Harmony and Bad Ideas

Plotinus, Ennead 1.6 On beauty

“How can theories be well-measured in respect to one another? If they do in fact agree, there can be agreement and harmony even between bad ideas. The assertion that “prudence is silliness” is in agreement and harmony with the notion that “justice is a noble stupidity”, these ideas agree with one another.

Every kind of virtue is a beauty of the soul and this beauty is truer than those previously mentioned. But how is it well-measured? Not in terms of size or number. Since the soul has many parts, what is the recipe or mixture for minds and their theories? By what notion would the beauty of the mind stand alone?”

Θεωρήματα γὰρ σύμμετρα πρὸς ἄλληλα πῶς ἂν εἴη; Εἰ δ᾿ ὅτι σύμφωνά ἐστι, καὶ κακῶν ἔσται ὁμολογία τε καὶ συμφωνία. Τῷ γὰρ τὴν σωφροσύνην ἠλιθιότητα εἶναι τὸ τὴν δικαιοσύνην γενναίαν εἶναι εὐήθειαν σύμφωνον καὶ συνῳδὸν καὶ ὁμολογεῖ πρὸς ἄλληλα. Κάλλος μὲν οὖν ψυχῆς ἀρετὴ πᾶσα καὶ κάλλος ἀληθινώτερον ἢ τὰ πρόσθεν· ἀλλὰ πῶς σύμμετρα; Οὔτε γὰρ ὡς μεγέθη οὔτε ὡς ἀριθμὸς σύμμετρα· καὶ πλειόνων μερῶν τῆς ψυχῆς ὄντων, ἐν ποίῳ γὰρ λόγῳ ἡ σύνθεσις ἢ ἡ κρᾶσις τῶν μερῶν ἢ τῶν θεωρημάτων; Τὸ δὲ τοῦ νοῦ κάλλος μονουμένου τί ἂν εἴη;

Hell panel from The Garden of Earthly Delights. It is alleged that Bosch’s self-portrait is in the upper centre at right under the “table”.

The Two Thoughts All Mortals Must Have

Bacchylides, 3. 77-92

“Since you are mortal, you need to cultivate
Two concepts: that tomorrow is the only day
You will see the light of the sun
yet also that you will live fifty more years with overwhelming riches.

Bring joy to your heart by doing good deeds,
For this is the highest of profits.
If you know, you know what I am saying.

The heights of heaven are unpolluted
And sea’s water does not rot.
Gold can delight but
It is not permitted for a man
To put down his grey hair and
Return his flourishing youth.

The story of someone’s accomplishments,
Does not wither with the body–
No, the Muse helps it grow.”

‘θνατὸν εὖντα χρὴ διδύμους ἀέξειν
γνώμας, ὅτι τ᾿ αὔριον ὄψεαι
μοῦνον ἁλίου φάος,
χὤτι πεντήκοντ᾿ ἔτεα
ζωὰν βαθύπλουτον τελεῖς.
ὅσια δρῶν εὔφραινε θυμόν· τοῦτο γὰρ
κερδέων ὑπέρτατον.’
φρονέοντι συνετὰ γαρύω· βαθὺς μὲν
αἰθὴρ ἀμίαντος· ὕδωρ δὲ πόντου
οὐ σάπεται· εὐφροσύνα δ᾿ ὁ χρυσός·
ἀνδρὶ δ᾿ ο θέμις, πολιὸν [αρ]έντα
γῆρας, θάλ[εια]ν αὖτις ἀγκομίσσαι
ἥβαν. ἀρετᾶ[ς γε μ]ὲν οὐ μινύθει
βροτῶν ἅμα σ[ώμ]τι φέγγος, ἀλλὰ
Μοῦσά νιν τρ[έφει.]

Detail of Death and Life by Gustav Klimt, Nude mother holds nude child in the middle of two other stylized female figures. Her eyes are closed and cheeks are rosy

Trying To Drink From a Raging River

Lucretius, De Rerum Natura 4.1084-1104

“But Venus lightly breaks the penalties suffered during love
And comforting pleasure is mixed in to temper the bites.
And there is hope in this: it is possible to extinguish the flame
In that same body, the place where the fire arises.

But nature prevents this from happening in every way.
This is the only matter: whatever we have more of,
The more our heart burns for it with dread desire.
For food and drink are absorbed into our bodies
And since they are able to be separated into clear parts,
It is easy to get our fill of bread and water.

But from a person’s appearance and pretty complexion
The body gains nothing except fleeting images
To enjoy: a pitiful hope often snatched away by the wind.

