Nothing But a Shadow: Some Words on Censure and Envy

Dio Chrysostom, 76.3

“One will say goodbye to honors and slights or to censure and praise from simple-minded persons, even if they happen to be many or few, and even if they are the strong and the wealthy. Instead, one will consider what is called “opinion” to be nothing different from a shadow, by observing that opinion often makes little of important matters and much of minor ones. And, often, it makes a big deal at sometimes and then less at another of the same affairs!”

Χαίρειν οὖν ἐάσει τιμὰς καὶ ἀτιμίας καὶ ψόγον τε καὶ ἔπαινον τὸν παρὰ τῶν ἠλιθίων ἀνθρώπων, ἐάν τε πολλοὶ τύχωσιν ὄντες ἐάν τε ὀλίγοι μὲν ἰσχυροὶ δὲ καὶ πλούσιοι. τὴν δέ γε καλουμένην δόξαν ἡγήσεται μηδὲν διαφέρειν σκιᾶς, ὁρῶν ὅτι γίγνεται τῶν μεγάλων μικρὰ καὶ τῶν μικρῶν μεγάλη· πολλάκις δὲ καὶ τῶν αὐτῶν ὁτὲ μὲν πλείων, ὁτὲ δὲ ἐλάττων.

Plutarch, On Envy and Hate 537 c-d

“Envy certainly never develops towards anyone justly—for no one commits injustice in being happy and it is for happiness that people are envied. Many are hated justly—like those we consider “worthy of hate” with the result that we find fault with others when they don’t avoid people like this or fail to find them despicable and annoying.”

Ἔτι τοίνυν τὸ μὲν φθονεῖν πρὸς οὐδένα γίνεται δικαίως (οὐδεὶς γὰρ ἀδικεῖ τῷ εὐτυχεῖν, ἐπὶ τούτῳ δὲ φθονοῦνται)· μισοῦνται δὲ πολλοὶ δικαίως, ὡς οὓς ἀξιομισήτους καλοῦμεν, ὥστε καὶ τοῖς ἄλλοις ἐγκαλοῦμεν ἂν μὴ φεύγωσι τοὺς τοιούτους μηδὲ βδελύττωνται καὶ δυσχεραίνωσι.

Propertius, Elegies 1.8b

‘Here she will be! Here she has sworn to stay! Fuck the haters!
we have won…”

Hic erit! hic iurata manet! rumpantur iniqui!
vicimus

Scrovegni, Invidia

Lyric Love, Translation and Transformation

Sappho fr. 31

“That man seems like the gods
To me—the one who sits facing
You and nearby listens as you
sweetly speak—

and he hears your lovely laugh—this then
makes the heart in my breast stutter,
when I glance even briefly, it is no longer possible
for me to speak—

but my tongue sticks in silence
and immediately a slender flame runs under my skin.
I cannot see with my eyes, I hear
A rush in my ears—

A cold sweat breaks over me, a tremble
Takes hold of me. Then paler than grass,
I think that I have died
Just a little.”

φαίνεταί μοι κῆνος ἴσος θέοισιν
ἔμμεν’ ὤνηρ, ὄττις ἐνάντιός τοι
ἰσδάνει καὶ πλάσιον ἆδυ φωνεί-
σας ὐπακούει

καὶ γελαίσας ἰμέροεν, τό μ’ ἦ μὰν
καρδίαν ἐν στήθεσιν ἐπτόαισεν,
ὠς γὰρ ἔς σ’ ἴδω βρόχε’ ὤς με φώναι-
σ’ οὐδ’ ἒν ἔτ’ εἴκει,

ἀλλ’ ἄκαν μὲν γλῶσσα †ἔαγε λέπτον
δ’ αὔτικα χρῶι πῦρ ὐπαδεδρόμηκεν,
ὀππάτεσσι δ’ οὐδ’ ἒν ὄρημμ’, ἐπιρρόμ-
βεισι δ’ ἄκουαι,

†έκαδε μ’ ἴδρως ψῦχρος κακχέεται† τρόμος δὲ
παῖσαν ἄγρει, χλωροτέρα δὲ ποίας
ἔμμι, τεθνάκην δ’ ὀλίγω ‘πιδεύης
φαίνομ’ ἔμ’ αὔται·

As many know and many love, Catullus 51 is a ‘translation’. This poem brought my first exposure to Sappho at the tender age of 16. I can translate it almost without looking at it.

“That man seems to me equal to a gods,
that man, if it is right, surpasses the gods
as he sits opposite you
seeing and hearing you

sweetly laughing; every sense escapes
miserable me: for the same time I see you
Lesbia, nothing is left for me

my tongue grows heavy, and a tender flame
flickers under my limbs, and twin ears
ring with their own sound, my eyes
are shaded by night.

