The Last Infirmity

Here are two lyric expressions (Sappho and Callimachus) of the Greek idea that poetry in some fashion bestows immortality, or at least compensates for the ineluctable fact of mortality.

(Milton, for all his attachment to Greek things, dismissed the desire for poetic fame as “that last infirmity of noble mind.”)

Sappho Fr. 55.

Once you die, there you will lie, forgotten.
There will be no lasting longing for you.
The Pierian roses were not your thing;
So, as a no-body in Hades’ demesne
You will move among the obscure dead–
Once, as I say, you have flown away.

κατθάνοισα δὲ κείσῃ οὐδέ ποτα μναμοσύνα σέθεν
ἔσσετ’ οὐδὲ πόθα εἰς ὔστερον· οὐ γὰρ πεδέχῃς βρόδων
τὼν ἐκ Πιερίας, ἀλλ’ ἀφάνης κἀν Ἀίδα δόμῳ
φοιτάσῃς πεδ’ ἀμαύρων νεκύων ἐκπεποταμένα.

Callimachus 2. (Gow-Page 34)

Heraclitus, someone spoke of your death.
It made me cry to recall all the times
Our tête-à-têtes brought on sunset.
O my Halicarnassian friend,
You have been ashes a long long while,
But your nightingales still live!
Hades (Universal Thief) will not touch them.

εἶπέ τις, Ἡράκλειτε, τεὸν μόρον, ἐς δέ με δάκρυ
ἤγαγεν, ἐμνήσθην δ᾽ ὁσσάκις ἀμφότεροι
ἥλιον ἐν λέσχῃ κατεδύσαμεν: ἀλλὰ σὺ μέν που,
ξεῖν᾽ Ἁλικαρνησεῦ, τετράπαλαι σποδιή:
αἱ δὲ τεαὶ ζώουσιν ἀηδόνες, ᾗσιν ὁ πάντων
ἁρπακτὴς Ἀίδης οὐκ ἐπὶ χεῖρα βαλεῖ.

“Remember my name!
Fame!
I’m going to live forever!
I’m going to learn how to fly!”

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

Aristotle Knew Everything

Petrarch, Epistulae Familiares 4.15:

“It is difficult to say how much re-reading your letter two or three times soothed my ears, which were so worn down by the noise of the rabble. Even if this letter seemed verbose to you (as I learned from its ending), I find nothing to accuse you of but terseness. And so, I looked on the final threat, in which you claimed that you would write more briefly in the future, with unwilling eyes. I would have you be more prolix. As you will – you’re the father. It is right for me to accommodate my ways to you, and not the other way around. But will the whole business not be in your hands? Or do you not know that quite often the actual event differs from the plan? Perhaps you will hear what forces even one who is eager for silence to talk. You want me to fulfill the threats which I seem to be making now?

I stand as a witness, in the first place, that I have the same opinion of you which Macrobius had of Aristotle (whether it be love or the truth which gave rise to it). That is, I hardly think that you could not know something. If something has slipped your lips which seems to be contrary to the truth, I suspect that you either have not thought it out far enough, or just as Macrobius says of Aristotle, I suspect that you are playing around.”

Dictu difficile est quantum aures meas, vulgari fessas strepitu, epystola tua bis terque relecta permulserit; que quanquam tibi verbosa videretur, ut ex fine cognovi, ego tamen in ea nil preter breviloquium accusavi. Itaque comminationem illam ultimam, quod deinceps compendiosior sis futurus, invitus aspexi; mallem prolixior. Ut libet tamen; tu pater; non te michi, sed me tibi morem gerere dignum est. Sed ita ne totum in tua manu positum erit? an ignoras quod sepe consilio dissimilis est eventus? Audies forte quod vel silentii avidum loqui cogat. Vis quod minitari videor, iam nunc rebus impleam?

Testor in primis eandem me de te opinionem gerere, quam de Aristotile Macrobius, seu illam amor, seu veritas genuerit: vix te aliquid “ignorare posse” arbitror; siquid autem vero adversum tibi excidit, aut minus providisse aut, quod de eodem ait idem, lusisse te suspicor.