Just as when a thirsty man tries to drink in dreams
and can get no water to satisfy the fire in his limbs,
but he reaches for water’s image and exhausts himself
and stays parched even as he tries to drink a raging river;
In the same way Venus uses mere images to toy with lovers.
They can never satisfy their bodies just by looking,
Nor can they wipe any bit of it away by wearing down
Their tender limbs wandering lost over the whole body.”

Sed leviter poenas frangit Venus inter amorem,
blandaque refrenat morsus admixta voluptas;
namque in eo spes est, unde est ardoris origo,
restingui quoque posse ab eodem corpore flammam.
quod fieri contra totum natura repugnat:
unaque res haec est, cuius quam plurima habemus,
tam magis ardescit dira cuppedine pectus.
nam cibus atque umor membris adsumitur intus;
quae quoniam certas possunt obsidere partis,
hoc facile expletur laticum frugumque cupido.
ex hominis vero facie pulchroque colore
nil datur in corpus praeter simulacra fruendum
tenvia; quae vento spes raptast saepe misella.
ut bibere in somnis sitiens quom quaerit, et umor
non datur, ardorem qui membris stinguere possit,
sed laticum simulacra petit frustraque laborat
in medioque sitit torrenti flumine potans,
sic in amore Venus simulacris ludit amantis,
nec satiare queunt spectando corpora coram,
nec manibus quicquam teneris abradere membris
possunt errantes incerti corpore toto.

Lovers
 Sloane MS 2435, f. 9v.  (from this blog)

Never Met an Adjective He Didn’t Like

Bacchylides, 2

“Rush, holy-giver, Fame,
To sacred Keos and
Take the graceful-named message
That Argeios seized
Victory in the bold-handed battle.

He reminds us of all the noble deeds
We have shown at the
Isthmus’ famous neck
After we left Euksantius,
The sacred island,
With seventy prizes

The native Muse
Calls out the pipes’ sweet echo
As she uses epinicians to praise
Pantheus’ beloved son.”

ἄ[ϊξον, ὦ] σεμνοδότειρα Φήμα,
ἐς Κ[έον ἱ]εράν, χαριτώνυμ[ον]
φέρουσ᾿ ἀγγελίαν,
ὅτι μ[ά]χας θρασύχειρ<ος> Ἀργεῖο[ς

ἄ]ρατο νίκαν,
καλῶν δ᾿ ἀνέμνασεν, ὅσ᾿ ἐν κλ[εν]νῶι
αὐχένι Ἰσθμοῦ ζαθέαν
λιπόντες Εὐξαντίδα νᾶσον
ἐπεδείξαμεν ἑβδομήκοντα
[σὺ]ν στεφάνοισιν.
καλεῖ δὲ Μοῦσ᾿ αὐθιγενής
γλυκεῖαν αὐλῶν καναχάν,
γεραίρουσ᾿ ἐπινικίοις
Πανθείδα φίλον υἱόν.

Painting in the style of a frieze. A musician plays a lyre on the left and two women lean together listening on the right

Albert Joseph Moore, “A Musician”

Certainty, Hope, and Cures for Disease

Hippocrates of Cos, Nature of Man 13

“However many diseases develop quickly and whose causes are well-known turn out to be those whose progression can be foretold most certainly. The patient needs to provide their own cure by taking action against the cause of the disease. This is the way to remove what exposes the body to disease.”

Ὅσα τῶν νοσημάτων ἐξ ὀλίγου γίνεται, καὶ ὅσων αἱ προφάσιες εὔγνωστοι, ταῦτα δὲ ἀσφαλέστατά ἐστι προαγορεύεσθαι· τὴν δὲ ἴησιν χρὴ ποιεῖσθαι αὐτὸν ἐναντιούμενον τῇ προφάσει τῆς νούσου· οὕτω γὰρ ἂν λύοιτο τὸ τὴν νοῦσον παρασχὸν ἐν τῷ σώματι.

 

Cicero, De Senectute 69

“But the young person hopes to live for a long time, a very hope which the old person cannot hold. They hope unwisely for what is more foolish than to take uncertainty for certainty and falsehood for truth. They claim also that the old person has nothing to hope for. But the elderly are in a better place than the young because the young merely hope for what the elderly have obtained and the one wishes to live long, while the other has already done so.”

