A Good Person and the Parade of Fools

Simonides fr. 542.11-40 (=Plat. Protag. 339a–346d)

“Pittacus’ saying doesn’t sound right
To me, even though spoken by a wise person.
He said it is hard to be good.

Only god can have that prize, it is impossible
For a human to not be bad,
When unalterable misfortune grips them.
When things are going well,
Anyone can be noble–
And anyone breaks bad in bad times.
And the people who are best?
They’re mostly the ones the gods favor.

That’s why I am not going to throw my life away
Searching out the impossible, an impractical
Empty hope–a person free of all fault,
Not a one of all those who eat the harvest of the broad earth

But if I find one, I will let you know.
For now, I praise all people who
Do nothing shameful willingly.
Not even the gods battle necessity.

I don’t love blame–it seems enough to me
For someone not to be evil, and not too untrustworthy
And to know something of the justice that keeps a city safe.

That’s a safe man–I will not fault
Him, since there’s no limit
To the parade of fools.
All things not completely mixed with shame,
Are fine indeed.”

οὐδέ μοι ἐμμελέως τὸ Πιττάκειον
νέμεται, καίτοι σοφοῦ παρὰ φωτὸς εἰρημένον·
χαλεπὸν φάτ᾿ ἐσθλὸν ἔμμεναι.
θεὸς ἂν μόνος τοῦτ᾿ ἔχοι γέρας, ἄνδρα δ᾿ οὐκ
ἔστι μὴ οὐ κακὸν ἔμμεναι,
ὃν ἀμήχανος συμφορὰ καθέλῃ·
πράξας γὰρ εὖ πᾶς ἀνὴρ ἀγαθός,
κακὸς δ᾿ εἰ κακῶς [
[ἐπὶ πλεῖστον δὲ καὶ ἄριστοί εἰσιν
[οὓς ἂν οἱ θεοὶ φιλῶσιν.]
τοὔνεκεν οὔ ποτ᾿ ἐγὼ τὸ μὴ γενέσθαι
δυνατὸν διζήμενος κενεὰν ἐς ἄπρακτον
ἐλπίδα μοῖραν αἰῶνος βαλέω,
πανάμωμον ἄνθρωπον, εὐρυεδέος ὅσοι
καρπὸν αἰνύμεθα χθονός·
ἐπὶ δ᾿ ὑμὶν εὑρὼν ἀπαγγελέω.
πάντας δ᾿ ἐπαίνημι καὶ φιλέω,

ἑκὼν ὅστις ἔρδῃ
μηδὲν αἰσχρόν· ἀνάγκᾳ
δ᾿ οὐδὲ θεοὶ μάχονται.

[
[
[οὐκ εἰμὶ φιλόψογος, ἐπεὶ ἔμοιγε ἐξαρκεῖ
ὃς ἂν μὴ κακὸς ᾖ] μηδ᾿ ἄγαν ἀπάλαμνος εἰδώς
γ᾿ ὀνησίπολιν δίκαν,
ὑγιὴς ἀνήρ· οὐδὲ μή μιν ἐγὼ
μωμήσομαι· τῶν γὰρ ἠλιθίων
ἀπείρων γενέθλα.
πάντα τοι καλά, τοῖσίν
τ᾿ αἰσχρὰ μὴ μέμεικται.

Rembrandt van Rijn (1606–1669), “Landscape with the Parable of the good Samaritan”

Greeks Too Late

Diodorus Siculus, Library of History (1.96):

The priests of the Egyptians relate from the registers in their sacred books that long ago, they were visited by Orpheus and Musaeus, Melampus and Daedalus, and in addition to these by Homer the poet and Lycurgus the Spartan, and even by Solon of Athens and Plato the philosopher; Pythagoras of Samos came to Egypt too, as did the mathematician Eudoxus, Democritus of Abdera, and Oenopides of Chios. As signs of all this, they show images of them, they demonstrate their names applied to various places and structures, and they produce demonstrations of their enviable learning, affirming that everything that people marvel at in the Greeks actually came from Egypt.

