Greek Classics Quotes

Time, which sees all things, has found you out.

Sameron adion aso I shall sing a sweeter song tomorrow

Alexander the Great slept with 'The Iliad' beneath his pillow. During the waning moon, I cradle Homer’s 'Odyssey' as if it were the sweet body of a woman.

They too, knew this beautiful and harrowing landscape; they'd had the same experience of looking up from their books with fifth-century eyes and finding the world disconcertingly sluggish and alien, as if it were not their home.

Henry’s a perfectionist, I mean, really-really kind of inhuman — very brilliant, very erratic and enigmatic. He’s a stiff, cold person, Machiavellian, ascetic and he’s made himself what he is by sheer strength of will. His aspiration is to be this Platonic creature of pure rationality and that’s why he’s attracted to the Classics, and particularly to the Greeks — all those high, cold ideas of beauty and perfection.

In the make-up of human beings, intelligence counts for more than our hands, and that is our true strength.

In time you will know this well: For time, and time alone, will show the just man, though scoundrels are discovered in a day.

Rumours voiced by women come to nothing.

Creative people, as I see them, are distinguished by the fact that they can live with anxiety, even though a high price may be paid in terms of insecurity, sensitivity, and defenselessness for the gift of the “divine madness,” to borrow the term used by the classical Greeks. They do not run away from non-being, but by encountering and wrestling with it, force it to produce being. They knock on silence for an answering music; they pursue meaninglessness until they can force it to mean.

I came to the Greeks early, and I found answers in them. Greece's great men let all their acts turn on the immortality of the soul. We don't really act as if we believed in the soul's immortality and that's why we are where we are today.

There have always been literate ignoramuses who have read too widely and not well. The Greeks had a name for such a mixture of learning and folly which might be applied to the bookish but poorly read of all ages. They are all sophomores.

You don't know what your life is, nor what you're doing, nor who you are.

The fifth-century Greek writer we know as Dionysius the Areopagite once said that as he grew older and wiser his books got shorter and shorter.

Rome was not simply the thuggish younger sibling of classical Greece, committed to engineering, military efficiency and absolutism, whereas the Greeks preferred intellectual inquiry, theatre and democracy.

She is often the broken-winged one, who does everything all wrong until people realize she's been doing it... pretty right all along. She's the poor girl who never dressed right, who had torn hose, and they were all baggy around her ankles. She's the Raggedy Ann of the sophisticated world, who pulls it out at the last minute, flies by the seat of her pants, cackling all the way home. She is the late bloomer, the late start, the autumn bush, the winter holly. She is Baubo, all the classical Greek goddesses. She is the old girl who still blushes, and laughs, and dances. She's the truth teller, maybe that people hate to hear, but they learn to listen to. She is not dumb and in some ways is not shrewd. She works on passion, and the doll in her pocket, and the intuition that leads her into and through all the world.

One of the many things I learned at the end of that Classics corridor down which I ventured at the age of 18, in search of something I could not then define, was this, written by the Greek author Plutarch: What we achieve inwardly will change outer reality. That is an astonishing statement and yet proven a thousand times every day of our lives. It expresses, in part, our inescapable connection with the outside world, the fact that we touch other people’s lives simply by existing.

Utter trash. —the Greek intellectual Celsus evaluates the Old Testament

The groups of muscles that have become virtually unnecessary in modern life, though still a vital element of a man’s body, are obviously pointless from a practical point of view, and bulging muscles are as unnecessary as a classical education is to the majority of practical men. Muscles have gradually become something akin to classical Greek. To revive the dead language, the discipline of the steel was required; to change the silence of death into the eloquence of life, the aid of steel was essential.

...The first dictionaries were glossaries of Homeric words, intended to help Romans read the Iliad and Odyssey as well as other Greek literature employing the 'archaic' Homeric vocabulary.

He had put on the best-looking uniform that he could, thinking that...victory deserved the best-looking armour.

I have seen or heard of no other man whom destiny treated with such enmity as it did Philoktetes

Classical mythology is a catalogue of indescribable cruelty: [...] It is a world dominated by evil, where even the most beautiful beings carry out atrocities.

In addition to the interpretive frameworks of the mythological (classical-Greek), the theological (Medieval-Christian), and the existential (modern-European), would it be possible to shift our framework to something we can only call cosmological? Could such a cosmological view be understood not simply as the view from inter-stellar space, but as the view of the world-without-us, the Planetary view?

What cannot be borne in reality, becomes a source of pleasure when it is transposed into the visual and somatic fiction of the dramatic spectacle.

I can not remember telling my parents that I was studying classics, they might well have found out for the first time on graduation day. Of all the subjects on this planet, I think they would have been hard-put to name one less useful in Greek mythology when it came to securing the keys of an executive bathroom. Now I would like to make it clear in parenthesis, that I do not blame my parents for their point of view. There is an expiry date for blaming your parents for steering you in the wrong direction. The moment you are old enough to take the wheel, responsibility lies with you. What is more, I can not criticize my parents for hoping that I would never experience poverty. They had been poor themselves, and I have since been poor. And I quite agree with them, that it is not an ennobling experience. Poverty, entails fear, and stress, and sometimes depression, It means a thousand petty humiliations and hardships. Climbing out of poverty by your own efforts, that is something by which to pride yourself, but poverty itself, is romanticized only by fools. But I feared at your age was not poverty, but failure... Now, I am not dull enough to suppose that because you are young, gifted, and well educated, that you have never known heartbreak, hardship, or heartache. Talent and intelligence, never yet inoculated anyone against the caprice of the fates... ultimately, we all have to decide for ourselves what constitutes failure.

The Greek gods had personalities like those of humans and struggled with one another for position and power. They did not love humans (although some had favorites) and did not ask to be loved by them. They did not impose codes of behavior. They expected respect and honor but coud act contrary to human needs and desires.

Do you remember what we were speaking of earlier, of how bloody, terrible things are sometimes the most beautiful?” he said. “It’s a very Greek idea, and a very profound one. Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely? To throw off the chains of being for an instant, to shatter the accident of our mortal selves? Euripides speaks of the Maenads: head thrown back, throat to the stars, ‘more like deer than human being.’ To be absolutely free! One is quite capable, of course, of working out these destructive passions in more vulgar and less efficient ways. But how glorious to release them in a single burst! To sing, to scream, to dance barefoot in the woods in the dead of night, with no more awareness of mortality than an animal! These are powerful mysteries. The bellowing of bulls. Springs of honey bubbling from the ground. If we are strong enough in our souls we can rip away the veil and look that naked, terrible beauty right in the face; let God consume us, devour us, unstring our bones. Then spit us out reborn.