At sperat adulescens diu se victurum, quod sperare idem senex non potest. Insipienter sperat; quid enim stultius quam incerta pro certis habere, falsa pro veris? At senex ne quod speret quidem habet. At est eo meliore condicione quam adulescens, quoniam id quod ille sperat hic consecutus est: ille volt diu vivere, hic diu vixit.

Edinburgh. St. Cuthbert’s Churchyard. Grave of James Bailie.

The Human Nature of Desire

Bacchylides, 1.159-175

“I claim and I will claim that
The greatest glory is virtue.

Wealth attends worthless people too
And longs to inflate any man’s thoughts.

But someone who does well by the gods
Lightens their heart with nobler hope.
Sure, they may be mortal but
If they have health and can live
On their own possessions,
They rival the most prominent.

Joy comes to any human life
that’s free of diseases and overwhelming poverty.

The desire of the rich for big things
And the poor for smaller things is
The same but there’s nothing sweet
In having access to everything.

Humans are always trying to catch
The things that escape them.”

φαμὶ καὶ φάσω μέγιστον
κῦδος ἔχειν ἀρετάν· πλοῦ-
τος δὲ καὶ δειλοῖσιν ἀνθρώπων ὁμιλεῖ,
ἐθέλει δ᾿ αὔξειν φρένας ἀνδρός·
ὁ δ᾿ εὖ ἔρδων θεούς
ἐλπίδι κυδροτέραι
σαίνει κέαρ. εἰ δ᾿ ὑγιείας
θνατὸς ἐὼν ἔλαχεν.
ζώειν τ᾿ ἀπ᾿ οἰκείων ἔχει,
πρώτοις ἐρίζει· παντί τοι
τέρψις ἀνθρώπων βίωι
ἕπεται νόσφιν γε νόσων
πενίας τ᾿ ἀμαχάνου.
ἶσον ὅ τ᾿ ἀφνεὸς ἱμείρει
μεγάλων ὅ τε μείων
παυροτέρων· τὸ δὲ πάντων
εὐμαρεῖν οὐδὲν γλυκύ
θνατοῖσιν, ἀλλ᾿ αἰεὶ τὰ φεύγοντα
δίζηνται κιχεῖν.

Black and white still photograph of a scene from a movie: a woman holds a child in a hospital bed
Still from the American drama film Wealth (1921) with Ethel Clayton, on page 57 of the September 1921 Photoplay. from Wikimedia Commons

Boasts, Denials, and Unattainable Desire

Pindar, Nemean 11.29-31; 43-47

“But empty-headed boasts toss some mortals
From good ends ,while a heart that is overly cautious
Holds others back by the hand, making them deny their own strength,
And keeping them from their natural wins.”

ἀλλὰ βροτῶν τὸν μὲν κενεόφρονες αὖχαι
ἐξ ἀγαθῶν ἔβαλον· τὸν δ᾿ αὖ καταμεμφθέντ᾿ ἄγαν
ἰσχὺν οἰκείων παρέσφαλεν καλῶν
χειρὸς ἕλκων ὀπίσσω θυμὸς ἄτολμος ἐών.

“Yet anything from Zeus has no clear sign for mortals.
Nevertheless, we still make a start on massive projects
Because we desire many accomplishments.

Our limbs are devoted to shameless hope,
while rivers of forethought flow far away.
We need to hunt for some limit to profits,
Obsession with unattainable desires is too sharp.”

τὸ δ᾿ ἐκ Διὸς ἀνθρώποις σαφὲς οὐχ ἕπεται
τέκμαρ· ἀλλ᾿ ἔμπαν μεγαλανορίαις ἐμβαίνομεν,
ἔργα τε πολλὰ μενοινῶντες· δέδεται γὰρ ἀναιδεῖ
ἐλπίδι γυῖα· προμαθείας δ᾿ ἀπόκεινται ῥοαί.
κερδέων δὲ χρὴ μέτρον θηρευέμεν·
ἀπροσίκτων δ᾿ ἐρώτων ὀξύτεραι μανίαι.

Color photo of a frieze. a Long painting of impressionistic images: mostly figures turned away from the viewer in a few clusters
Edvaed Munch, “Desire” 1907-7. Munch Museum. from Wikimedia Commons

Diomedes, The God

Pindar, Nemean 10.6-7

“And the fair-haired Grey-eyed goddess
Once made Diomedes an immortal god

Διομήδεα δ᾿ ἄμβροτον ξαν-
θά ποτε Γλαυκῶπις ἔθηκε θεόν·

Schol ad Pin. Nem 10.12a-12b

“And the fair-haired Grey-eyed goddess / Once made Diomedes an immortal god”: This is the Argive Diomedes who was immortalized because of his excellence. There is a sacred Island Diomedeia in the Adriatic where he is honored as a god. Ibykos records this.”