They claim that most of the mystic rites of Orpheus, the celebrations related to his wandering, and the stories about his time in Hades came from there. They say that the rites of Osiris are the same as those of Dionysus, those of Isis more or less the same as those of Demeter, with the names alone being different. The punishments of the wicked in Hades, the fields of the blessed, and the fashioning of images produce something imitating burials as they are performed in Egypt. They hold that Hermes the Psychompompus, in accordance with ancient Egyptian custom, leads the body of Apis back from the dead and gives it to someone wearing the face of Cerberus. After Orpheus made this clear to the Greeks, Homer followed him in setting it down in verse thus:

Cyllenian Hermes called forth the souls of the suitors, holding the staff in his hand.

Then, as he descended again,

They went by the waves of the Ocean and the White Rock,

Past the gates of Helios and the land of Dreams;

Suddenly they came to the Grove of Asphodel

Where souls live, the phantoms of exhausted mortals.

οἱ γὰρ ἱερεῖς τῶν Αἰγυπτίων ἱστοροῦσιν ἐκ τῶν ἀναγραφῶν τῶν ἐν ταῖς ἱεραῖς βίβλοις παραβαλεῖν πρὸς ἑαυτοὺς τὸ παλαιὸν Ὀρφέα τε καὶ Μουσαῖον καὶ Μελάμποδα καὶ Δαίδαλον, πρὸς δὲ τούτοις Ὅμηρόν τε τὸν ποιητὴν καὶ Λυκοῦργον τὸν Σπαρτιάτην, ἔτι δὲ Σόλωνα τὸν Ἀθηναῖον καὶ Πλάτωνα τὸν φιλόσοφον, ἐλθεῖν δὲ καὶ Πυθαγόραν τὸν Σάμιον καὶ τὸν μαθηματικὸν Εὔδοξον, ἔτι δὲ Δημόκριτον τὸν Ἀβδηρίτην καὶ Οἰνοπίδην τὸν Χῖον. πάντων δὲ τούτων σημεῖα δεικνύουσι τῶν μὲν εἰκόνας, τῶν δὲ τόπων ἢ κατασκευασμάτων ὁμωνύμους προσηγορίας, ἔκ τε τῆς ἑκάστῳ ζηλωθείσης παιδείας ἀποδείξεις φέρουσι, συνιστάντες ἐξ Αἰγύπτου μετενηνέχθαι πάντα δι᾽ ὧν παρὰ τοῖς Ἕλλησιν ἐθαυμάσθησαν.

Ὀρφέα μὲν γὰρ τῶν μυστικῶν τελετῶν τὰ πλεῖστα καὶ τὰ περὶ τὴν ἑαυτοῦ πλάνην ὀργιαζόμενα καὶ τὴν τῶν ἐν ᾄδου μυθοποιίαν ἀπενέγκασθαι. τὴν μὲν γὰρ Ὀσίριδος τελετὴν τῇ Διονύσου τὴν αὐτὴν εἶναι, τὴν δὲ τῆς Ἴσιδος τῇ τῆς Δήμητρος ὁμοιοτάτην ὑπάρχειν, τῶν ὀνομάτων μόνων ἐνηλλαγμένων: τὰς δὲ τῶν ἀσεβῶν ἐν ᾄδου τιμωρίας καὶ τοὺς τῶν εὐσεβῶν λειμῶνας καὶ τὰς παρὰ τοῖς πολλοῖς εἰδωλοποιίας ἀναπεπλασμένας παρεισαγαγεῖν μιμησάμενον τὰ γινόμενα περὶ τὰς ταφὰς τὰς κατ᾽ Αἴγυπτον. τὸν μὲν γὰρ ψυχοπομπὸν Ἑρμῆν κατὰ τὸ παλαιὸν νόμιμον παρ᾽ Αἰγυπτίοις ἀναγαγόντα τὸ τοῦ Ἄπιδος σῶμα μέχρι τινὸς παραδιδόναι τῷ περικειμένῳ τὴν τοῦ Κερβέρου προτομήν. τοῦ δ᾽ Ὀρφέως τοῦτο καταδείξαντος παρὰ τοῖς Ἕλλησι τὸν Ὅμηρον ἀκολούθως τούτῳ θεῖναι κατὰ τὴν ποίησιν

Ἑρμῆς δὲ ψυχὰς Κυλλήνιος ἐξεκαλεῖτο

ἀνδρῶν μνηστήρων, ἔχε δὲ ῥάβδον μετὰ χερσίν.

