Poets From Greece

"And when you can no longer remember, just meaningless things here and there and you can't. But still try even then, as the twilight sets in, stand and look at the past, walk again along the corridors where your eyes used to wander, attentive ghosts, open the boxes, think of the other side of the wall. Sit at the side of the road and see yourself pass. See the web, see how the passages of the maze all lead again to the same point which does not exactly coincide with the exit."

"This is continuity, you travel, perhaps in your mind, a paper world real, God reeling up and down landscapes and buildings, knocks down, opens new roads, doesn’t like it, changes again, but there isn’t a seam, His world is onefold, and you perceive neither seam nor contradiction, continuity only."

"Say you are invited to dinner, you arrive and the table is set. A succulent piece of steak is served, a little blood oozes out of the tender meat. Has that piece become so alien to its “history” that you would never wonder about its past? If you did, how far back would you go? Certainly as far as the kitchen, that is easy to do, but how about what happened before? The slaughterhouse or, possibly, the gruesome life of the animal? There’s a story behind the little blood that you see, a residue hinting at the end of a life. A trace that has come to reach you, and you might want to follow the thread and think about life as part of a system—the prearranged context surrounding the chair you have sat on and the clean dish in which your dinner was served."

"Since I started with an anecdote, let me continue with one more: There is a Roma friend of mine, Babis, whom I randomly meet around my neighbourhood when I am in Greece. I have him in a passage in Z213: EXIT, so, when I see him around I say that I owe him royalties and invite him for a drink. Last time I saw him he stayed with us in a tavern up to the early hours of the morning, at which point I offered to give him a lift. When, a few minutes later, he got out of the car on a dark nondescript street, he made an on the spot decision about where to go and what to do next. As I now recall his solitary figure in this dark street while driving away, I come to think of Keats’s “burden of the Mystery”. After we get out of the non-thinking room in the huge mansion of life, we reach the splendidly colourful maiden-room of thought which entices us with the discoveries we make there, before we see it darken from the discovery of pain and suffering; and, as we realise that, we see the doors around us opening to dark corridors leading to the unknown. Who dares follow them when nothing is given, abandon planning ahead and open up to whatever may come? We carry with us a backpack of ideas, theories, insecurities and the detailed scenarios we project onto the future. Unlike us, outcasts, fugitives and people in the margins are the ones possessing the negative capability, the power to bear the “burden of the mystery”; immigrants cross seas that might engulf them. Their fear is overcome not only by the hope of a better life but also by their acceptance of those darker alleys, where time and space are created at the moment in which they are experienced. Z213: EXIT is the journey of such a man, whom I don’t know if it is right to call a “character” – in order to call him that, one should know more than what is found in the book and, perhaps, more than I know about him myself. ."

"3:AM: To bring the conversation back down to earth, one thing I know, which is neither paradoxical nor contradictory, is your love of football and your team PAOK. Perhaps such simple pleasures can be considered a gentler form of hope?"

"[...] a course laid between the seed and the snare"

"He tried to address the problem of change by saying that there is not one fundamental arche but four—earth, water, air, and fire—which generate all the material substances in nature by mixing together in various ways under the influence of forces he called Love and Strife."

"Empedocles... changed... [Greek philosophy] from monism to a kind of pluralism. To avoid the difficulty that one primary substance cannot explain the variety of things and events, he assumed four basic elements, earth, water, air and fire.... mixed... and separated by... Love and Strife. Therefore, these latter two... are responsible for the imperishable change. Empedocles describes the formation of the world... First, ...the infinite Sphere of the One, as in the philosophy of Parmenides. But in the primary substance all the four "roots" are mixed... by Love. Then, when Love is passing out and Strife coming in, the elements are partially separated and partially combined. After that the elements are completely separated and Love is outside the World. Finally, Love is bringing the elements together again and Strife is passing out, so... we return to the original Sphere. This doctrine... represents... a more materialistic view... Here for the first time... a few [fundamentally different] substances... explains the infinite variety of things and events. Pluralism never appeals to those who are wont to think in fundamental principles. But it is a reasonable... compromise, which avoids the difficulty of monism and allows... some order."

"The Greeks elaborated several theories of vision. According to the Pythagoreans, Democritus, and others vision is caused by the projection of particles from the object seen, into the pupil of the eye. On the other hand Empedocles, the Platonists, and Euclid held the strange doctrine of ocular beams, according to which the eye itself sends out something which causes sight as soon as it meets something else emanated by the object."

