk, nursery tales, and old men’s gossip, in the Ionian towns; he thinks what is common is unclean. So he sings of Corinth and Athens, which he never saw, but has not a word to say of Boston, and Fall River, and Baltimore, and New York, which are just as meet for song. He raves of Thermopylae and Marathon, with never a word for Lexington and Bunkerhill, for Cowpens, and Lundy’s Lane, and Bemis’s Heights. He loves to tell of the Ilyssus, of “ smooth sliding Mincius, crowned with vocal reeds,” yet sings not of the Petapsco, the Susquehannah, the Aroostook, and the Willimantick. He prates of the narcissus, and the daisy, never of American dandelions andbue-eyed grass; he dwells on the lark and the nightingale, but has not a thought for the brown thrasher and the bobolink, who every morning in June rain down such showers of melody on his affected head. What a lesson Burns teaches us addressing his “rough bur thistle,” his daisy, “wee crimson tippit thing,” and finding marvellous poetry in the mouse whose nest his plough turned over! Nay, how beautifully has even our sweet Poet sung of our own Green river, our waterfowl,of the blue and fringed gentian, the glory of autumnal days.

I struggle most when Hydra headed truth arouses itself and insists on being beautiful." Steve Spire in Shades Of Persephone "I turned towards the Pan Pub & Bacchus Bar, where oblivion was an item on the drinks list." Steven Spire "Over Akrotiri, wisps of her image now streak the evening sky like lines of haiku." Steven Spire "I watch her now: how she takes the cup to her lips, how she swallows, how her eyebrows move as she reacts to sensation. I watch the fly that will not leave her alone, like Krikri metamorphosed. Always there is something beyond our control as a commentary on our limitations, something not anticipated in the perfect design of a scene, something not included on the menu, a doubt with dark, diaphanous wings." Steven Spire

In Xenophon's summary of the allegory [Prodicus' "Choice of Heracles'' ] the young Heracles has sat down at a crossroads, not knowing which path to follow through life. As he sits deliberating, two women appear to him. Their physical appearance is a study in contrasts, and they are clearly villainness and heroine. Evil (Kakia) is overfed, plump, rouged, and all powdered up. She wears revealing clothes and is vain, viewing herself in a mirror and turning around to see if she is being admired. Virtue (Arete), on the other hand, wears simple white; her only adornments are purity, modesty, and temperance. These apparitions proceed to give speeches in praise of the life that they can give Heracles. Evil speaks first-an ominous choice, since in such debates, the first speaker typically loses. She offers Heracles a life of free, effortless pleasure. There will be no delights that he will not taste, no difficulties that he will not avoid. He need never worry about wars and affairs. All he need trouble himself about will be what food or drink to take; what to look at, hear, smell or touch for his pleasure; what partner he might enjoy, how he might sleep softest, and how he can obtain all these with the least toil (aponOtata). If ever there are shortages, he will not suffer ponos or hardship either in body or soul. Rather "you will enjoy those things that others work to produce, and you will not hold back from profiting everywhere." Evil tells Heracles her name, but adds confidentially that to her friends she is known as Happiness (Eudaimonia). Very different is the tone and substance of Virtue's argument. For while Evil would have Heracles live for himself alone and treat others as means to his self-gratification, Virtue begins by saying that she knows Heracles' parents and nature: Heracles must live up to his Olympian heritage. Therefore she will not deceive him with "hymns to pleasure." Evil's enticements are in fact contrary to the divine ordering, "for the gods have given men nothing good without ponos and diligence." There follows a series of emphatic verbal nouns to hammer home this truth: if you want divine favor, you must worship the gods; if you want to be admired, you must do good works for your friends; if you want to be honored, you must benefit your city and Greece; if you want the earth to bear crops, you must cultivate the land. Flocks require tending, war demands practice. And if you want strength (Heracles' trademark), you must accustom your body to serve your will, and you must train "with ponoi and sweat:' At this point, Evil bursts in to deplore such a harsh lifestyle. She is immediately silenced, however, as Virtue argues that duality is essential to a sense of fulfillment and even to pleasure itself. For paradoxically, ponos (pain, struggle) makes pleasure pleasurable. Evil's vision of happiness is one of continual and languid orgy-food without hunger, drink without thirst, sex without desire, sleep without weariness. But as experience shows, continual partying soon loses its zest, even if one goes so far as to cool expensive drinks "with snow" in summertime. By contrast, Virtue's own followers have no real trouble in satisfying their desires. They do so not by committing violence against others or living off others' labor, but by simply "holding off until they actually do desire" food or drink. Hunger is the best sauce, and it is free. Furthermore, Virtue appeals to Heracles' native idealism. What hedonists have ever accomplished any "fine work" (ergon kalon)? None, for no beautiful or divine deed is ever done "without me [Virtue] ." Therefore, wherever there are energetic, effective people, Virtue is present: she is a helper to craftsmen, a guard of the household, a partner in peacetime ponoi, an ally for the works (erga) of war, the best support of friendship. To choose Evil would be shameful and not even extremely pleasurable, while with Virtue one will lead the most varied and honorable life.