εἶτα πάλιν ὑποβάντα λέγειν

πὰρ δ᾽ ἴσαν Ὠκεανοῦ τε ῥοὰς καὶ Λευκάδα πέτρην,

ἠδὲ παρ᾽ Ἠελίοιο πύλας καὶ δῆμον Ὀνείρων

ἤισαν: αἶψα δ᾽ ἵκοντο κατ᾽ ἀσφοδελὸν λειμῶνα,

ἔνθα τε ναίουσι ψυχαί, εἴδωλα καμόντων

Lock Up Your Winds! A Song for Safe Passage

Anonymous, To The Rhodian Winds [P. Oxy. xi. 1915, no. 1383, p. 236.]

“I used to give orders to the Rhodian winds
And the neighborhoods of the sea
When I wanted to sail
When I wanted to stay there

I used to sing to the corners of the sea:
Don’t let the waters strike me!
Put the waves at the command of the sailors!
The whole wind is pressing on us!

Night, Lock up your winds and
make safe our way.”

Ῥοδίοις ἐκέλευον ἀνέμοις
καὶ μέρεσι τοῖς πελαγίοις
ὅτε πλέειν ἤθελον ἐγώ,
ὅτε μένειν ἤθελον ἐκεῖ,
ἔλεγον μέρε(σιν) πελαγίο(ις)·
μὴ τύπηι τὰ πελάγη·
ἅλ᾿ ὑποτάξατε ναυσιβά[τ]αις.
ὅλος ἄρ᾿ ἄνεμος ἐπείγεται.
ἀπόκλειε τὰ πνεύματα καί, Ν[ύ]ξ,
δὸς τὰ [. .]ατ᾿ εὔβατα.

Black figure vase. Sailing vessel in the middle of a red vase with dolphins around. A beareded figure sits in the middle
Dionysos in a ship, sailing among dolphins. Attic black-figure kylix, ca. 530 BC. From Vulci.

Death, Sleep, and Our Bodies’ Recyclable Clay

Plutarch, Moralia. A Letter of Condolence to Apollonius, 106e-f

“For when is death not present among us? Truly, as Heraclitus says, “living and dying is the same and so is being awake and asleep or youth and old age. For each turns back into the other again.”

Just as someone can make shapes of living things from the same clay and then collapse them and shape something new again repeatedly, so too did nature shape our ancestors from the same material, collapse it, and reshape it to make our parents and us in turn”

πότε γὰρ ἐν ἡμῖν αὐτοῖς οὐκ ἔστιν ὁ θάνατος; καί, ᾗ φησιν Ἡράκλειτος, “ταὐτό γ᾿ ἔνι ζῶν καὶ τεθνηκὸς καὶ τὸ ἐγρηγορὸς καὶ τὸ καθεῦδον καὶ νέον καὶ γηραιόν· τάδε γὰρ μεταπεσόντα ἐκεῖνά ἐστι, κἀκεῖνα πάλιν μεταπεσόντα ταῦτα.” ὡς γὰρ ἐκ τοῦ αὐτοῦ πηλοῦ δύναταί τις πλάττων ζῷα συγχεῖν καὶ πάλιν πλάττειν καὶ συγχεῖν καὶ τοῦθ᾿ ἓν παρ᾿ ἓν ποιεῖν ἀδιαλείπτως, οὕτω καὶ ἡ φύσις ἐκ τῆς αὐτῆς ὕλης πάλαι μὲν τοὺς προγόνους ἡμῶν ἀνέσχεν, εἶτα συνεχεῖς αὐτοῖς3 ἐγέννησε τοὺς πατέρας, εἶθ᾿ ἡμᾶς,

black and white photo of an artist sitting in a studio looking at a sculpture. The woman is sitting on a stool looking at a small figurine on a high table in front of home

Anakreon Says, Hit it And Quit

Anacreonta 60b

“Come, my heart, why are you crazed
By that best kind of madness?
Come on, take your shot
So you can hit what you want and leave.

Let go of Aphrodite’s bow–
She used it to conquer the gods.
Imitate Anakreon,
The sweetest singer.
Tip a cup to the boys,
Your gorgeous cup of words.

