People From Alexandria

"We want to fight ferociously against the fanatical, unconscious and snobbish religion of the past, which is nourished by the evil influence of museums. We rebel against the supine admiration of old canvases, old statues and old objects, and against the enthusiasm for all that is worm-eaten, dirty and corroded by time; we believe that the common contempt for everything young, new and palpitating with life is unjust and criminal."

"It is therefore necessary to prepare the imminent and inevitable identification of man with the motor, facilitating and perfecting an incessant exchange of intuition, rhythm, instinct and metallic discipline, quite utterly unknown to the majority of humanity and only divined by the most lucid mind."

"All this will have left you disposed to understand one of our principal Futurist efforts, which consists of abolishing in literature the apparently indissoluble fusion of the two concepts of Woman and Beauty. This ideological a fusion has reduced all romance to a sort of heroic assault that a bellicose and lyrical male launches against a tower that bristles with enemies, a story which ends when the hero, now beneath starlight, carries the divine Beauty-Woman away to new heights. Novels such as Toilers of the Sea by Victor Hugo or Salammbô by Flaubert can clarify my point. It is a matter of a dominant leitmotif, already worn out,c of which we would like to disencumber literature and art in general."

"And now I am obliged to tell you what it is that clearly distinguishes Futurism from anarchism."

"When will you disembarrass yourselves of the lymphatic ideology of that deplorable Ruskin, which I would like to cover with so much ridicule that you would never forget it? With his morbid dream of primitive and rustic life, with his nostalgia for Homeric cheeses and legendary wool-spinners, with his hatred for the machine, steam power, and electricity, that maniac of antique simplicity is like a man who, after having reached full physical maturity, still wants to sleep in his cradle and feed himself at the breast of his decrepit old nurse in order to recover his thoughtless infancy."

"The compliments you are about to pay could only sadden me, because what you love in our dear peninsula is exactly the object of our hatreds. Indeed, you crisscross Italy only to meticulously sniff out the traces of our oppressive past, and you are happy, insanely happy, if you have the good fortune to carry home some miserable stone on which our ancestors have trodden."

"We love the indomitable bellicose patriotism that sets you apart; we love the national pride that guides your muscularly courageous race; we love the potent individualism that doesn't prevent you from opening your arms to individualists of every land, whether libertarians or anarchists."

"Mondrian is the greatest Futurist painter of the North."

"Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands."

"There can be no doubt that Marinetti feared that Futurism was going to be increasingly marginalized in Fascist Italy. He had to think about his own and his movement's survival under a fascist regime and to rescue what he could of an artistic movement which he had built up and promoted for more than a decade. [Marinetti resigned from Mussolini's Fascist Party in 1920]"

"Art deals with profound and simple moods.. ..Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.. ..he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it."

"Idealists, workers of thought, unite to show how inspiration and genius walk in step with the progress of the machine, of aircraft, of industry, of trade, of the sciences, of electricity."

"Madness blew so violently on the immeasurable air pump of the circuit, that it took the form of a spiral, rising like a screw to the Zenith.. [describing the Brescia automobile races, in 1907]"

"O my brother Futurists! All of you, look at yourselves!.. ..In the name of that Human Pride we so adore, I proclaim that the hour is nigh when men with broad temples and steel chins will give birth magnificently, with a single trust of their bulging will, to giants with flawless gestures."

"..there is no longer any beauty except the struggle. Any work of art that lacks a sense of aggression can never be a masterpiece."

"While an artist is labouring at his work of art, nothing prevents it from surpassing Dream. As soon as it is finished, the work must be hidden or destroyed, or better still, thrown as a prey to the brutal crowd which will magnify it by killing it with its scorn, and thereby intensify its absurd uselessness. We thus condemn art as finished work, we conceive of it only in its movement, in the state of effort and draft. Art is simply a possibility for absolute conquest. For the artist, to complete is to die."

"We affirm that the world's magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath – a roaring car that seems to run on grapeshot is more beautiful than The Victory of Samoth-race (1910)."

"..a member of anarchist and revolutionary circles, attracted in turn by violent action and by dream, before resolving to dedicate him to painting. [describing Boccioni ]"

"We had stayed up all night — my friends and I — beneath mosque lamps hanging from the ceiling. Their brass domes were filigreed, starred like our souls; just as, again like our souls, they were illuminated by the imprisoned brilliance of an electric heart. On the opulent oriental rugs, we had crushed our ancestral lethargy, arguing all the way to the final frontiers of logic and blackening reams of paper with delirious writings."

"THE MANIFESTO OF FUTURISM"

"11. We shall sing the great masses shaken with work, pleasure, or rebellion: we shall sing the multicolored and polyphonic tidal waves of revolution in the modern metropolis; shall sing the vibrating nocturnal fervor of factories and shipyards burning under violent electrical moons; bloated railroad stations that devour smoking serpents; factories hanging from the sky by the twisting threads of spiraling smoke; bridges like gigantic gymnasts who span rivers, flashing at the sun with the gleam of a knife; adventurous steamships that scent the horizon, locomotives with their swollen chest, pawing the tracks like massive steel horses bridled with pipes, and the oscillating flight of airplanes, whose propeller flaps at the wind like a flag and seems to applaud like a delirious crowd."