Carved on the temple [at Delphi] were the exhortations "Know yourself" and "Nothing too much," mottoes with a similar meaning: You are only human, so don't try more than you are able (or you will pay the price). A recurring theme in Greek myth is the man or woman who loses sight of human limitations and acts arrogantly and with violence, as if immortal. And pays a terrible price.

Oh yes, In Love, that demented rose-red circus tent whose half-light forgives all visuals, fig-leaves our lovers, and softens our own brains and the pain of our sawdust pratfalls.   So tempting, that midway faux-marble arch, both funfair and classical— so Greek, so Barnum, such a beacon, with a sign in gas-blue neon:   Love! This way! In!

Shakespeare's bitter play [Troilus and Cressida] is therefore a dramatization of a part of a translation into English of the French translation of a Latin imitation of an old French expansion of a Latin epitome of a Greek romance. (p. 55)

Derisively, Ronan said, 'No. The ancient Greeks didn't have a word for Blue.' Everyone at the table looked at him. 'What the hell, Ronan?' said Adam. 'It's hard to imagine," Gansey mused, 'how this evidently successful classical education never seems to make it into your school papers.' 'They never ask the right questions,' Ronan replied.

I thought, as I wiped my eyes on the corner of my apron: Penelope did this too. And more than once: you can't keep weaving all day And undoing it all through the night; Your arms get tired, and the back of your neck gets tight; And along towards morning, when you think it will never be light, And your husband has been gone, and you don't know where, for years. Suddenly you burst into tears; There is simply nothing else to do. And I thought, as I wiped my eyes on the corner of my apron: This is an ancient gesture, authentic, antique, In the very best tradition, classic, Greek; Ulysses did this too. But only as a gesture,—a gesture which implied To the assembled throng that he was much too moved to speak. He learned it from Penelope... Penelope, who really cried.

Stunned by how little he'd gotten over her and she'd gotten over him, he walked away understanding, as outside his reading in classical Greek drama he'd never had to understood before, how easily life can be one thing rather than another and how accidentally a destiny is made...

It really made me wish I was Roman or Greek, you know? A classical Greek god would have killed his lying, cheating father and then given him forgiveness. And a classical Greek god would have better abs, too. That's what Greek gods are all about, you know? Patricide and low body fat.

Some Saian mountaineer Struts today with my shield. I threw it down by a bush and ran When the fighting got hot. Life seemed somehow more precious. It was a beautiful shield. I know where I can buy another Exactly like it, just as round.

He also said that he marvelled that among the Greeks, those who were skilful in a thing contend together; but those who have no such skill act as judges of the contest.

The British story of Peter Pan is about a boy who never grows up and plays all day.

If he were around this place as a professor, he could teach 'Appropriate Behavior in Classical Greek Drama,' a course that would be over before it began.

Classicism, a brief, perfectly balanced instant of complete possession of forms; not a slow and monotonous application of ‘rules,’ but a pure, quick delight, like the acme of the Greeks, so delicate that the pointer of the scale scarcely trembles …

It’s all very Greek, isn’t it?” I quipped. “Prophecies, tragedies, destinies. Just like in all those old mythology books we read over the years.” Fletcher shrugged. “Hard to beat the classics.

The outstanding characteristic of Western scholarship is its specialization and cutting up of knowledge into different departments. The over-development of logical thinking and specialization, with its technical phraseology, has brought about the curious fact of modern civilization, that philosophy has been so far relegated to the background, far behind politics and economics, that the average man can pass it by without a twinge of conscience. The feeling of the average man, even of the educated person, is that philosophy is a "subject" which he can best afford to go without. This is certainly a strange anomaly of modern culture, for philosophy, which should lie closest to men's bosom and business, has become most remote from life. It was not so in the classical civilization of the Greeks and Romans, and it was not so in China, where the study of wisdom of life formed the scholars' chief occupation. Either the modern man is not interested in the problems of living, which are the proper subject of philosophy, or we have gone a long way from the original conception of philosophy.

As an inhabitant of a Mississippi River town happily shouts out in the Adventures of Huckleberry Finn, “You pays your money and you makes your choice!” That may be the most American sentence ever written.

Now, Woolf calls her fictional bastion of male privilege Oxbridge, so I'll call mine Yarvard. Even though she cannot attend Yarvard because she is a woman, Judith cheerfully applies for admission at, let's call it, Smithcliff, a prestigious women's college. She is denied admission on the grounds that the dorms and classrooms can't accommodate wheelchairs, that her speech pattern would interfere with her elocution lessons, and that her presence would upset the other students. There is also the suggestion that she is not good marriage material for the men at the elite college to which Smithcliff is a bride-supplying "sister school." The letter inquires as to why she hasn't been institutionalized. When she goes to the administration building to protest the decision, she can't get up the flight of marble steps on the Greek Revival building. This edifice was designed to evoke a connection to the Classical world, which practiced infanticide of disabled newborns.

As you set out on your journey to Ithaca, pray that your journey be a long one, filled with adventure, filled with discovery. Laestrygonians and Cyclopes, the angry Poseidon--do not fear them: you'll never find such things on your way unless your sight is set high, unless a rare excitement stirs your spirit and your body. The Laestrygonians and Cyclopes, the savage Poseidon--you won't meet them so long as you do not admit them to your soul, as long as your soul does not set them before you. Pray that your road is a long one. May there be many summer mornings when with what pleasure, with what joy, you enter harbors never seen before. May you stop at Phoenician stations of trade to buy fine things, mother of pearl and coral, amber and ebony, and voluptuous perfumes of every kind-- buy as many voluptuous perfumes as you can. And may you go to many Egyptian cities to learn and learn from those who know. Always keep Ithaca in your mind. You are destined to arrive there. But don't hurry your journey at all. Far better if it takes many years, and if you are old when you anchor at the island, rich with all you have gained on the way, not expecting that Ithaca will give you wealth. Ithaca has given you a beautiful journey. Without her you would never have set out. She has no more left to give you. And if you find her poor, Ithaca has not mocked you. As wise as you have become, so filled with experience, you will have understood what these Ithacas signify.