Once we take some comfort
From the downing nektar,
We can run from the burning dogstar.”

ἄγε, θυμέ, πῇ μέμηνας
μανίην μανεὶς ἀρίστην;
τὸ βέλος, φέρε, κράτυνον,
σκοπὸν ὡς βαλὼν ἀπέλθῃς.

τὸ δὲ τόξον Ἀφροδίτης
ἄφες, ᾧ θεοὺς ἐνίκα.
τὸν Ἀνακρέοντα μιμοῦ,
τὸν ἀοίδιμον μελιστήν.
φιάλην πρόπινε παισίν,

φιάλην λόγων ἐραννήν·
ἀπὸ νέκταρος ποτοῖο
παραμύθιον λαβόντες
φλογερὸν φύγωμεν ἄστρον.

Close up of a red figure vase. Black background with an a nude archer in the foreground, aiming his bow to the left and drawing an arrow.
Archer, side B of an Attic red-figure eye-cup. Signed by Epiktetos as painter and by Pamphaios as potter.

An Essay About How Your Words Don’t Hurt Me

Seneca, De Brevitate Vitae 26.4-6

“Some Socrates—or any other person who has similar authority or talent for these human matters—says “I am persuaded by nothing less than your opinion that I should change my life. Pour the typical abuse on me from every angle. I won’t even notice that you’re attacking me because you’re wailing just like poor little babies.”

This is what someone says who has come to wisdom, whose soul has escaped vices and calls on him to correct others not out of hatred but in order to treat them. Someone like this might say to others, “Your opinion about me affects me on your account, not mine because despising and attacking virtue is foreswearing any hope of the good. You don’t hurt me just as mortals don’t harm the gods when they destroy the altars.

Yet an evil proposition and an evil plan is obvious even when it lacks the power to harm someone. I tolerate your prattle even as Jupiter the Highest and Greatest tolerates the absurd claims of poets: one gives him wings, one gives him horns, another even depicts him as a supreme adulterer, up all night, while others show him to be mean to the other gods, unjust to men, a rapist of freeborn boys or his own relatives, and a parricide and usurper of his father’s throne.

The poets have accomplished nothing more than relieving people of their shame at doing wrong if they have truly believed the gods are like this. So, even though your words don’t harm me, I’m still warning you for your own benefit.”

“Nihil magis,” inquit ille Socrates, aut aliquis alius, ius cui idem adversus humana atque eadem potestas est, “persuasi mihi, quam ne ad opiniones vestras actum vitae meae flecterem. Solita conferte undique verba; non conviciari vos putabo sed vagire velut infantes miserrimos.” Haec dicet ille, cui sapientia contigit, quem animus vitiorum immunis increpare alios, non quia odit, sed in remedium iubet. Adiciet his illa: “Existimatio me vestra non meo nomine sed vestro movet, quia clamitantis odisse et lacessere virtutem bonae spei eiuratio est. Nullam mihi iniuriam facitis, sed ne dis quidem hi qui aras evertunt.

Office Space Michael Bolton GIF - Office Space Michael Bolton Why Should I Change GIFs

Sed malum propositum apparet malumque consilium etiam ibi, ubi nocere non potuit. Sic vestras halucinationes fero quemadmodum Iuppiter optimus maximus ineptias poetarum, quorum alius illi alas imposuit, alius cornua, alius adulterum illum induxit et abnoctantem, alius saevum in deos, alius iniquum in homines, alius raptorem ingenuorum et cognatorum quidem, alius. parricidam et regni alieni paternique expugnatorem. Quibus nihil aliud actum est, quam ut pudor hominibus peccandi demeretur,  si tales deos credidissent. Sed quamquam ista me nihil laedant, vestra tamen vos moneo causa.

Does the examined life need a socrates bib?

Practice Makes Perfect?

Anacreonta 60a

“I will let my lyre sing.
There’s no contest now,
But practice is important for
Everyone who has seen
a flowering of their art.

I will play with my ivory pick,
Shouting along in a Phrygian measure,
Crooning a clear melody
Like some swan from the Kaustros,
Sounding a complex beat
along with the rushing wind.