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No Relief From Anxiety

Cicero, Letters 4.6 M. CICERO S.D. SER. SULPICIO

“The single solace I still had has been stolen from me. My thoughts were occupied with neither the business of my friends nor the the country’s bureaucracy. Nothing was drawing me to the courts; I couldn’t even look at the Senate.

I was imagining–the truth–that I had lost every benefit of my luck and hard work. Yet when I realized that I had this in common with you and some others, I settled myself down and resolved to endure it well. Even while I did this, I had a palace where I could retreat and rest, where I could escape all my worries and defeats in conversation and kindness.

But now those injuries I thought were healed are torturing me again thanks to this heavy hit. When I retreated from public life in the past, I found safety and comfort in my home. But I cannot flee from pain at home in public service, as if it offers any relief at all. So I make myself scarce from home and the Forum the same. Neither public nor private life can offer any relief to the pain and anxiety that plague me.”

unum manebat illud solacium quod ereptum est. non amicorum negotiis, non rei publicae procuratione impediebantur cogitationes meae, nihil in foro agere libebat, aspicere curiam non poteram, existimabam, id quod erat, omnis me et industriae meae fructus et fortunae perdidisse. sed cum cogitarem haec mihi tecum et cum quibusdam esse communia et cum frangerem iam ipse me cogeremque illa ferre toleranter, habebam quo confugerem, ubi conquiescerem, cuius in sermone et suavitate omnis curas doloresque deponerem.

Nunc autem hoc tam gravi vulnere etiam illa quae consanuisse videbantur recrudescunt. non enim, ut tum me a re publica maestum domus excipiebat quae levaret, sic nunc domo maerens ad rem publicam confugere possum ut in eius bonis acquiescam. itaque et domo absum et foro, quod nec eum dolorem quem e re publica capio domus iam consolari potest nec domesticum res publica.

Edvard Munch, “Anxiety”

Lost Treasures Department: Mother with Baby Centaurs

Lucian, Zeuxis or Antiochus 4

“I want now to explain about this painter too. That Zeuxis was the best painter at the time and didn’t illustrate common and cliched things or did make heroes, gods, and wars as little as possible. Instead he was always trying to make something new and whenever he conceived of something different or odd, he demonstrated the brilliance of his skill in its execution. Among his many audacious images, that Zeuxis painted a female Hippocentaur and depicted her feeding twin Hippocentaur babies.

There’s a copy of that image precisely modeled on the original in Athens. The first copy, however, the general Sulla selected to send to Italy with other things, but I guess that the ship carrying it sank outside of Malea, destroying the painting and everything else.”

Ἐθέλω γοῦν ὑμῖν καὶ τὸ τοῦ γραφέως διηγήσασθαι. ὁ Ζεῦξις ἐκεῖνος ἄριστος γραφέων γενόμενος τὰ δημώδη καὶ τὰ κοινὰ ταῦτα οὐκ ἔγραφεν, ἢ ὅσα πάνυ ὀλίγα, ἥρωας ἢ θεοὺς ἢ πολέμους, ἀεὶ δὲ καινοποιεῖν ἐπειρᾶτο καί τι ἀλλόκοτον ἂν καὶ ξένον ἐπινοήσας ἐπ᾿ ἐκείνῳ τὴν ἀκρίβειαν τῆς τέχνης ἐπεδείκνυτο. ἐν δὲ τοῖς ἄλλοις τολμήμασι καὶ θήλειαν Ἱπποκένταυρον ὁ Ζεῦξις οὗτος ἐποίησεν, ἀνατρέφουσάν γε προσέτι παιδίω Ἱπποκενταύρω διδύμω κομιδῇ νηπίω. τῆς εἰκόνος ταύτης ἀντίγραφός ἐστι νῦν Ἀθήνησι πρὸς αὐτὴν ἐκείνην ἀκριβεῖ τῇ στάθμῃ μετενηνεγμένη. τὸ ἀρχέτυπον δὲ αὐτὸ Σύλλας ὁ Ῥωμαίων στρατηγὸς ἐλέγετο μετὰ τῶν ἄλλων εἰς Ἰταλίαν πεπομφέναι, εἶτα περὶ Μαλέαν οἶμαι καταδύσης τῆς ὁλκάδος ἀπολέσθαι ἅπαντα καὶ τὴν γραφήν.