Leisure, Catullus, is your problem:
you revel in leisure and you have done too much.
Leisure has brought kings low,
and destroyed cities once rich.”

Ille mi par esse deo videtur,
ille, si fas est, superare divos,
qui sedens adversus identidem te
spectat et audit
dulce ridentem, misero quod omnis
eripit sensus mihi: nam simul te,
Lesbia, aspexi, nihil est super mi
* * * * * * * *

lingua sed torpet, tenuis sub artus
flamma demanat, sonitu suopte
tintinant aures gemina, teguntur
lumina nocte.

otium, Catulle, tibi molestum est:
otio exsultas nimiumque gestis:
otium et reges prius et beatas
perdidit urbes.

Sappho is pretty amazing. I also love this anecdote from Aelian:

Aelian, Fragment 187/190 (from Stobaeus 3.29.58)

“Solon the Athenian, the son of Eksêkestides, when his nephew sang some song of Sappho at a drinking party, took pleasure in it and asked the young man to teach it to him. When someone asked why he was eager to learn it, he responded: “So, once I learn it, I may die.”

Σόλων ὁ ᾿Αθηναῖος ᾿Εξηκεστίδου παρὰ πότον τοῦ ἀδελφιδοῦ αὐτοῦ μέλος τι Σαπφοῦς ᾄσαντος, ἥσθη τῷ μέλει καὶ προσέταξε τῷ μειρακίῳ διδάξει αὐτόν. ἐρωτήσαντος δέ τινος διὰ ποίαν αἰτίαν τοῦτο σπουδάσειεν, ὃ δὲ ἔφη ‘ἵνα μαθὼν αὐτὸ ἀποθάνω.’

Image result for medieval manuscript sappho
Boccacio, de mulieribus claris/Le livre de femmes nobles et renomées (trad. anonyme), 15-16th century, France (Cognac). Bibliothèque Nationale MS Français 599 fol. 42

Excessive Expenditure: Aristotle on the Ethics of Gift-Giving

Aristotle, Nicomachean Ethics 4 (1121a-b)

“Most people who spend too much, as it is said, both take what is not right and are cheap because of that. They become greedy because they want to spend but cannot do this easily because their funds quickly escape them. They are therefore compelled to procure from elsewhere. In addition, because they don’t think at all about nobility of action, they take from everywhere. They desire to give and it makes no difference how or where to them. For this reason, their giving is not liberal. For the gifts are not noble or given for nobility’s sake, nor in the way that it correct. Sometimes they make those rich who ought to be poor and they will give nothing to those humble in character, but they provide much to their flatterers and those who please them.”

ἀλλ᾿ οἱ πολλοὶ τῶν ἀσώτων, καθάπερ εἴρηται, καὶ λαμβάνουσιν ὅθεν μὴ δεῖ, καὶ εἰσὶ κατὰ τοῦτο ἀνελεύθεροι. ληπτικοὶ δὲ γίνονται διὰ τὸ βούλεσθαι μὲν ἀναλίσκειν, εὐχερῶς δὲ τοῦτο ποιεῖν μὴ δύνασθαι, ταχὺ γὰρ ἐπιλείπει αὐτοὺς τὰ ὑπάρχοντα· ἀναγκάζονται οὖν ἑτέρωθεν πορίζειν. ἅμα δὲ καὶ διὰ τὸ μηθὲν τοῦ καλοῦ φροντίζειν ὀλιγώρως καὶ πάντοθεν λαμβάνουσιν· διδόναι γὰρ ἐπιθυμοῦσι, τὸ δὲ πῶς ἢ πόθεν οὐθὲν αὐτοῖς διαφέρει. διόπερ οὐδ᾿ ἐλευθέριοι αἱ δόσεις αὐτῶν εἰσίν· οὐ γὰρ καλαί, οὐδὲ τούτου ἕνεκα, οὐδὲ ὡς δεῖ· ἀλλ᾿ ἐνίοτε οὓς δεῖ πένεσθαι, τούτους πλουσίους ποιοῦσι, καὶ τοῖς μὲν μετρίοις τὰ ἤθη οὐδὲν ἂν δοῖεν, τοῖς δὲ κόλαξιν ἤ τιν᾿ ἄλλην ἡδονὴν πορίζουσι πολλά.

 

Image result for ancient greek gift giving

The Death of the Individual and the Life of the Whole

Philo, The Worse Attack the Better  206

“When some musician or scholar has died, then their music or writing dies with them; but their basic contributions persist and, in some way, live as long as the universe does. Those who are scholars and musicians now or who will be in the future will continue to develop thanks to these previous works in an undying procession.