The Greeks made Space the subject-matter of a science of supreme simplicity and certainty. Out of it grew, in the mind of classical antiquity, the idea of pure science. Geometry became one of the most powerful expressions of that sovereignty of the intellect that inspired the thought of those times. At a later epoch, when the intellectual despotism of the Church, which had been maintained through the Middle Ages, had crumbled, and a wave of scepticism threatened to sweep away all that had seemed most fixed, those who believed in Truth clung to Geometry as to a rock, and it was the highest ideal of every scientist to carry on his science 'more geometrico.

I was made to learn Latin and Greek, but I resented it, being of opinion that it was silly to learn a language that was no longer spoken. I believe that all the little good I got from years of classical studies I could have got in adult life in a month.

One of the regrets of my life is that I did not study Latin. I'm absolutely convinced, the more I understand these eighteenth century people, that it was that grounding in Greek and Latin that gave them their sense of the classic virtues: the classic ideals of honor, virtue, the good society, and their historic examples of what they could try to live up to.

More than anything else, I have learned in researching this book that America is a moving target, a goal that must always be pursued but never quite reached.

I have a Greek-American friend who named her daughter "Nike" and is often asked why she chose to name her offspring after a sneaker.

In Classical Greek the word pathos was the same for both suffering and experience. Those Greeks knew a good joke when they heard one.

By the Angel, it just crushed Sophocles,” noted Will as the worm vanished behind a large structure shaped like a Greek temple. “Has no one respect for the classics these days?

Accents must have been pretty important in Ancient Greek, because a man called Herodian wrote a treatise in twenty-one books about them, most of which, you’ll be happy to know, are now lost.

When historians and literary scholars talk about the classical heritage, or the legacy to Western civilization from antiquity, they are primarily thinking of four worldviews that were written in Hebrew or Greek among the body of religious, philosophical, and literary texts created before 250 B.C. These are the Hebrew Bible, the philosophies of Plato and Aristotle, and Hellenistic, or Alexandrine, literature.

In classical Greek literature, which preceded the time of the New Testament, the term daimon describes any divine being without regard to its nature (good or evil). A daimon can be a god or goddesss, some lesser divine power, or the spirit of the departed human dead.5 As such, it is akin to Hebrew elohim in its generic meaning.

...while epic fantasy is based on the fairy tale of the just war, that’s not one you’ll find in Grimm or Disney, and most will never recognize the shape of it. I think the fantasy genre pitches its tent in the medieval campground for the very reason that we even bother to write stories about things that never happened in the first place: because it says something subtle and true about our own world, something it is difficult to say straight out, with a straight face. Something you need tools to say, you need cheat codes for the human brain--a candy princess or a sugar-coated unicorn to wash down the sour taste of how bad things can really get. See, I think our culture has a slash running through the middle of it, too. Past/Future, Conservative/Liberal, Online/Offline. Virgin/Whore. And yes: Classical/Medieval. I think we’re torn between the Classical Narrative of Self and the Medieval Narrative of Self, between the choice of Achilles and Keep Calm and Carry On. The Classical internal monologue goes like this: do anything, anything, only don’t be forgotten. Yes, this one sacrificed his daughter on a slab at Aulis, that one married his mother and tore out his eyes, and oh that guy ate his kids in a pie. But you remember their names, don’t you? So it’s all good in the end. Give a Greek soul a choice between a short life full of glory and a name echoing down the halls of time and a long, gentle life full of children and a quiet sort of virtue, and he’ll always go down in flames. That’s what the Iliad is all about, and the Odyssey too. When you get to Hades, you gotta have a story to tell, because the rest of eternity is just forgetting and hoping some mortal shows up on a quest and lets you drink blood from a bowl so you can remember who you were for one hour. And every bit of cultural narrative in America says that we are all Odysseus, we are all Agamemnon, all Atreus, all Achilles. That we as a nation made that choice and chose glory and personal valor, and woe betide any inconvenient “other people” who get in our way. We tell the tales around the campfire of men who came from nothing to run dotcom empires, of a million dollars made overnight, of an actress marrying a prince from Monaco, of athletes and stars and artists and cowboys and gangsters and bootleggers and talk show hosts who hitched up their bootstraps and bent the world to their will. Whose names you all know. And we say: that can be each and every one of us and if it isn’t, it’s your fault. You didn’t have the excellence for it. You didn’t work hard enough. The story wasn’t about you, and the only good stories are the kind that have big, unignorable, undeniable heroes.

we had allowed ourselves to become distracted on the way to the Crusade, never laid eyes on a Turk, turned to pillage and rapine among the Hungarians and Greeks in order to reach the East…all for the glory of God, of course, until defeated,

The oft-repeated assertion that Islam “preserved” classical knowledge and then graciously passed it on to Europe is baseless. Ancient Greek texts and Greek culture were never “lost” to be somehow “recovered” and “transmitted” by Islamic scholars, as so many academic historians and journalists continue to write: these texts were always there, preserved and studied by the monks and lay scholars of the Greek Roman Empire and passed on to Europe and to the Islamic empire at various times.

It was fundamental to Plato, and to the mainstream of classical Greek philosophy after him, that men are created unequal; not merely in the superficial sense of inequality in physique, wealth or social position, but unequal in their souls, morally unequal. A few men are potentially capable of completely rational behaviour, and hence of correct moral judgment; most men are not.

The moon’s three phases of new, full, and old recalled the matriarch’s three phases of maiden, nymph (nubile woman), and crone. Then, since the sun’s annual course similarly recalled the rise and decline of her physical powers – spring a maiden, summer a nymph, winter a crone – the goddess became identified with seasonal changes in animal and plant life; and thus with Mother Earth who, at the beginning of the vegetative year, produces only leaves and buds, then flowers and fruits, and at last ceases to bear. She could later be conceived as yet another triad: the maiden of the upper air, the nymph of the earth or sea, the crone of the underworld – typified respectively by Selene, Aphrodite, and Hecate. These mystical analogues fostered the sacredness of the number three, and the Moon-goddess became enlarged to nine when each of the three persons – maiden, nymph, and crone – appeared in triad to demonstrate her divinity. Her devotees never quite forgot that there were not three goddesses, but one goddess; though, by Classical times, Arcadian Stymphalus was one of the few remaining shrines where they all bore the same name: Hera.

as long as we possess the body, and our soul is contaminated by such an evil, we'll surely never adequately gain what we desire —and that, we say, is truth. (...) besides, it fills us up with lusts and desires, with fears and fantasies of every kind, and with any amount of trash, so that really and truly we are, as the saying goes, never able to think of anything at all because of it.