Διομήδεα δ’ ἄμβροτον ξανθά ποτε γλαυκῶπις ἔθηκε θεόν: καὶ οὗτος ᾿Αργεῖος, ὃς δι’ ἀρετὴν ἀπηθανατίσθη· καὶ ἔστι περὶ τὸν ᾿Αδρίαν Διομήδεια νῆσος ἱερὰ, ἐν ᾗ
τιμᾶται ὡς θεός. καὶ ῎Ιβυκος οὕτω (fr. 38)· ……..

“After marrying Hermione Diomedes was made a god with the Dioskouroi. For he shares their life. Polemon records this. Among the Argyrippoi he has a sacred place. And in Mentapontion as well he receives honor like a god. Among the Thourians as well, they put up statues of him as if he were a god.”

τὴν ῾Ερμιόνην γήμας ὁ Διομήδης ἀπηθανατίσθη σὺν τοῖς Διοσκούροις· καὶ γὰρ συνδιαιτᾶται αὐτοῖς. καὶ Πολέμων ἱστορεῖ (FHG III 122)· ἐν μὲν γὰρ ᾿Αργυρίπποις ἅγιόν ἐστιν αὐτοῦ ἱερόν· καὶ ἐν Μεταποντίῳ δὲ διὰ πολλῆς αὐτὸν αἴρεσθαι τιμῆς ὡς θεὸν, καὶ ἐν Θουρίοις εἰκόνας αὐτοῦ καθιδρύσθαι ὡς θεοῦ.

“Another explanation: Didn’t Athena also make Diomedes a god? For during the Theban War, Melanaippos, a Theban hero, wounded Tydeus. And Tydeus, enraged over the wound, sought Amphiaros to kill Melanippus and bring him his head. When the head was brought to him and his anger overcame his reason, he took a taste of the Melanippian meat, as Euripides writes in the Meleager: “he will arrive at man-eating pleasures / and tear into Melanippus’ head with blood-crusted jaws”

When Tydeus was wounded, Athena was planning on making him immortal, but she did not grant that gift because he ate human flesh. So, because he was not able to receive immortality, he thought it right for the goddess to transfer the gift to Diomedes. Diomedes is therefore honored as a god among the Thourians and Metapontians and there is no record of his death among the historians.”

ἄλλως. οὐχὶ δὲ καὶ τὸν Διομήδην ἡ ᾿Αθηνᾶ θεὸν ἐποίησε; κατὰ γὰρ τὸν Θηβαϊκὸν πόλεμον Μελάνιππος, ἦν δὲ οὗτος ἥρως Θηβαῖος, ἔτρωσε τὸν Τυδέα· ὁ δὲ πρὸς τὴν πληγὴν θυμήνας καθικέτευσε τὸν ᾿Αμφιάραον ἀνελεῖν τὸν Μελάνιππον καὶ προσαγαγεῖν αὐτοῦ τὴν κεφαλήν. προσαχθείσης δὲ αὐτῷ τῆς κεφαλῆς καὶ τῆς ὀργῆς νικησάσης τὸν δέοντα λογισμὸν, ἀπεγεύσατο τῶν Μελανιππείων κρεῶν, ὡς
καὶ Εὐριπίδης ἐν τῷ Μελεάγρῳ φησίν (fr. 537)·

εἰς ἀνδροβρώτους ἡδονὰς ἀφίξεται
κάρηνα πυρσαῖς γένυσι Μελανίππου σπάσας.

τετρωμένῳ οὖν τῷ Τυδεῖ ἡ ᾿Αθηνᾶ τὴν ἀθανασίαν παρήγαγε, καὶ οὐκ ἀπήλαυσε τῆς δωρεᾶς ἔτι διὰ τὴν τῶν ἀνθρωπείων κρεῶν βρῶσιν· εἶτα ὡς αὐτὸς οὐκ ἠδυνήθη τῆς ἀθανασίας τυχεῖν, ἠξίωσε τὴν θεὸν ἐπὶ τὸν Διομήδην τὸ δῶρον μεταθεῖναι. τιμᾶται γοῦν καὶ παρὰ Θουρίοις καὶ Μεταποντίοις ὡς θεὸς Διομήδης, καὶ οὐκ ἔστι παρὰ τοῖς ἱστορικοῖς εὑρέσθαι αὐτοῦ τὸν θάνατον.