Muse, dance with me:
For the kithara is Apollo’s sacred thing,
Like the bay and the tripod too.

My gossip is Apollo’s love,
That unrequited compulsion:
The girl remains safe.
She fled his weapons
And changed the nature of her form,
Rooting herself in the ground to grow.

Phoebus? Well, Phoebus arrived,
Imagining that he ruled the girl,
But he merely picked young leaves,
acting out the mysteries of Aphrodite.”

ἀνὰ βάρβιτον δονήσω·
ἄεθλος μὲν οὐ πρόκειται,
μελέτη δ᾿ ἔπεστι παντὶ
σοφίης λαχόντ᾿ ἄωτον.

ἐλεφαντίνῳ δὲ πλήκτρῳ
λιγυρὸν μέλος κροαίνων
Φρυγίῳ ῥυθμῷ βοήσω,
ἅτε τις κύκνος Καΰστρου
ποικίλον πτεροῖσι μέλπων
ἀνέμου σύναυλος ἠχῇ.

σὺ δέ, Μοῦσα, συγχόρευε·
ἱερὸν γάρ ἐστι Φοίβου
κιθάρη, δάφνη τρίπους τε.
λαλέω δ᾿ ἔρωτα Φοίβου,
ἀνεμώλιον τὸν οἶστρον·

σαόφρων γάρ ἐστι κούρα·
τὰ μὲν ἐκπέφευγε κέντρα,
φύσεως δ᾿ ἄμειψε μορφήν,
φυτὸν εὐθαλὲς δ᾿ ἐπήχθη·

ὁ δὲ Φοῖβος ᾖε, Φοῖβος,
κρατέειν κόρην νομίζων,
χλοερὸν δρέπων δὲ φύλλον
ἐδόκει τελεῖν Κυθήρην.

Fragment of mosaic. Daphne is running towards a laurel tree, parly close. Apollo is pursuing, but only his head is visible
Antakya Archaeological Museum Apollo and Daphne mosaic

Greek Studies

Some reflections from a student who took Greek for the first time this summer

“The roots of education are bitter, but the fruit is sweet.” –Aristotle

 

We’ve all experienced times throughout when education feels simply bitter, with the fruits that are promised to come not even on the horizon. In other words, any time a test rolls around or a paper is due. And yet, nearly every time, the relief of being done is a sweet enough fruit, and the realization that at least some significant learning was done is just a cherry on top. In no other area of study have I experienced feelings of bitterness towards education followed by enjoyment of its fruits in such rapid succession than in learning Ancient Greek. 

As a lifelong Latin student, I admittedly thought that the first few classes, and even weeks, of my Ancient Greek course would be a breeze. Sure Latin and Greek were different languages, but they both fell under the Classics umbrella and used similar grammatical structures that are now second nature to my Latin oriented brain. However, I failed to account for a primary aspect of Greek: its alphabet. Most people, especially Classics students, know some of the Greek letters, like alpha, beta, or delta. Those in particular are familiar to English and Latin speakers, given that they closely resemble A, B, and D. It’s the rest of the alphabet that gave me, and most of my classmates, fits. 

Many of the letters were completely foreign shapes that represented unfamiliar sounds. Some contracted sounds, such as ‘th’ and ‘ps’ are simply one letter, with many letters out of order from our standard English alphabet, and some letters like ‘h’ even being shown by an accent mark rather than a letter. So when we were asked to read aloud and translate Greek words, I found myself first transforming the characters into their approximate English counterparts to read them aloud, and then translating them into their English definitions. Not only is pronunciation not stressed at all in Latin, the altered alphabet made each word feel like an enormous hurdle. 

However, as is Aristotle’s golden rule of education, the sweet fruits came not far behind. After a few hours of dutiful practice, both with classmates and alone, I became well acquainted with the formerly alien Ancient Greek letters. I can’t say it has become second nature, because to be frank I’m not sure if it ever will, but my fear of reading Greek words aloud has reduced dramatically. Unfortunately, that relief has been short lived, as our course has carried on to the minutiae of the language: declensions, conjugations, and articles. Yet, the immediate swing from bitterness to sweetness gives hope for further enjoyment of the Greek language. 