Psychoanalysis and Greek mythology are two sides of the same medallion. To put it differently: without classical mythology, there would be no psychoanalysis. If that seems like too bold a statement, this chapter aims to show that it is not. It will look at the dynamic relationship forged between psychoanalysis and classical myth, and the impacts, positive and negative, that each has made upon the other. There are numerous psychoanalytic theorists, but Freud necessarily takes centre stage. Like many in 19th-century Germany, Freud was passionate about ancient Greece and its myths. He was both an analyst of the psyche, or mind (using Greek myth) and of Greek myth (using the psyche). As a result, he initiated a radical new method of enquiry, psychoanalysis, and wrote a momentous chapter in the history of classical mythology.

The characteristics of this kind of reading are perhaps summed up in the word “orthodox,” which is almost always applicable. The word comes from two Greek roots, meaning “right opinion.” These are books for which there is one and only one right reading; any other reading or interpretation is fraught with peril, from the loss of an “A” to the damnation of one’s soul. This characteristic carries with it an obligation. The faithful reader of a canonical book is obliged to make sense out of it and to find it true in one or another sense of “true.” If he cannot do this by himself, he is obliged to go to someone who can. This may be a priest or a rabbi, or it may be his superior in the party hierarchy, or it may be his professor. In any case, he is obliged to accept the resolution of his problem that is offered him. He reads essentially without freedom; but in return for this he gains a kind of satisfaction that is possibly never obtained when reading other books.

That depends,” Oshima says. “Sometimes it is. But irony deepens a person, helps them mature. It’s the entrance to salvation on a higher plane, to a place where you can find a more universal kind of hope. That’s why people enjoy reading Greek tragedies even now, why they’re considered prototypical classics. I’m repeating myself, but everything in life is metaphor. People don’t usually kill their father and sleep with their mother, right? In other words, we accept irony through a device called metaphor. And through that we grow and become deeper human beings.

What troubled people especially was not just the tragedy--or even the needlessness--but the element of fate in it all. If the Titanic had heeded any of the six ice messages on Sunday . . . if ice conditions had been normal . . . if the night had been rough or moonlit . . . if she had seen the berg 15 second sooner--or 15 seconds later . . . if she had hit the ice any other way . . . if her watertight bulkheads had been one deck higher . . . if she had carried enough boats . . . if the Californian had only come. Had any one of these "ifs" turned out right, every life might have been save. But they all went against her--a classic Greek tragedy.

The Apollinian [classical Greek] Culture recognized as actual only that which was immediately present in time and place-and thus it repudiated the background as pictorial element. The Faustian [modern Western] strove through all sensuous barriers towards infinity-and it projected the center of gravity of the pictorial idea into the distance by means of perspective. The Magian [Byzantine-Arabian] felt all happening as an expression of mysterious powers that filled the world-cavern with their spiritual substance-and it shut off the depicted scene with a gold background, that is, by something that stood beyond and outside all nature-colours. Gold is not a colour.

Visitors to Lyme in the nineteenth century, if they did not quite have to undergo the ordeal facing travellers to the ancient Greek colonies -Charles did not actually have to deliver a Periclean oration plus comprehensive world news summary from the steps of the Town Hall- were certainly expected to allow themselves to be examined and spoken to.

I’ve read science fiction and fantasy all my life – though when you’re a child, they just call that “books.” The first book I ever read on my own was The Neverending Story. I studied classics at university, and in ancient literature, monsters, witches, magic, curses, and impossible machines aren’t genre, they’re just Tuesday afternoon. I had no idea that I was writing fantasy at first, because I was so saturated in Greek literature that it never occurred to me that my talking animals and sentient mazes were anything but realism. Our instinct toward folklore and magical stories, parables and imagining the future, are as much a part of the human experiences as divorce, grief, falling in love, politics, or raising children. I’ve always read fantastic literature, because it’s always seemed truest to me. It makes the metaphorical literal and is all the more powerful for that immediacy and directness. I love genre fiction for the infinite expanse of stories it can tell – and it’s been my constant companion since I was a very small child.

The stories are charmingly told. They were (and are – the book is still in print) the gateway for so many of us into Greek myth and the classical world. But because we read them as children, we don’t always consider them critically: we tend to see them as a neutral, authoritative version from which other versions deviate. And – like all books – they reflect the values of their time. So while I don’t want to dissuade you from reading these stories to children, I would urge you to counterbalance the quiet prejudice which lurks within them.

Bogus Oxford men he could deal with, just as in his time he had known classics masters who had no Greek and parsons who had no divinity. Such men, confronted with proof of their deception, broke down and wept and left, or stayed on half-pay. But men who withheld genuine accomplishment—these were a breed he had not met but he knew already that he did not like them.

Apollodorus, the leading classical authority on Greek myths, records a tradition that the real scene of the poem was the Sicilian seaboard, and in 1896 Samuel Butler, the author of Erewhon, came independently to the same conclusion. He suggested that the poem, as we now have it, was composed at Drepanum, the modern Trapani, in Western Sicily, and that the authoress was the girl self-portrayed as Nausicaa. None of his classical contemporaries, for whom Homer was necessarily both blind and bearded, deigned to pay Butler’s theory the least attention; and since he had, as we now know, dated the poem some three hundred years too early and not explained how a Sicilian princess could have passed off her saga as Homer’s, his two books on the subject are generally dismissed as a good-humoured joke. Nevertheless, while working on an explanatory dictionary of Greek myths, I found Butler’s arguments for a Western Sicilian setting and for a female authorship irrefutable. I could not rest until I had written this novel. It re-creates, from internal and external evidence, the circumstances which induced Nausicaa to write the Odyssey, and suggest how, as an honorary Daughter of Homer, she managed to get it included in the official canon. Here is the story of a high-spirited and religious-minded Sicilian girl who saves her father’s throne from usurpation, herself from a distasteful marriage, and her two younger brothers from butchery by boldly making things happen, instead of sitting still and hoping for the best.