Highly stylized painting with Domedes on the left in front of white horses. He is mostly nude with a crested helmet on. To the right is Aphrodite'Venus, holding her hand out towards him. This is likely a reference to Iliad book 6 where Diomedes wounds Aphrodite in the hand
Jean-Auguste-Dominique Ingres. Vénus blessée par Diomède (1800) Kunstmuseum Basel Suisse

Philosophers, Brush Your Teeth!

Apuleius, Apologia 7

“I have just noticed certain people here barely containing their laughter, probably because that last speaker was viciously attacking oral health and using the word “dentifrice” with as much anger as no one has ever used for “poison”. Why not? A Philosopher must dismiss no crime, allow nothing corrupt associated with himself, suffer no part of his body to ever be messy or smelly, especially his mouth, something people use openly and obviously all the time whether they try to kiss someone, or attempt to have a conversation, address a large group, or offer prayers in a temple.

Speech leads nearly every human deed and, as the foremost poet says, it begins “at the barrier of the teeth”. Consider someone of fairly elevated speech: he would likely say in his own way that someone who cares about speaking must attend to his mouth beyond the rest of his body because it is the entryway of the mind, the door of speech, the assembly-hall of thoughts.

For my part, I can say that nothing is less fitting to a free person who is educated well than a filthy mouth. The mouth is in that elevated part of the human body, easy to see, needed for speech. In animals, whether wild or domesticated, the mouth is lower and pointed toward feet, near food and footprints. An animal’s mouth is rarely seen except when they are dead or annoyed into biting. For a human, there is nothing you see consider more clearly either when silent or speaking.”

Vidi ego dudum vix risum quosdam tenentis, cum munditias oris videlicet orator ille aspere accusaret et dentifricium tanta indignatione pronuntiaret, quanta nemo quisquam venenum. Quidni? Crimen haud contemnendum philosopho, nihil in se sordidum sinere, nihil uspiam corporis apertum immundum pati ac foetulentum, praesertim os, cuius in propatulo et conspicuo usus homini creberrimus, sive ille cuipiam osculum ferat, seu cum quiquam sermocinetur, sive in auditorio dissertet, sive in templo preces alleget. Omnem quippe hominis actum sermo praeit, qui, ut ait poeta praecipuus, dentium muro proficiscitur. Dares nunc aliquem similiter grandiloquum: diceret suo more cum primis cui ulla fandi cura sit impensius cetero corpore os colendum, quod esset animi vestibulum et orationis ianua et cogitationum comitium. Ego certe pro meo captu dixerim nihil minus quam oris illuviem libero et liberali viro competere, est enim ea pars hominis loco celsa, visu prompta, usu facunda. Nam quidem feris et pecudibus os humile est et deorsum ad pedes deiectum, uestigio et pabulo proximum; nunquam ferme nisi mortuis aut ad morsum exasperatis conspicitur: hominis vero nihil prius tacentis, nihil saepius loquentis contemplere.

By Dupons Brüssel – “Das Album”, page 62-63, Public Domain, https://commons.wikimedia.org/w/index.php?curid=334108

Quiet Old Age and Divine Luck

Pindar, Nemean 9.41-47

“On different days I will speak
Of the things done on the dry earth
And its neighboring sea.

Our life grows quiet near old age
From labors done in youth
And with justice.

Let this wondrous luck be seen as a gift from the gods.
If someone gains a good reputation alongside wealth,
There’s no more distant a promontory
Where a mortal can plant their feet.”

τὰ δ᾿ ἄλλαις ἁμέραις
πολλὰ μὲν ἐν κονίᾳ
χέρσῳ, τὰ δὲ γείτονι πόντῳ φάσομαι.
ἐκ πόνων δ᾿, οἳ σὺν νεότατι γένωνται
σύν τε δίκᾳ, τελέθει πρὸς γῆρας αἰὼν ἡμέρα.
ἴστω λαχὼν πρὸς δαιμόνων θαυμαστὸν ὄλβον.
εἰ γὰρ ἅμα κτεάνοις πολλοῖς ἐπίδοξον ἄρηται
κῦδος, οὐκ ἔστι πρόσωθεν θνατὸν ἔτι σκοπιᾶς
ἄλλας ἐφάψασθαι ποδοῖν.

Oil painting with a cliff at either side and whitecapped waves over rocks in the middle
Sunrise, by Fujishima Takeji, Hiroshima Museum of Art, Hiroshima, Hiroshima, Japan