“The happy man is the one with a healthy body, a wealthy soul and a well-educated nature” –Thales

Many philosophers throughout human history have spoken to the joy that is necessary to properly learn and live, and that the happiest people are those who are the most educated. While this notion feels at times preposterous, I find that it is especially true when students are allowed to thoroughly learn the material that interests them at their own speed. 

picture of the greek alphabet with upper and lower case letters

By choosing an Ancient Greek course for the first time this summer, I have gone back to the basics of any language: vocabulary, grammar, and pronunciation. And while I have little memory of doing similar exercises to learn English, I can remember building the foundations of Latin nearly six years ago. However, I have now reached the Latin stage where classes and homeworks are dominated solely by translations– I have a dictionary on hand, because at this point there’s no time to study more vocab, and whenever I see an infinitive verb, I just assume that the author is using some form of indirect speech. To be frank, I don’t think I’ve seen any form of “esse” in years. This ease I feel with Latin has helped me read increasingly complex texts and perform more adept analysis, but the fundamentals of the language have certainly been a bit lost. 

During my experiences with Greek this summer, however, I have made a genuine commitment to understanding each and every aspect of the sentences I translate. I, of course, want to be precise with my vocabulary translations, but rather than simply trying to get through as many sentences as possible, and half-heartedly moving on from any phrases that don’t quite make sense, I’m trying to actually figure out what I don’t quite understand. While these goals have certainly made learning Greek more time consuming than I originally anticipated, it has actually brought considerable joy to me. For the first time in years I feel less of a time crunch to get through material, and therefore increased enjoyment and fulfillment in learning the material.

 

I’ve often heard people discuss the extreme difficulty of the English language, and that, most of the time, it simply makes very little sense. From the spelling of our words to the grammatical structure of our sentences, English is often considered one of the hardest languages to learn. However, I don’t think that I personally understood why that was until I returned to the fundamentals of Ancient Greek.

stylized head of greek philosopher

Latin and Greek are the two foreign languages I have studied the most, and both have a calculated, almost mathematical, structure. Since the case of a noun or adjective determines what the word’s role in the sentence is, we as readers can identify each word’s job purely by looking at the ending. The same is true for verbs, as the ending tells us the person, number, tense, and mood of the verb all within a few letters at the end of the word. And while these rules, of course, have many exceptions, even those exceptions have trends that can be studied and then identified when looking at a sentence. In general, one can learn the languages by studying paradigms and grammar charts, in addition to practicing translating sentences. These paradigms are so accurate, in fact, that often personal pronouns and “to be” verbs can be omitted. The ancient Latin and Greek texts even had no spaces between words, punctuation, or capital letters; however, readers could still understand the material because of the steadfast rules of the languages. 

These immovable, easily explainable rules seem to be what’s missing from English. Most of the reasoning behind why certain words look the way they do or function in a particular manner is because that’s just the way it works (in word order). There’s not a easy declension or case system for all English nouns and adjectives, verbs don’t share common endings that allow one to identify their syntax, and spelling feels, at times, completely arbitrary. We have so many words that are spelled the same with different meanings or have the same pronunciation with different meanings that we categorize them: homographs and homophones. While not everyone has a mathematically-oriented brain, the calculated approach Latin and Greek take to grammar certainly makes them easier to wrap our heads around, in addition to highlighting the outright confusing nature of English. 
screen shot of a greek exercise

screen shot of a greek exercise

Having now completed my Introductory Greek summer course, I am able to reflect on the most impactful aspects that I took away from the class. While learning a new language always provides a new window into how we think about various dialects, grammar, and vocabulary, I find that learning a Classical language gives an additional perspective that modern languages cannot supply. By learning a dead language, I, and all Classics students, are forced to examine how life was when Ancient Greek was the common denominator. I briefly took a Spanish course in middle school, and I recall the translation passages consisting of dialogue between people getting food at a market, or walking down a city street; however, the Greek passages consist of philosophical debates between philosophers of the time, or strenuous journeys across dangerous seas in triremes. In uncovering these events that are so foreign to the modern eye, I am truly taking a history course along with a language course. This multifaceted learning experience certainly gives me genuine interest and enjoyment in translating large volumes of text. 