The Oxford Classical Dictionary firmly states: “No word in either Greek or Latin corresponds to the English ‘religion’ or ‘religious.’ ”6 The idea of religion as an essentially personal and systematic pursuit was entirely absent from classical Greece, Japan, Egypt, Mesopotamia, Iran, China, and India.7 Nor does the Hebrew Bible have any abstract concept of religion; and the Talmudic rabbis would have found it impossible to express what they meant by faith in a single word or even in a formula, since the Talmud was expressly designed to bring the whole of human life into the ambit of the sacred.8

The ancient Greeks enjoyed colors and it is assumed that they painted their statues. One can still see today small deposits of colors in classical statues. More than a thousand years later the Renaissance sculptors copied the ancient statues, leaving off the colors. I find that symbolic and telling; what else have we copied from the past, leaving off the colors, nuances, or even the essential meanings?

One of the most interesting histories of what comes of rejecting science we may see in Islam, which in the beginning received, accepted, and even developed the classical legacy. For some five or six rich centuries there is an impressive Islamic record of scientific thought, experiment, and research, particularly in medicine. But then, alas! the authority of the general community, the Sunna, the consensus—which Mohammed the Prophet had declared would always be right—cracked down. The Word of God in the Koran was the only source and vehicle of truth. Scientific thought led to 'loss of belief in the origin of the world and in the Creator.' And so it was that, just when the light of Greek learning was beginning to be carried from Islam to Europe—from circa 1100 onward—Islamic science and medicine came to a standstill and went dead....

Epic art is founded on action, and the model of a society in which action could play out in greatest freedom was that of the heroic Greek period; so said Hegel, and he demonstrated it with The Iliad: even though Agamemnon was the prime king, other kings and princes chose freely to join him and, like Achilles, they were free to withdraw from the battle. Similarly the people joined with their princes of their own free will; there was no law that could force them; behavior was determined only by personal motives, the sense of honor, respect, humility before a more powerful figure, fascination with a hero's courage, and so on. The freedom to participate in the struggle and the freedom to desert it guaranteed every man his independence. In this way did action retain a personal quality and thus its poetic form. Against this archaic world, the cradle of the epic, Hegel contrasts the society of his own period: organized into the state, equipped with a constitution, laws, a justice system, an omnipotent administration, ministries, a police force, and so on. The society imposes its moral principles on the individual, whose behavior is thus determined by far more anonymous wishes coming from the outside than by his own personality. And it is in such a world that the novel was born.

Whether one calls slime molds, fungi, and plants “intelligent” depends on one’s point of view. Classical scientific definitions of intelligence use humans as a yardstick by which all other species are measured. According to these anthropocentric definitions, humans are always at the top of the intelligence rankings, followed by animals that look like us (chimpanzees, bonobos, etc.), followed again by other “higher” animals, and onward and downward in a league table—a great chain of intelligence drawn up by the ancient Greeks, which persists one way or another to this day. Because these organisms don’t look like us or outwardly behave like us—or have brains—they have traditionally been allocated a position somewhere at the bottom of the scale. Too often, they are thought of as the inert backdrop to animal life. Yet many are capable of sophisticated behaviors that prompt us to think in new ways about what it means for organisms to “solve problems,” “communicate,” “make decisions,” “learn,” and “remember.” As we do so, some of the vexed hierarchies that underpin modern thought start to soften. As they soften, our ruinous attitudes toward the more-than-human world may start to change. The second field of research that has guided me in this inquiry concerns the way we think about the microscopic organisms—or microbes—that cover every inch of the planet. In the last four decades, new technologies have granted unprecedented access to microbial lives. The outcome? For your community of microbes—your “microbiome”—your body is a planet. Some prefer the temperate forest of your scalp, some the arid plains of your forearm, some the tropical forest of your crotch or armpit. Your gut (which if unfolded would occupy an area of thirty-two square meters), ears, toes, mouth, eyes, skin, and every surface, passage, and cavity you possess teem with bacteria and fungi. You carry around more microbes than your “own” cells. There are more bacteria in your gut than stars in our galaxy. For humans, identifying where one individual stops and another starts is not generally something we

We now have a theory of effective collective action with decentralized authority. The theory is based on a conception of human nature as at once social, interdependent, justice-seeking, self-interested, and strategic. That conception is consistent with contemporary social science and with ancient Greek thought. The theory explains (through a mix of ideology, federalism, “altruistic” punishment, and existential threats) individual motivation to cooperate in the absence of a unitary sovereign as third-party enforcer. It provides (through information exchange) a mechanism that enables many individuals to accomplish common goals and to produce public goods without requiring orders from a master.

It is useful to remember the classical Greeks’ attitude to moral failure: in their view it is like taking aim at a target, and missing; it is a bad shot; what you must do is aim again, and do better. In other moral regimes failure is a blemish, a stain that remains, culpable and in need of grace or forgiveness from an outside source. In the classical view, the remedy and improvement is as much the individual’s responsibility as the mistake was in the first place.

As an example, when Zeus is dallying with the nymph Io, Hera spots them, so he turns Io into a lovely white heifer. Hera, not fooled, seizes the cow and places her under the guard of a giant named Argus Panoptes (“All-Seeing”) because his body is covered with one hundred eyes (making him, quite literally, the first private eye called in by a wife to intervene in a case of adultery). Zeus sends in the god Hermes to tell him a boring, endless story, which gradually puts Argus to sleep, one eye at a time; then Hermes kills him and frees Io. Not done, Hera sends a gadfly to chase Io (an apt choice for hassling a cow), which stings her all the way to Egypt. Hera takes all of the eyes from Argus’ corpse and puts them on the tail of her favorite bird, the peacock. Take away the fanciful elements and the metamorphoses, and you have a classic story of an unfaithful husband confronted by an angry wife who tries to get even with the other woman.

My recreation, my preference, my cure from all Platonism has always been Thucydides. Thucydides and, perhaps, Machiavelli’s Principe are most closely related to myself by the unconditional will not to gull oneself and to see reason in reality–not in “reason,” still less in “morality.” For the wretched embellishment of the Greeks into an ideal, which the “classically educated” youth carries into life as a prize for his classroom drill, there is no more complete cure than Thucydides. One must follow him line by line and read no less clearly between the lines: there are few thinkers who say so much between the lines. With him the culture of the Sophists, by which I mean the culture of the realists, reaches its perfect expression–this inestimable movement amid the moralistic and idealistic swindle set loose on all sides by the Socratic schools. Greek philosophy: the decadence of the Greek instinct. Thucydides: the great sum, the last revelation of that strong, severe, hard factuality which was instinctive with the older Hellenes. In the end, it is courage in the face of reality that distinguishes a man like Thucydides from Plato: Plato is a coward before reality, consequently he flees into the ideal; Thucydides has control of himself, consequently he also maintains control of things.