We make an altar on the base of what was once one of the columns within the temple. We bring grain, seeds, fruits, and flowers. A beautiful pattern emerges as each woman places her offerings on the altar. Someone brings honey and then everything is wet and glistening. We join hands again, this time around the altar we have created. We breathe deeply and draw the beauty, the nourishing power the earth has given and we have brought to the site, into ourselves. Then we reenact the story. Our telling, inspired by Charlene Spretnak, rejects the rape of Persephone as a patriarchal addition. We speak of season and cycle, mother and daughter. As one of us tells the story, two move to the center of the circle and enact the drama. Here at the place of the separation of mother and daughter, we begin to tell our own stories. Our stories of separation between mother and daughter. We speak of daughters taken away from their mothers by angry husbands. We speak of times when our mothers did not understand our lives. We speak of times when we did not understand our mothers. We speak of alcoholic mothers. We speak of daughters who made their mothers fear. We speak of loss. We speak of separation. We speak of anger. We cry. We cry together. We embrace one another. We embrace each other as mother and as daughter. The healing begins. From "Eleusinian Mysteries" featured in The Goddess Celebrates: an Anthology of Women's Rituals, Edited by Diane Stein, published in 1991. The quotes from this ritual excerpt, which are not included here due to length restrictions credit Charlene Spretnak and her book, Lost Goddesses of Early Greece, published in 1978.

Song and the lyric poem came first. Prose was invented centuries later. In Israel, Greece, and China came the primal, model lyrics for two and a half millennia. Read the biblical Song of Songs in Hebrew, Sappho in Greek, and Wang Wei in Chinese and be deeply civilized. You will know the passions, tragedy, spirit, politic, philosophy, and beauty that have commanded our solitary rooms and public spaces. I emphasize solitary, because the lyric, unlike theater and sport, is an intimate dialogue between maker and reader. From the Jews we have their two bibles of wisdom poetry, from the Chinese we have thousands of ancient nightingales whose song is calm ecstasy, and from the Greeks we have major and minor names and wondrous poems. However, because of bigotry, most of Greek poetry, especially Sappho, was by religious decree destroyed from the Fall of the Roman Empire to the Renaissance. So apart from one complete ode, we read Sappho in fragments. Yet there survive fragrant hills for lovers and dark and luminous mountains for metaphysicians. Most of ancient Greek lyric poetry is contained in this volume. Do not despair about loss. You are lucky if you can spend your life reading and rereading the individual poets. They shine. If technology or return to legal digs in Egypt and Syria are to reveal a library of buried papyri of Greek lyrics equivalent to the Dead Sea Scrolls or the Gnostic Nag Hammadi Library, we should be able to keep singing and dancing for ten moons straight. For now, we have the song, human comedy, political outrage, and personal cry for centuries of good reading.

You can take my word for it too that Greece, Egypt, ancient India and ancient China, the beauty of the world, the pure and authentic reflections of this beauty in art and science, what I have seen of the inner recesses of the human hearts where religious belief is unknown, all these things have done as much as the visibly Christian ones to deliver me into Christ’s hands as his captive. —Simone Weil

His beautiful body lost to bones and grey ash.

Certainly the plight of such countries as Greece, Ireland, Italy, Portugal, and Spain have received a lot of attention recently13 due to significant public outcries, demonstrations, and even riots because their governments have not been able to fulfill their promised social obligations to the people due to lack of funds, despite high tax rates. We could not ask for more timely examples of what happens when we abandon our founding principles of limited government and protecting individual rights.

It's time the world knew what was really discovered at Delphi." says Dr Moses Frank, in The Elena Text. But who is Moses Frank and what was he referring to? The Elena Text is a controversial and provocative thriller set in the world of antiquities and archaeology, based around the untold story of what was really discovered at Delphi in Greece - but has remained a closely-guarded secret since the 1930s. In Moses Frank we have a character who single-handedly defines the extremities of recent times, the stateless survivor, against all the odds, the refugee turned millionaire, the entrepreneur who creates his own rules, a charming and educated artist with a first class degree from the university of life, a thinker but an unashamed money-maker and pleasure-seeker. Moses Frank is a man who can be forgiven almost anything because he is so hugely admired as a dealer, a canny sleuth who has tracked down the world’s greatest missing antiquities. But despite all his gifts and talents, Moses Frank is also a man bristling with self-doubt - searching endlessly for the finest examples of human art, the sensual peaks of female beauty and some thin slivers of meaning in his terribly successful life. I believe Frank is a rich, unpredictable and multi-facetted lead character who will continue to fascinate readers in volumes 2 and 3 of THE MOSES FRANK TRILOGY.