A bare-chested centaur woman (long blond hair, motley brown hair on horse body) breastfeeding a centaur toddler (same coloring except for short hair) she holds to her human chest while a centaur man (short black hair and beard, grey hair on horse body) is sneaking under her and looking intently up at the two breasts on her horse hindquarters

The Things I would Be For You To Walk All Over Me

Anacreonta 22

“Once upon a time
Tantalos’ daughter stood,
A stone on Phrygian river banks;
And Pandion’s daughter flew,
A bird, a swallow.

I wish I could become a mirror
So you would always look at me–
I wish I could become a robe
So you would always carry me–
I wish I could become water,
So I could wash over your skin;
I wish I could be perfume
So I could decorate you, my love.

To be support for your breasts
Or pearls for your neck or
Even a sandal I would be,
just for you to touch me with your feet.”

ἡ Ταντάλου ποτ᾿ ἔστη
λίθος Φρυγῶν ἐν ὄχθαις,
καὶ παῖς ποτ᾿ ὄρνις ἔπτη
Πανδίονος χελιδών.

ἐγὼ δ᾿ ἔσοπτρον εἴην,
ὅπως ἀεὶ βλέπῃς με·
ἐγὼ χιτὼν γενοίμην,
ὅπως ἀεὶ φορῇς με.
ὕδωρ θέλω γενέσθαι,
ὅπως σε χρῶτα λούσω·
μύρον, γύναι, γενοίμην,
ὅπως ἐγώ σ᾿ ἀλείψω.

καὶ ταινίη δὲ μασθῷ
καὶ μάργαρον τραχήλῳ
καὶ σανδαλον γενοίμην·
μόνον ποσὶν πάτει με.

Aphrodite and Eros. Inner decoration of a Greek folding mirror.
Gilt bronze, from Tarquinia, c. 350 BCE. The Louvre, Paris.

Think You’re Done with that Pee? Wait, There’s More!

Marcus Cato, On Agriculture 157.10-11

“Wait, there’s more: save the urine of someone who eats cabbage all the time, warm it, bathe your patient in it, you will heal them! This has been tested. As a bonus, if you wash a babies in this urine, they will never be unhealthy. If someone’s eyes are a little weak, work that potion into them and they will see more! Head pain or neck pain will also lessen when treated with re-heated urine.

If a woman heats her private parts with this urine, they will suffer no disease. Here’s what you do: warm the urine in a pain and place it on a chair with a cut-out cushion. Have the woman sit on it; cover her; and put clothes over her.”

Et hoc amplius lotium conservato eius qui brassicam essitarit, id calfacito, eo hominem demittito, cito sanum facies hac cura; expertum hoc est. Item pueros pusillos si laves eo lotio, numquam debiles fient. Et quibus oculi parum clari sunt, eo lotio inunguito, plus videbunt.

Si caput aut cervices dolent, eo lotio caldo lavito, desinent dolere. Et si mulier eo lotio locos fovebit, numquam miseri fient, et fovere sic oportet: ubi in scutra fervefeceris, sub sellam supponito pertusam. Eo mulier adsidat, operito, circum vestimenta eam dato.

Before I Join The Dance of the Dead

Anacreonta 32

“I want to lay out a seat
Of soft myrtle shoots
And lotus flowers to give a toast,
Once love binds his tunic
Right below his neck with papyrus
Have him pour me some wine.

Life races by, turning
like the wheel of a chariot.
Soon we will be stretched out,
dust from crumbling bones.
Why should you perfume a stone?
Why pour wine pointlessly on the earth?

Anoint me while I live instead.
Crown my head with roses.
Call my girlfriend to come..

Love, before I leave here
For the underworld dance,
I want to scatter my worries away.”