"ἀλλὰ τὸ μὲν πάντων νόμιμον διάτ᾽ εὐρυμέδοντος/αἰθέρος ἠνεκέως τέταται διά τ᾽ ἀπλέτου αὐγῆς"

"νηστεῦσαι κακότητος."

"His teachings formed a series of poems some five thousand verses in length. Only a hundred and fifty verses have survived from... On Nature yet, the relics are more substantial than those from any other Greek philosopher. From them we can extract a theory which... tackles all three problems of Greek science. ...(a) What are the stable principles behind the flux? (b) What process is responsible for the changes in the flux? (c) What agencies control this process? To these questions Empedokles replied... (a) The enduring principles in the natural world are the four basic types of matter—solid, liquid, fiery and aeriform. ...they are conserved in all material transformations. (b) Change comes about through the mingling and separation of these... which unite in different proportions to produce... familiar objects... (c) The agents responsible... are the two universal powers acting in opposition, which he called allegorically, Love and Strife. ...[T]his [as an explicit theory] was the first appearance in our scientific tradition of an important intellectual model. ...[A]ll material things are organized mixtures of different elementary substances ...And, as developed by his contemporary Anaxagoras, and later by the atomists, this type of matter-theory has been in circulation ever since."

"Alcmaeon was, says [J.] Wachtler, the first who attempted to explain the phenomenon of sound and our perception of it by reference to the structure of the ear itself. Empedocles to some extent follows or agrees with him. ...Empedocles teaches that hearing is caused by the impact of the air-wave against the cartilage which is suspended within the ear, oscillating as it is struck, like a gong."

"ὄλβιος, ὅς θείων πραπίδων ἐκτήσατο πλοῦτον,/δειλὸς δ’, ὧι σκοτόεσσα θεῶν πέρι δόξα μέμηλεν."

"ἔστιν ἀνάγκης χρῆμα, θεῶν ψήφισμα παλαιόν, εὖτέ τις ἀμπλακίῃσι φόνῳ φίλα γυῖα μιήνῃ, δαίμονες οἵ τε μακραίωνος λελάχασι βίοιο, τρίς μιν μυρίας ὥρας ἀπὸ μακάρων ἀλάλησθαι, τὴν καὶ ἐγὼ νῦν εἶμι, φυγὰς θεόθεν καὶ ἀλήτης"

"μία γίγνεται ἀμφοτέρων ὄψ."

"αἰθήρ [δ’ αὖ] μακρῆισι κατὰ χθόνα δύετο ῥίζαις."

"γῆς ἱδρῶτα θάλασσαν."

"πάντα γὰρ ἑξείης πελεμίζετο γυῖα θεοῖο."

"ἤδη γάρ ποτ’ ἐγὼ γενόμην κοῦρός τε κόρη τε/θάμνος τ’ οἰωνός τε καὶ ἔξαλος ἔλλοπος ἰχθύς."

"ἧι γὰρ καὶ πάρος ἔσκε, καὶ ἔσσεται, οὐδέ ποτ’, οἴω,/τούτων ἀμφοτέρων κενεώσεται ἄσπετος αἰών."

"νήπιοι· οὐ γάρ σφιν δολιχόφρονές εἰσι μέριμναι, οἵ δὴ γίγνεσθαι πάρος οὐκ ἐὸν ἐλπίζουσιν ἤ τι καταθνήισκειν τε καὶ ἐξόλλυσθαι ἁπάντηι."

"οὐδέ τι τοῦ παντὸς κενεὸν πέλει οὐδὲ περισσόν."