"It is from Italy that we are flinging this to the world, our manifesto of burning and overwhelming violence, with which we today establish 'Futurism',for we intend to free this nation from its fetid cancer of professors, archaeologists, tour guides, and antiquarians."

"Hail! great incendiary poets, you Futurist friends!.. Hail! Paolo Buzzi, Federico de Maria, Enrico Cavacchioli, Corrado Govoni, Libero Altomare! Let's flee the city of Paralysis, devastate Gout, and lay the great military Railroad along the flanks of Gorisankar, summit of the world!"

"A cry went up in the airy solitude of the high plains: 'Let's Murder the moonlight!' Some ran to nearby cascades; gigantic wheels were raised, and turbines transformed the rushing waters into magnetic pulses that rushed up wires, up high poles, up to shining, humming globes."

"In order to win over Paris and appear, in the eyes of all Europe, an absolute innovator, the most advanced of all, I urge you to get to work with all your heart, resolute on being bolder, crazier, more advanced, surprising, eccentric, incomprehensible, and grotesque than anybody else in music. I urge you to be a madman."

"Let the divine reign of Electric Light finally commence, liberating Venice from its venal moonlight of furnished rooms"

"The past is necessarily inferior to the future. That is how we wish it to be. How could we acknowledge any merit in our most dangerous enemy: the past, gloomy prevaricator, execrable tutor?"

"Try to live the war pictorially studying it in all its mechanical forms (military trains, fortifications, wounded men, ambulances, hospitals, parades, etc)."

"On 11 October 1908, having worked for six years at my international magazine Poesia, in an attempt to free the Italian lyrical genius that was under sentence of death from its traditional and commercial fetters, I suddenly felt that articles, poetry and controversies were no longer enough. It was absolutely crucial to switch methods, get out into the streets, lay siege to theaters, and introduce the fisticuffs into the artistic struggle.. .My Italian blood raced faster when my lips coined out loud the word FUTURISM. It was the new formula of Action-Art and a code of mental health. It was a youthful and innovative banner, anti-traditional, optimistic, heroic and dynamic, that had to be hoisted over the ruins of all attachment to the past."

"The majority, who through the blindness of their reason do not discern the damages which the soul has sustained, only feel the pain of external injuries, because the faculty of judgment, which alone can enable them to apprehend the damage to the mind, is taken from them."

"So all pervasive indeed was this moral philosophy of the Stoics that it was read by the Jews of Alexandria into Moses under the veil of allegory and was declared to be the inner meaning of the Hebrew Scriptures."

"Many of the Christian writers grew up in communities where the teaching of the Stoics was all-pervasive in cultured circles. Through this philosophy they became familiar with the concept that "reason pervades all things like a fiery essence, and that the soul of man is a spark from this universal reason." Philo, chief exponent of the Alexandrian school of Judaism, who lived during the period 30 B.C.-50 A.D., was another channel through which Greek ideas flowed into the early [Christian] church. Philo attempted to combine Hebrew religion and Greek philosophy. He gave great impetus to the tendency to allegorize the Old Testament and to derive from it highly speculative ideas which became universal among Christian theologians. Philo's interpretation of the Greek term "Logos" profoundly affected Christian thought."

"Philo of Alexandria introduced in the first century what has been described as the 'Hellenizing of the Old Testament,' or the allegorical method of exegesis. By this, as Erdmann observes, the Bible narrative was found to contain a deeper, and particularly an allegorical interpretation, in addition to its literal interpretation; this was not conscious disingenuousness but a natural mode of amalgamating the Greek philosophic with the Hebraic doctrines."

"There was now a tumult arisen at Alexandria, between the Jewish inhabitants and the Greeks; and three ambassadors were chosen out of each party that were at variance, who came to Gaius. Now one of these ambassadors from the people of Alexandria was Apion, (29) who uttered many blasphemies against the Jews; and, among other things that he said, he charged them with neglecting the honors that belonged to Caesar; for that while all who were subject to the Roman empire built altars and temples to Gaius, and in other regards universally received him as they received the gods, these Jews alone thought it a dishonorable thing for them to erect statues in honor of him, as well as to swear by his name. Many of these severe things were said by Apion, by which he hoped to provoke Gaius to anger at the Jews, as he was likely to be. But Philo, the principal of the Jewish embassage, a man eminent on all accounts, brother to Alexander the alabarch, (30) and one not unskillful in philosophy, was ready to betake himself to make his defense against those accusations; but Gaius prohibited him, and bid him begone; he was also in such a rage, that it openly appeared he was about to do them some very great mischief. So Philo being thus affronted, went out, and said to those Jews who were about him, that they should be of good courage, since Gaius's words indeed showed anger at them, but in reality had already set God against himself."