In addition, as I made my way through the unique, and admittedly odd, stories, I was forced to make somewhat of a human connection with the characters. For example, many of our passages involved a character who lived his life as Homer would, and frequently quoted the great poet. While his antics were at times confusing, I would always become a little more alert and absorbed in the text when he, and his Homeric philosophies, appeared in the passages. These little nuances, that can really be found only in the texts of Classical, dead languages, showcase the human interest that learning Ancient Greek provides. Looking forward, such connections to the text has greatly heightened my fascination with the Classics as a whole, and encouraged me to dive deeper into the field. 

Stylized painting of the ruins of the Parthenon emerging into the sun

My name is Matthew Abati, and I am a rising high school senior at Milton Academy just outside of Boston. I have been a Classics lover since middle school and am very excited to share some of my thoughts on the Classics here on Sententiae Antiquae! When I’m not in school, I love to read all types of books and play all types of sports.

Of Fish & Men

Septuagint. Book of Habakkuk. 1.13-16.

Does your pure eye not see wrong? Can’t it see suffering? Why do you look on the deceitful and stay silent while the ungodly devour the righteous?

You’ve made humans like the fish of the sea, and like beasts without a master.  

He [the enemy] pulls up the lot of them with his fish-hook, hauls them out with his net, and collects them in his seine.  This makes him glad; his heart rejoices. 

And so he makes offerings to his seine, and he burns incense to his net. For after all, thanks to them he has bettered his portion and his victuals are excellent.

Philo. On the Creation. XXI. 65-66.

Of the forms of life, the most undeveloped and least formed is the race of fish, and the most complete and the best in all respects is the race of humans . . .

Of living things, God created fish first. Their essence, however, is more that of a body than a living thing. In a way they are alive and not alive. They are capable of movement yet lacking in life. The principle of life is scattered in them as if by chance and solely for the preservation of their bodies–just as they say salt is put on meat to prevent it easily spoiling.

Habakkuk.

καθαρὸς ὀφθαλμὸς τοῦ μὴ ὁρᾶν πονηρά, καὶ ἐπιβλέπειν ἐπὶ πόνους οὐ δυνήσῃ: ἵνα τί ἐπιβλέπεις ἐπὶ καταφρονοῦντας; παρασιωπήσῃἐν τῷ καταπίνειν ἀσεβῆ τὸν δίκαιον; καὶ ποιήσεις τοὺς ἀνθρώπους ὡς τοὺς ἰχθύας τῆς θαλάσσης καὶ ὡς τὰ ἑρπετὰ τὰ οὐκ ἔχοντα ἡγούμενον.  συντέλειαν ἐν ἀγκίστρῳ ἀνέσπασεν καὶ εἵλκυσεν αὐτὸν ἐν ἀμφιβλήστρῳ καὶ συνήγαγεν αὐτὸν ἐν ταῖς σαγήναις αὐτοῦ: ἕνεκεν τούτου εὐφρανθήσεται καὶ χαρήσεται ἡ καρδία αὐτοῦ: ἕνεκεν τούτου θύσει τῇ σαγήνῃ αὐτοῦ καὶ θυμιάσει τῷ ἀμφιβλήστρῳ αὐτοῦ ὅτι ἐναὐτοῖς ἐλίπανεν μερίδα αὐτοῦ καὶ τὰ βρώματα αὐτοῦ ἐκλεκτά.

Philo.

φυχής γάρ ή μέν άργοτάτη καΐ ήκιστα τετυπωμένη τω γένει τών Ιχθύων προσκεκλήρωται, ή δ ‘ ακριβέστατη και κατά πάντα άριστη τω τών ανθρώπων . . . διό τών έμφύχων πρώτους έγέννησεν ιχθύας, πλέον μετέχοντας σωματικής ή φυχικής ουσίας, τρόπον τινά ζώα καΐ ού ζώα, κινητά άφυχα, προς αυτό μόνον τήν τών σωμάτων διαμονήν παρασπαρέντος αύτοΐς του φυχοειδοΰς, καθάπερ φασι τούς άλας τοις κρέασιν, Ινα μή ραδίως φθείροιντο.

  1. Black and white photograph of a young girl looking down at a fish, vertical in her hands
    Ingar Krauss. Untitled (Hannah with Fish). 2001

    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.