ἐπὶ μυρσίναις τερείναις
ἐπὶ λωτίναις τε ποίαις
στορέσας θέλω προπίνειν.
ὁ δ᾿ Ἔρως χιτῶνα δήσας
ὑπὲρ αὐχένος παπύρῳ
μέθυ μοι διακονείτω·

τροχὸς ἅρματος γὰρ οἷα
βίοτος τρέχει κυλισθείς,
ὀλίγη δὲ κεισόμεσθα
κόνις ὀστέων λυθέντων.

τί σε δεῖ λίθον μυρίζειν;
τί δὲ γῇ χέειν μάταια;
ἐμὲ μᾶλλον, ὡς ἔτι ζῶ,
μύρισον, ῥόδοις δὲ κρᾶτα
πύκασον, κάλει δ᾿ ἑταίρην·

πρίν, Ἔρως, ἐκεῖ μ᾿ ἀπελθεῖν
ὑπὸ νερτέρων χορείας,
σκεδάσαι θέλω μερίμνας.

Spreuerbrucke Panel 1, The Dance of Dead. between 1626 and 1635

Shot Through the Heart, Losing at Love

Anacreonta 13

“Oh, I want to love, I do.
Love told me to
But I was thoughtless
I was unpersuaded.
He immediately took his bow
And his golden quiver
And challenged me to duel.

I draped my breastplate
From my shoulders
Like Achilles with my two spears
And my ox-hide shield
I went one-on-one with love.

He shot, but I dodged!
And when his arrows were gone
He was forlorn.
So he threw himself at a javelin,
Shot me through the heart
And weakened all my limbs,

I hold a pointless shield.
Why aim at others
When the battle is inside of me?”

θέλω, θέλω φιλῆσαι.
ἔπειθ᾿ Ἔρως φιλεῖν με·
ἐγὼ δ᾿ ἔχων νόημα
ἄβουλον οὐκ ἐπείσθην.
ὁ δ᾿ εὐθὺ τόξον ἄρας
καὶ χρυσέην φαρέτρην
μάχῃ με προὐκαλεῖτο.
κἀγὼ λαβὼν ἐπ᾿ ὤμων
θώρηχ᾿, ὅπως Ἀχιλλεύς,
καὶ δοῦρα καὶ βοείην
ἐμαρνάμην Ἔρωτι.
ἔβαλλ᾿, ἐγὼ δ᾿ ἔφευγον.
ὡς δ᾿ οὐκέτ᾿ εἶχ᾿ ὀιστούς,
ἤσχαλλεν, εἶτ᾿ ἑαυτὸν
ἀφῆκεν εἰς βέλεμνον·
μέσος δὲ καρδίης μευ
ἔδυνε καὶ μ᾿ ἔλυσεν·
μάτην δ᾿ ἔχω βοείην·
τί γὰρ βάλωμεν ἔξω,
μάχης ἔσω μ᾿ ἐχούσης;

Polyxena Sarcophagus Now in Troy Museum

“You Give Love A Bad Name”

Shot through the heart
And you’re to blame
Darling, you give love a bad name

An angel’s smile is what you sell
You promise me heaven, then put me through hell
Chains of love got a hold on me
When passion’s a prison, you can’t break free

Oh, oh, you’re a loaded gun
Oh, oh, there’s nowhere to run
No one can save me
The damage is done

Shot through the heart
And you’re to blame
You give love a bad name (bad name)
I play my part
And you play your game
You give love a bad name (bad name)
You give love
A bad name

Paint your smile on your lips
Blood red nails on your fingertips
A school boy’s dream, you act so shy
Your very first kiss was your first kiss goodbye

Oh, oh, you’re a loaded gun
Oh, oh, there’s nowhere to run
No one can save me
The damage is done

The Body that Is Our Home

Plotinus, Ennead 2.9

“This would be similar to two people who lived in the same house and one of them despises the structure and the person who built it but still stays there any way. The other does not hate it but claims that the builder made it most skillfully, even though he longs for the time when he can leave because he will no longer need a house.

The first person thinks he is wiser and more prepared to leave because he knows how to claim that the walls are made of lifeless stone and wood and lack much in comparison to the true home. He does not understand, however, that he is only special because he cannot endure what he must—unless he admits that he is upset even though he secretly delights in the beauty of the stone.