Unlike the classical Greeks, for whom the fruit symbolized the inescapable cycle of bitter death, with a remorseful Persephone returning to the underworld for her six months of required winter, Marjan liked to believe the old stories of Persian soothsayers, who held a different vision of the tart fruit's purpose in life. She liked to remember that above all else, above all the unfortunate connotations of death and winter, the pomegranate was, and always would be, the fruit of hope. The flower of fertility, of new things and old seasons to be cradled.

In Classical times, music, poetry, philosophy, astronomy, mathematics, medicine, and science came under Apollo’s control. As the enemy of barbarism, he stood for moderation in all things, and the seven things of his lute were connected with the seven vowels of the later Greek alphabet, given mystical significance, and used forr therapeutic music. Finally, because of his identification with the Child Horus, a solar concept, he was worshipped as the sun, whose Corinthian cult had been taken over by Solar Zeus; and his sister Artemis was, rightly, identified with the moon.

Medieval scholars held on to a classical Greek theory, according to which the movements of the stars across the sky create heavenly music that permeates the entire universe. Humans enjoy physical and mental health when the inner movements of their body and soul are in harmony with the heavenly music created by the stars. Human music should therefore echo the divine melody of the cosmos, rather than reflect the ideas and caprices of flesh-and-blood composers. The most beautiful hymns, songs and tunes were usually attributed not to the genius of some human artist but to divine inspiration.

However, medieval Islam did not display interest in all aspects of Greco-Roman civilization: Islam remained inimical to classical art, drama, and narrative. Moreover, as we saw in chapter 1, during the early Muslim conquests there was a conscious destruction of the monuments of the pre-Islamic past. And in Spain, historian al-Andalusi tells us that such rulers as the Umayyad Abd Allah (888–912) and the dictator Muhammad Ibn Abu Amir al-Mansur (c. 938–1002, known to Christians as Almanzor) had precious books of ancient Greek and Latin poetry, lexicography, history, philosophy and law burned for their presumably impious content.

It was the Church, they told me, that had kept alive the Latin and Greek of the classical world in the benighted Middle Ages, until it could be picked up again by the wider world in the Renaissance. On holidays, we would visit museums and libraries where the same point was made. As a young child, I looked at the glowing gold of the illuminated manuscripts and believed in a more metaphorical illumination in ages of intellectual darkness. And, in a way, my parents were right to believe this, for it is true. Monasteries did preserve a lot of classical knowledge. But it is far from the whole truth. In fact, this appealing narrative has almost entirely obscured an earlier, less glorious story. For before it preserved, the Church destroyed. In a spasm of destruction never seen before—and one that appalled many non-Christians watching it—during the fourth and fifth centuries, the Christian Church demolished, vandalized and melted down a simply staggering quantity of art. Classical statues were knocked from their plinths, defaced, defiled and torn limb from limb. Temples were razed to their foundations and mutilated. A temple widely considered to be the most magnificent in the entire empire was leveled. Many of the Parthenon sculptures were attacked, faces were mutilated, hands and limbs were hacked off, and gods were decapitated. Some of the finest statues on the whole building were almost certainly smashed off then ground into rubble that was then used to build churches. Books—which were often stored in temples—suffered terribly. The remains of the greatest library in the ancient world, a library that had once held perhaps 700,000 volumes, were destroyed in this way by Christians. It was over a millennium before any other library would even come close to its holdings. Works by censured philosophers were forbidden and bonfires blazed across the empire as outlawed books went up in flames.

We should not forget that before being inscribed in Western consciousness as the principle of quantification, harmony, and classical non-existence, Greek measurement was an immense social and polymorphous practice of assessment, quantification, establishing equivalences, and the search for appropriate proportions and distributions. We can see how introducing measure is linked to a whole problem of peasant indebtedness, the transfer of agricultural properties, the settlement of debts, equivalence between foodstuff or manufactured objects, urbanization, and the establishment of a State form. The institution of money appears at the heart of this practice of measurement.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!

perhaps it’s philosophy that best explains why savoring responsibility leads to fulfillment. The model of happiness perpetuated by the cultural juggernauts of Hollywood, Madison Avenue, and Disneyesque fairy tales of everyday effervescence, broad-smiled contentedness, and perfect relationships is a historically anomalous, and for most, unachievable state. In contrast, we shall return to eudaimonia, the classical Greek concept of happiness that essentially means the “flourishing” or “rich” life. With their devotion to training, meticulousness, and desire for quiet power and accountability, Invisibles understand the value of a life not necessarily of the moment-to-moment happiness that many mistakenly strive for, but of an overall richness of experience, a life grounded in eudaimonic values.

The classical tradition in philosophy is the last surviving child of two very diverse parents: the Greek belief in reason, and the mediæval belief in the tidiness of the universe. To the schoolmen, who lived amid wars, massacres, and pestilences, nothing appeared so delightful as safety and order. In their idealising dreams, it was safety and order that they sought: the universe of Thomas Aquinas or Dante is as small and neat as a Dutch interior. To us, to whom safety has become monotony, to whom the primeval savageries of nature are so remote as to become a mere pleasing condiment to our ordered routine, the world of dreams is very different from what it was amid the wars of Guelf and Ghibelline. Hence William James's protest against what he calls the “block universe” of the classical tradition; hence Nietzsche's worship of force; hence the verbal bloodthirstiness of many quiet literary men. The barbaric substratum of human nature, unsatisfied in action, finds an outlet in imagination. In philosophy, as elsewhere, this tendency is visible; and it is this, rather than formal argument, that has thrust aside the classical tradition for a philosophy which fancies itself more virile and more vital. B.