Ancient Ways Considering their favorable strategic location, pleasant climate, and natural beauty, is it any wonder that the Greek Isles became the cradle of Western culture? For millennia, the Greek islands have exerted a powerful magnetic force on people around the world. Seafaring conquerors have long recognized the importance and beauty of these islands. Ancient Phoenician ships came ashore as early as the third millennium B.C.E., followed by would-be conquerors from mainland Greece, Rome, Venice, and Turkey. Invaders have laid claim to these islands from antiquity well into the modern era. Pleasure seekers have also been drawn to the area. Ancient Minoan kings built their luxurious palaces among the citrus groves and rugged hillsides that overlook the placid seas. Scenes depicted in ancient wall paintings and on decorated pottery suggest that the islands have been a center of hedonistic activity--dancing, drinking, and romance--for eons. Today, visitors from around the world indulge in these same activities, drawn to the beaches, tavernas, and discotheques that pepper the many island harbors. Contemporary travelers to the Greek Isles come for myriad reasons and find a dazzling array of unexpected delights, for each of the more than three thousand islands has its own particular character. From the larger, bustling islands of Crete, Rhodes, and the island nation of Cyprus to the quieter havens of Folegandros and Kárpathos, to the hundreds of tiny, uninhabited islets of the region, the Greek Isles present a collage of diverse landscapes and customs. Mykonos is fun-loving, with lively tavernas and populated beaches. Delos is stoic, protecting the ruins of its ancient sanctuaries in solemn dignity. Milos is magical, with its volcanic rock formations and stunning village vistas.

The Renaissance After the fall of the Roman Empire, Europe began a period that is called the Middle Ages, or the medieval period. The Middle Ages were dominated by war, illness, and concerns about mortality. During this time, Rome lost much of its former grandeur and vitality. It had perhaps no more than thirteen thousand residents in the 1300s. Around this time, attitudes began to change. The wealthy began thinking more about human achievement and the world around them. Explorers such as Columbus wanted to find new routes to Asia. Italian churchmen and scholars saw ancient buildings all around them and took an interest in the classical world of Rome and Greece. They began to spend money on beautiful buildings, art, and scholarship. This period came to be called the Renaissance, which means “the Rebirth.” It was the rebirth of classical learning after more than a thousand years.

The Riders Placencia Beach, Belize, 1996 Americans aren’t overly familiar with Tim Winton, although in my mind he is one of the best writers anywhere. This novel is set in Ireland and Greece as a man and his daughter search for their missing wife and mother. Gripping. 2. Family Happiness Miacomet Beach, Nantucket, 2001 The finest of Laurie Colwin’s novels, this is, perhaps, my favorite book in all the world. It tells the story of Polly Demarest, a Manhattan woman who is torn between her very uptown lawyer husband and her very downtown artist lover. 3. Mary and O’Neil Cottesloe Beach, Western Australia, 2009 These connected stories by Justin Cronin will leave you weeping and astonished. 4. Appointment in Samarra Nha Trang Beach, Vietnam, 2010 This classic novel was recommended to me by my local independent bookseller, Dick Burns, once he had found out how much I loved Revolutionary Road by Richard Yates. John O’Hara’s novel has all the requisite elements of a page-turner—drinking, swearing, and country club adultery, although set in 1930s Pennsylvania. This may sound odd, but trust me, it’s un-put-downable! 5. Wife 22 Oppenheimer Beach, St. John, U.S. Virgin Islands, 2012 If you like piña coladas… you will love Melanie Gideon’s tale of marriage lost and rediscovered. 6. The Interestings Steps Beach, Nantucket, 2013 And this summer, on Steps Beach in Nantucket, I will be reading The Interestings by Meg Wolitzer. Wolitzer is one of my favorite writers. She explores the battles between the sexes better than anyone around.

She made the only decision a queen could. Of the three queens of Greece, Helen betrayed her throne by choosing instead to love as a woman might. Clytemnestra, who chose to be a woman, a mother, a lover and a queen, burnt the brightest and could not live long being so many things at once, too beautiful and great for this earth. But Penelope - Penelope is the one who sacrifices all, to be a queen and nothing more. This too, though it wounds me, though I wish it were any other way...this too I can love.

Through these busy centers of vitality and intelligence the Greeks spread into all of southern Europe the seeds of that subtle and precarious luxury called civilization, without which life would have no beauty, and history no meaning.

The vital roles that schema and pattern play in Archaic art can be considered symptoms of a larger Greek demand for regularity and order which extends beyond the realms of representational art into architecture, poetry, and philosophy and beyond the limits of the Archaic period itself. The language of Homer is highly ordered: its formulae were originally patterns for the ear. Hesiod's Theogony imposes patterns on gods and heroes by putting each in his genealogical place, and his Works and Days moves from a particular instance of injustice to universal truths and patterns of human activity. Archaic poetry in general is full of literary schemata or conventions, and Archaic poets express thought and meaning through the harmony of opposites. Archilochos detected a rhysmos (pattern) even in the rise and fall of human fortunes. The philosophers of Miletos attempted to fit nature to preconceived patterns and so to extract order from apparent chaos. Pythagoras (or his followers) ordered the world through number. The urge to impose kosmos (order) on the nature of things is not peculiar to the Archaic mind – in Xenophon's Oikonomikos Sokrates reports that all things, even pots and pans, look more beautiful when they are kept in order, and even the space between them looks beautiful – but is nonetheless particularly characteristic of it.