As long as we have a body, we must remain in the homes which have been made for us by that good sister of a soul who has the power to build without effort.”

Τοῦτο δὲ ὅμοιον ἂν εἴη, ὥσπερ ἂν εἰ δύο οἶκον 5καλὸν τὸν αὐτὸν οἰκούντων, τοῦ μὲν ψέγοντος τὴν κατασκευὴν καὶ τὸν ποιήσαντα καὶ μένοντος οὐχ ἧττον ἐν αὐτῷ, τοῦ δὲ μὴ ψέγοντος, ἀλλὰ τὸν ποιήσαντα τεχνικώτατα πεποιηκέναι λέγοντος, τὸν δὲ χρόνον ἀναμένοντος ἕως ἂν ἥκῃ, ἐν ᾧ ἀπαλλάξεται, οὗ μηκέτι οἴκου δεήσοιτο, ὁ δὲ 10σοφώτερος οἴοιτο εἶναι καὶ ἑτοιμότερος ἐξελθεῖν, ὅτι οἶδε λέγειν ἐκ λίθων ἀψύχων τοὺς τοίχους καὶ ξύλων συνεστάναι καὶ πολλοῦ δεῖν τῆς ἀληθινῆς οἰκήσεως, ἀγνοῶν ὅτι τῷ μὴ φέρειν τὰ ἀναγκαῖα διαφέρει, εἴπερ καὶ μὴ ποιεῖται δυσχεραίνειν ἀγαπῶν ἡσυχῇ τὸ κάλλος τῶν λίθων. Δεῖ δὲ 15μένειν μὲν ἐν οἴκοις σῶμα ἔχοντας κατασκευασθεῖσιν ὑπὸ ψυχῆς ἀδελφῆς ἀγαθῆς πολλὴν δύναμιν εἰς τὸ δημιουργεῖν ἀπόνως ἐχούσης.

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Landauer Twelve Brother’s House manuscript

The Frog-King

Aesop’s Fables, No. 44:

“The frogs, distressed by the anarchy prevailing among them, sent ambassadors to Zeus asking him to give them a king. He took note of their silliness and threw down a piece of wood into the pond. The frogs, terrified at first by the loud sound, submerged themselves in the depths of the pond.

Later, when the piece of wood was still, they came back up and rose to such a height of insolence that they mounted the wood and perched upon it. Deeming this king unworthy of them, they sent messengers to Zeus, asking him to change their king, because the first one was too lazy. Zeus was irritated by this, so he sent them a snake as king, by whom they were all snatched up and eaten.”

βάτραχοι λυπούμενοι ἐπὶ τῇ ἑαυτῶν ἀναρχίᾳ πρέσβεις ἔπεμψαν πρὸς τὸν Δία δεόμενοι βασιλέααὐτοῖς παρασχεῖν. ὁ δὲ συνιδὼν αὐτῶν τὴν εὐήθειαν ξύλον εἰς τὴν λίμνην καθῆκε. καὶ οἱ βάτραχοι τὸ μὲν πρῶτον καταπλαγέντες τὸν ψόφον εἰς τὰ βάθη τῆς λίμνης ἐνέδυσαν, ὕστερον δέ, ὡς ἀκίνητον ἦν τὸ ξύλον, ἀναδύντες εἰς τοσοῦτο καταφρονήσεως ἦλθον ὡς καὶ ἐπιβαίνοντες αὐτῷ ἐπικαθέζεσθαι. ἀναξιοπαθοῦντες δὲ τοιοῦτον ἔχειν βασιλέα ἧκον ἐκ δευτέρου πρὸς τὸν Δία καὶ τοῦτον παρεκάλουν ἀλλάξαι αὐτοῖς τὸν ἄρχοντα. τὸν γὰρ πρῶτον λίαν εἶναι νωχελῆ. καὶ ὁ Ζεὺς ἀγανακτήσας κατ’ αὐτῶν ὕδραν αὐτοῖς ἔπεμψεν, ὑφ’ ἧς συλλαμβανόμενοι κατησθίοντο.

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“Frogs Desiring a King” by John Vernon Lord