Suffice it to say I was compelled to create this group in order to find everyone who is, let's say, borrowing liberally from my INESTIMABLE FOLIO OF CANONICAL MASTERPIECES (sorry, I just do that sometimes), and get you all together. It's the least I could do. I mean, seriously. Those soliloquies in Moby-Dick? Sooo Hamlet and/or Othello, with maybe a little Shylock thrown in. Everyone from Pip in Great Expectations to freakin' Mr. Rochester in Jane Eyre mentions my plays, sometimes completely mangling my words in nineteenth-century middle-American dialect for humorous effect (thank you, Sir Clemens). Many people (cough Virginia Woolf cough) just quote me over and over again without attribution. I hear James Joyce even devoted a chapter of his giant novel to something called the "Hamlet theory," though do you have some sort of newfangled English? It looks like gobbledygook to me. The only people who don't seek me out are like Chaucer and Dante and those ancient Greeks. For whatever reason. And then there are the titles. The Sound and the Fury? Mine. Infinite Jest? Mine. Proust, Nabokov, Steinbeck, and Agatha Christie all have titles that are me-inspired. Brave New World? Not just the title, but half the plot has to do with my work. Even Edgar Allan Poe named a character after my Tempest's Prospero (though, not surprisingly, things didn't turn out well for him!). I'm like the star to every wandering bark, the arrow of every compass, the buzzard to every hawk and gillyflower ... oh, I don't even know what I'm talking about half the time. I just run with it, creating some of the SEMINAL TOURS DE FORCE OF THE ENGLISH LANGUAGE. You're welcome.

Nor were the intellectuals of the 1920s a vanguard of a new outlook, as they themselves supposed, but the exhausted rearguard of Victorian romanticism. They sought refuge from an industrialised and ugly world. Some, like Virginia Woolf, found it in polishing up an exquisite sensibility. Others, like her husband Leonard Woolf and of course Gilbert Murray, found escape in designing an ideal society...It was a sheltered world, this of the intelligentsia of the 1920s, its inhabitants mostly shielded by private means from crude personal reminders of the outside struggle for survival. They circulated at leisure from country house to country cottage...back again to Bloomsbury or one of the ancient universities; convinced that they carried in their luggage the soul of civilisation. The memoirs of the epoch are fragrant with cultured weekends - witty chat on the lawn and brilliant profundity at the dining table. It was a circle of flimsy and precious people, of whom Lady Ottoline Morrell was perhaps the manliest. And so, while not all intellectuals were active pacifists or internationalists, they were generally more concerned with classical French and Greek culture - 'the good life' - than with 'Philistine' matters like industrial and strategic power.

I went on writing reviews for the newspaper, and critical articles crying out for a different approach to culture, as even the most inattentive reader could hardly fail to notice if he scratched the surface a little, critical articles crying out, indeed begging, for a return to the Greek and Latin greats, to the Troubadours, to the dolce stil nuovo and the classics of Spain, France and England, more culture! more culture! read Whitman and Pound and Eliot, read Neruda and Borges and Vallejo, read Victor Hugo, for God’s sake, and Tolstoy, and proudly I cried myself hoarse in the desert, but my vociferations and on occasions my howling could only be heard by those who were able to scratch the surface of my writings with the nails of their index fingers, and they were not many, but enough for me, and life went on and on and on, like a necklace of rice grains, on each grain of which a landscape had been painted, tiny grains and microscopic landscapes, and I knew that everyone was putting that necklace on and wearing it, but no one had the patience or the strength or the courage to take it off and look at it closely and decipher each landscape grain by grain, partly because to do so required the vision of a lynx or an eagle, and partly because the landscapes usually turned out to contain unpleasant surprises like coffins, makeshift cemeteries, ghost towns, the void and the horror, the smallness of being and its ridiculous will, people watching television, people going to football matches, boredom navigating the Chilean imagination like an enormous aircraft carrier. And that’s the truth. We were bored. We intellectuals. Because you can't read all day and all night. You can't write all day and all night. Splendid isolation has never been our style...

Zeus in his sphere of power, Aphrodite in hers, are irresistible. To be a god is to be totally absorbed in the exercise of one's own power, the fulfillment of one's own nature, unchecked by any thought of others except as obstacles to be overcome; it is to be incapable of self questioning or self-criticism. But there are human beings who are like this. Preeminent in their particular sphere of power, they impose their will on others with the confidence, the unquestioning certainty of their own right and worth that is characteristic of gods. Such people the Greeks called "heroes"; they recognized the fact that they transcended the norms of humanity by according them worship at their tombs after death. Heroes might be, usually were, violent, antisocial, destructive, but they offered an assurance that in some chosen vessels humanity is capable of superhuman greatness, that there are some human beings who can deny the imperative which others obey in order to live. The heroes are godlike in their passionate self-esteem. But they are not gods, not immortal. They are subject, like the rest of us, to failure, above all to the irremediable failure of death. And sooner or later, in suffering, in disaster, they come to realize their limits, accept mortality and establish (or reestablish) a human relationship with their fellowmen.

She was theorizing on the Deep State; that enduring Turkish paranoia that the nation really was a conspiracy run by a cabal of generals, judges, industrialists and gangsters. The Taksim Square massacre of three years before, the Kahramanmaraş slaughter of Alevis a few months after, the oil crisis and the enduring economic instability, even the ubiquity of the Grey Wolves nationalist youth movement handing out their patriotic leaflets and defiling Greek Churches: all were links in an accelerating chain of events running through the fingers of the Derin Devlet. To what end? the men asked. Coup, she said, leaning forward, her fingers pursed. It was then that Georgios Ferentinou adored her. The classic profile, the strength of her jaw and fine cheekbones. The way she shook her head when the men disagreed with her, how her bobbed, curling hair swayed. The way she would not argue but set her lips and stared, as if their stupidity was a stubborn offence against nature. Her animation in argument balanced against her marvellous stillness when listening, considering, drawing up a new answer. How she paused, feeling the regard of another, then turned to Georgios and smiled. In the late summer of 1980 Georgios Ferentinou fell in love with Ariana Sinanidis by Meryem Nasi’s swimming pool. Three days later, on September 12th, Chief of General Staff Kenan Evren overthrew the government and banned all political activity.