"Philo was enough heir to the Stoic and Platonic tradition to accord to the concept and name of araté an important place in his thought. ...The very meaning of araté is withdrawn from the positive faculties... and placed in the knowledge of nothingness. Confidence in one's own moral powers, the whole enterprise of self-perfection... and the self-attribution of the achievement—integral aspects of the Greek conception of virtue—this... is here condemned as the vice of self-love and conceit. ..."[Q]ueen of the virtues," the most perfect... is faith, which combines the turning to God with the recognition and contempt of one's own nothingness. ..."[T]he vice most odious to God" is vainglory, self-love, arrogance, presumption—in brief, the pride of considering oneself as one's own lord and ruler and of relying on one's own powers. This [is a] complete disintegration of the Greek ideal of virtue... While to the Hellenes from Plato to Plotinus man's way to God led through moral self-perfection, for Philo it leads through self-despair in the realization of one's nothingness. ..."For then is the time for the creature to encounter the Creator, when it has recognized its own nothingness"... To know God and to disown oneself is a standing correlation in Philo. "...fly from oneself and flee to God." ..."he who flees from his own flees to that of the All" ..."escape even thyself, and pass out of thyself, raving and God-possessed like the Dionysian Corybantes""

"It is evident that Philo's Therapeutes are a branch of the Essenes. Their name indicates it — Essaioc, Asaya, physician. Hence, the contradictions, forgeries, and other desperate expedients to reconcile the prophecies of the Jewish canon with the Galilean nativity and god-ship... Both Jesus and St. John the Baptist preached the end of the Age; which proves their knowledge of the secret computation of the priests and kabalists, who with the chiefs of the Essene communities alone had the secret of the duration of the cycles. The latter were kabalists and theurgists... they had their mystic books, and predicted future events..."

"Be kind, for everyone you meet is fighting a great battle."

"Diogenes the cynic, seeing one of the so-called freedmen pluming himself, while many heartily congratulated him, marveled at the absence of reason and discernment. “A man might as well,” he said, “proclaim that one of his servants became a grammarian, a geometrician, or musician, when he has no idea whatever of the art.” For as the proclamation cannot make them men of knowledge, so neither can it make them free."

"As parents in private life teach wisdom to their children, so do [poets] in public life to their cities."

"This too is a truth well known to everyone who has taken even a slight hold of culture, that freedom is an honorable thing, and slavery a disgraceful thing, and that honorable things are associated with good men and disgraceful things with bad men. Hence, it clearly follows that no person of true worth is a slave, though threatened by a host of claimants who produce contracts to prove their ownership."

"Noble souls, whose brightness the greed of fortune cannot dim, have a kingly something, which urges them to contend on equal footing with persons of the most massive dignity and pits freedom of speech against arrogance."

"A far greater glory is it to the wise to die for freedom, the love of which stands in very truth implanted in the soul like nothing else, not as a casual adjunct but an essential part of its unity, and cannot be amputated without the whole system being destroyed as a result."

"And yet these things for which we should strive eagerly, things so closely akin to ourselves, so truly our own, we treat with great slackness and constant indifference and thus destroy the germs of excellence, while those things in which deficiency were a merit we desire with an insatiable yearning."

"What need is there of long journeying on the land or voyaging on the seas to seek and search for virtue, whose roots have been set by their Maker ever so near us, as the wise legislator of the Jews also says, “in thy mouth, in thy heart and in thy hand,” thereby indicating in a figure, words, thoughts and actions? All these, indeed, need the cultivator’s skill. Those who prefer idleness to labor, not only prevent the growths but also wither and destroy the roots. But those who consider inaction mischievous and are willing to labor, do as the husbandman does with fine young shoots. By constant care they rear the virtues into stems rising up to heaven, saplings ever blooming and immortal, bearing and never ceasing to bear the fruits of happiness, or as some hold, not so much bearing as being in themselves that happiness. These Moses often calls by the compound name of wholefruits. In the case of growths which spring from the earth, neither are the trees the fruit nor the fruit the trees, but in the soul’s plantation the saplings of wisdom, of justice, of temperance, have their whole being transformed completely into fruits."

"Nor is it a matter for wonder that the good do not appear herded in great thongs. First because specimens of great goodness are rare, secondly, because they avoid the great crowd of the more thoughtless and keep themselves at leisure for the contemplation of what nature has to show."

"God and no mortal is my Sovereign."

"Bodies have men as their masters, souls their vices and passions."

"Wisdom … never closes her school of thought but always opens her doors to those who thirst for the sweet water of discourse, and pouring on them an unstinted stream of undiluted doctrine, persuades them to be drunken with the drunkenness which is soberness itself."

"They in their desire for health commit themselves to physicians, but these people show no willingness to cast off the soul-sickness of their untrained grossness by resorting to wise men...."

"τὸν μὲν οὖν τῶν Πυθαγορείων ἱερώτατον θίασον λόγος ἔχει μετὰ πολλῶν καὶ ἄλλων καλῶν καὶ τοῦτ᾿ ἀναδιδάσκειν, “ταῖς λεωφόροις μὴ βαδίζειν ὁδοῖς,” οὐχ ἵνα κρημνοβατῶμεν—οὐ γὰρ ποσὶ κάματον παρήγγελλεν—, ἀλλ᾿ αἰνιττόμενος διὰ συμβόλου τὸ μήτε λόγοις μήτ᾿ ἔργοις δημώδεσι καὶ πεπατημένοις χρῆσθαι."