"ἀλλ’ ἄγε μύθων κλῦθι· μάθη γάρ τοι φρένας αὔξει· ὡς γὰρ καὶ πρὶν ἔειπα πιφαύσκων πείρατα μύθων, δίπλ’ ἐρέω· τοτὲ μὲν γὰρ ἕν ηὐξήθη μόνον ῏ειναι ἐκ πλεόνων, τοτὲ δ’ αὖ διέφυ πλέον’ ἐξ ἑνὸς εἶναι, πῦρ καὶ ὕδωρ καὶ γαῖα καὶ ἠέρος ἄπλετον ὕψος, Νεῖκος τ’ οὐλόμενον δίχα τῶν, ἀτάλαντον ἁπάντηι. καὶ Φιλότης ἐν τοῖσιν, ἴση μῆκός τε πλάτος τε· τὴν σὺ νόωι δέρκευ, μηδ’ ὄμμασιν ἧσο τεθηπώς· ἥτις καὶ θνητοῖσι νομίζεται ἔμφυτος ἄρθροις, τῆι τε φίλα φρονέουσι καὶ ἄρθμια ἔργα τελοῦσι, Γηθοσύνην καλέοντες ἐπώνυμον ἠδ’ Ἀφροδίτην·"

"ἄλλο δέ τοι ἐρέω· φύσις οὐδενός ἐστιν ἁπάντων θνητῶν, οὐδέ τις οὐλομένου θανάτοιο τελευτή, ἀλλὰ μόνον μίξις τε διάλλαξίς τε μιγέντων ἐστί, φύσις δ’ἐπὶ τοῖς ὀνομάζεται ἀνθρώποισιν."

"But, when the elements have been mingled in the fashion of a man and come to the light of day, or in the fashion of the race of wild beasts or plants or birds, then men say that these come into being; and when they are separated, they call that woeful death. They call it not aright; but I too follow the custom, and call it so myself."

"…καὶ δὶς γάρ, ὅ δεῖ, καλόν ἐστιν ἐνισπεῖν."

"ἐξ οἵης τιμῆς τε καὶ ὅσσου μήκεος ὄλβου/ὧδε [πεσὼν κατὰ γαῖαν] ἀναστρέφομαι μετὰ θνητοῖς."

"τέσσαρα γὰρ πάντων ῥιζώματα πρῶτον ἄκουε· Ζεὺς ἀργὴς Ἥρη τε φερέσβιος ἠδ’ Ἀιδωνεύς Νῆστίς θ’, ἥ δακρύοις τέγγει κρούνωμα βρότειον."

"O Charidas, what of the under world? Great darkness. And what of the resurrection? A lie. And Pluto? A fable; we perish utterly."

"Set a thief to catch a thief."

"Here sleeps Saon, of Acanthus, son of Dicon, a holy sleep: say not that the good die."

"The Graces, three erewhile, are three no more; A fourth is come with perfume sprinkled o'er. 'Tis Berenice blest and fair; were she Away the Graces would no Graces be."

"Εἰπέ τις, Ἡράκλειτε, τεὸν μόρον ἐς δέ με δάκρυ ἤγαγεν ἐμνήσθην δ᾿ ὁσσάκις ἀμφότεροι ἠέλιον λέσχῃ κατεδύσαμεν. ..."

"Two goddesses now must Cyprus adore; The Muses are ten, the Graces are four; Stella's wit is so charming, so sweet her fair face; She shines a new Venus, a Muse, and a Grace."

"[...] ὅσσα τ' ὀδόντωνἔνδοθι νείαιράν τ' εἰς ἀχάριστον ἔδυ, καὶ τῶν οὐδὲν ἔμεινεν ἐς αὔριον· ὅσσα δ' ἀκουαῖς εἰσεθέμην, ἔτι μοι μοῦνα πάρεστι τάδε."

"A big book is a big misfortune."

"Nothing unattested do I sing."

"His blend of sensitivity and detachment, elegance, wit, and learning, had a profound influence on later Roman poets, especially Catullus, Ovid, and Propertius (the last thought of himself as the Roman Callimachus), and through them on the whole European literary tradition."

"Ὅμηρον ἐξ Ὁμήρου σαφηνίζειν"

"The most outstanding intellect of this generation, the greatest poet that the Hellenistic age produced, and historically one of the most important figures in the development of Graeco-Roman (and hence European) literature."

"Nexuque pio longinqua revinxit."

"Natura beatis, omnibus esse dedit, si quis cognoverit uti."

"Omnia mors aequat."

"Paupertas me saeva domat dirusque Cupido: sed toleranda fames, non tolerandus amor."

"Peragit tranquilla potestas quod violenta nequit; mandataque fortius urget imperiosa quies."

"Minuit praesentia famam."

"Dis proximus ille est, quem ratio non ira movet."

"Vile latens virtus."

"Qui terret plus ipse timet."