And this love of definite conception, this clearness of vision, this artistic sense of limit, is the characteristic of all great work and poetry; of the vision of Homer as of the vision of Dante, of Keats and William Morris as of Chaucer and Theocritus. It lies at the base of all noble, realistic and romantic work as opposed to the colourless and empty abstractions of our own eighteenth-century poets and of the classical dramatists of France, or of the vague spiritualities of the German sentimental school: opposed, too, to that spirit of transcendentalism which also was root and flower itself of the great Revolution, underlying the impassioned contemplation of Wordsworth and giving wings and fire to the eagle- like flight of Shelley, and which in the sphere of philosophy, though displaced by the materialism and positiveness of our day, bequeathed two great schools of thought, the school of Newman to Oxford, the school of Emerson to America. Yet is this spirit of transcendentalism alien to the spirit of art. For the artist can accept no sphere of life in exchange for life itself. For him there is no escape from the bondage of the earth: there is not even the desire of escape. He is indeed the only true realist: symbolism, which is the essence of the transcendental spirit, is alien to him. The metaphysical mind of Asia will create for itself the monstrous, many-breasted idol of Ephesus, but to the Greek, pure artist, that work is most instinct with spiritual life which conforms most clearly to the perfect facts of physical life.

When Nature begins to reveal her open secret to a man, he feels an irresistible longing for her worthiest interpreter, Art. For all other Arts we must make some allowance; but to Greek Art alone we are always debtors. The dignity of Art appears perhaps most conspicuously in Music; for in Music there is no material to be deducted. It is wholly form and intrinsic value, and it raises and ennobles all that it expresses. Art rests upon a kind of religious sense: it is deeply and ineradicably in earnest. Thus it is that Art so willingly goes hand in hand with Religion. Art is essentially noble; therefore the artist has nothing to fear from a low or common subject. Nay, by taking it up, he ennobles it; and so it is that we see the greatest artists boldly exercising their sovereign rights. Ignorant people raise questions which were answered by the wise thousands of years ago. In science it is a service of the highest merit to seek out those fragmentary truths attained by the ancients, and to develop them further. The Classical is health, the Romantic disease.

Classical scientific definitions of intelligence use humans as a yardstick by which all other species are measured. According to these anthropocentric definitions, humans are always at the top of the intelligence rankings, followed by animals that look like us (chimpanzees, bonobos, etc.), followed again by other “higher” animals, and onward and downward in a league table—a great chain of intelligence drawn up by the ancient Greeks, which persist one way or another to this day. Because these organisms don’t look like us or outwardly behave like us—or have brains—they have traditionally been allocated a position somewhere at the bottom of the scale. Too often, they are thought of as the inert backdrop to animal life. Yet many are capable of sophisticated behaviors that prompt us to think in new ways about what it means for organisms to “solve problems,” “communicate,” “make decisions,” “learn,” and “remember.” As we do so, some of the vexed hierarchies that underpin modern thought start to soften. As they soften, our ruinous attitudes toward the more-than-human world may start to change.

The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents")

A Spinoza in poetry becomes a Machiavelli in philosophy. Mysticism is the scholastic of the heart, the dialectic of the feelings. So long as our scholastic education takes us back to antiquity and furthers the study of the Greek and Latin languages, we may congratulate ourselves that these studies, so necessary for the higher culture, will never disappear. If we set our gaze on antiquity and earnestly study it, in the desire to form ourselves thereon, we get the feeling as if it were only then that we really became men. The pedagogue, in trying to write and speak Latin, has a higher and grander idea of himself than would be permissible in ordinary life. If one has not read the newspapers for some months and then reads them all together, one sees, as one never saw before, how much time is wasted with this kind of literature. The classical is health; and the romantic, disease. When Nature begins to reveal her open secret to a man, he feels an irresistible longing for her worthiest interpreter, Art. For all other Arts we must make some allowance; but to Greek Art alone we are always debtors. The dignity of Art appears perhaps most conspicuously in Music; for in Music there is no material to be deducted. It is wholly form and intrinsic value, and it raises and ennobles all that it expresses. Art rests upon a kind of religious sense: it is deeply and ineradicably in earnest. Thus it is that Art so willingly goes hand in hand with Religion. Art is essentially noble; therefore the artist has nothing to fear from a low or common subject. Nay, by taking it up, he ennobles it; and so it is that we see the greatest artists boldly exercising their sovereign rights. Ignorant people raise questions which were answered by the wise thousands of years ago. To praise a man is to put oneself on his level. In science it is a service of the highest merit to seek out those fragmentary truths attained by the ancients, and to develop them further.

We are nobler. Loyalty, magnanimity, care for one's reputation: these three united in a single disposition we call noble, and in this quality we excel the Greeks. Let us not abandon it, as we might be tempted to do as a result of feeling that the ancient objects of these virtues have lost in estimation (and rightly), but see to it that this precious inherited drive is applied to new objects. To grasp how, from the viewpoint of our own aristocracy, which is still chivalrous and feudal in nature, the disposition of even the noblest Greeks has to seem of a lower sort and, indeed, hardly decent, one should recall the words with which Odysseus comforted himself in ignominious situations: 'Endure it, my dear heart! you have already endured the lowest things!' And, as a practical application of this mythical model, one should add the story of the Athenian officer who, threatened with a stick by another officer in the presence of the entire general staff, shook this disgrace from himself with the words: 'Hit me! But also hear me!' (This was Themistocles, that dextrous Odysseus of the classical age, who was certainly the man to send down to his 'dear heart' those lines of consolation at so shameful a moment.) The Greeks were far from making as light of life and death on account of an insult as we do under the impress of inherited chivalrous adventurousness and desire for self-sacrifice; or from Seeking out opportunities for risking both in a game of honour, as we do in duels; or from valuing a good name (honour) more highly than the acquisition of a bad name if the latter is compatible with fame and the feeling of power; or from remaining loyal to their class prejudices and articles of faith if these could hinder them from becoming tyrants. For this is the ignoble secret of every good Greek aristocrat: out of the profoundest jealousy he considers each of his peers to stand on an equal footing with him, but is prepared at any moment to leap like a tiger upon his prey, which is rule over them all: what are lies, murder, treachery, selling his native city, to him then! This species of man found justice extraordinarily difficult and regarded it as something nearly incredible; 'the just man' sounded to the Greeks like 'the saint' does among Christians. But when Socrates went so far as to say: 'the virtuous man is the happiest man' they did not believe their ears and fancied they had heard something insane. For when he pictures the happiest man, every man of noble origin included in the picture the perfect ruthlessness and devilry of the tyrant who sacrifices everyone and everything to his arrogance and pleasure. Among people who secretly revelled in fantasies of this kind of happiness, respect for the state could, to be sure, not be implanted deeply enough but I think that people whose lust for power no longer rages as blindly as that of those noble Greeks also no longer require the idolisation of the concept of the state with which that lust was formerly kept in check.