In the same way, whatever is prudent, wise, brave, just, or just simply wise in an individual may perish, but it nevertheless remains as immortal thought and all excellence is safeguarded against decay in the immortal nature of the whole [universe]. Through this advantage people today and those of tomorrow will also become civilized—unless we believe that the death of one individual person in turn visits ruin upon humankind.”

ὥσπερ γὰρ μουσικοῦ τινος ἢ γραμματικοῦ τελευτήσαντος ἡ μὲν ἐν | τοῖς ἀνδράσι μουσικὴ καὶ γραμματικὴ συνέφθαρται, αἱ δὲ τούτων ἰδέαι μένουσι καὶ τρόπον τινὰ βιοῦσιν ἰσοχρόνιοι τῷ κόσμῳ, καθ᾿ ἃς οἵ τε ὄντες καὶ οἱ μέλλοντες διαδοχαῖς ταῖς εἰσαεὶ μουσικοί τε καὶ γραμματικοὶ γενήσονται, οὕτως καὶ τὸ ἔν τινι φρόνιμον ἢ σῶφρον ἢ ἀνδρεῖον ἢ δίκαιον ἢ συνόλως σοφὸν ἂν ἀναιρεθῇ, οὐδὲν ἧττον ἐν τῇ τοῦ παντὸς ἀθανάτῳ φύσει φρόνησις ἀθάνατος καὶ ἀρετὴ σύμπασα ἄφθαρτος ἐστηλίτευται, καθ᾿ ἣν καὶ νῦν εἰσιν ἀστεῖοί τινες καὶ αὖθις γενήσονται· εἰ μὴ καὶ ἀνθρώπου τινὸς τῶν ἐν μέρει θάνατον φθορὰν ἐργάσασθαι φήσομεν ἀνθρωπότητι

Related image
 Mosaic from the reception room from Sparsholt Roman Villa, Hampshire, England

Consider other religious traditions on this:

Qu’ran, 5:32

“Saving One Life Is As If Saving Whole Of Humanity…”

Talmud

“Whoever destroys a soul [of Israel], it is considered as if he destroyed an entire world. And whoever saves a life of Israel, it is considered as if he saved an entire world.”

Happy Halloween: Werewolves in Greek and Roman Culture

This week we charged full speed down a lykanthropic rabbit-hole. (Well, maybe I should call it a wolf-hole or something?).   One of the many reasons we started this site (in addition to combating all the false and unattributed quotations online, bringing lesser known material to wider audiences, and entertaining ourselves) is that we wanted the impetus and opportunity to explore material only tangentially connected to our work inside and outside the classroom. More often than not, these boundaries blur–sometimes the classroom spills over here.  Other times, our ‘discoveries’ and fleeting obsessions start here and end up back in the classroom.

Did the Wolf Win or Lose this FIght?
Did the Wolf Win or Lose this Fight?

Here are the sources I’ve gathered in rough chronological order. Most of the material is mentioned in the Oxford Classical Dictionary, although the entry says nothing about the medical texts.

  1. Herodotus’ Histories: A Description of the Neuri, a tribe near the Skythians who could turn into wolves and back.
  2. Plato’s Republic: Lycanthropy is used as a metaphor for the compulsive behavior of tyrants.
  3. Pliny the Elder’s Natural History: Pliny describes the origins of ideas about lycanthropy and blames the traditions on the credulity of the Greeks!
  4. Petronius’ Satyricon: A character tells the story of a companion transforming into a wolf at night and back at day.
  5. Pausanias’ Geography of Greece: Like Pliny, Pausanias tells the story of the human sacrifice performed by Lykaon as an origin of lycanthropic narratives.
  6. Greek Medical Treatises on the Treatment of Lycanthropy: Medical authors from the time of Marcus Aurelius to the fall of Byzantium treat lycanthropy as a mental illness.
  7. Augustine of Hippo, City of God:  St. Augustine (5th Century CE) gives an account similar to Pliny’s, but attributes it to Varro.
  8. Michael Psellus, Poemata 9.841:An 11th century CE monk wrote a book of didactic poems about medicine. His description of lycanthropy is clearly influenced by the Greek medical treatises.

What I have learned from these texts:

  1. The early Greek tradition is harmonious with some structural aspects of Greek myth.  Lycanthropy is related to sacrilegious eating–in a system where what you eat communicates who you are, human flesh is taboo (monsters eat it).  In the Greek lycanthropic tradition, this is non mono-directional. Werewolves who abstain from human flesh can turn back again.
  2. The later ‘folkloric’ tradition (e.g. Petronius) is separate from this structural logic. in the earlier tradition, men transform for 9-10 years (in something of a purificatory period). The other tradition has shorter periods (nightly) that don’t correlate with sacrilege: Petronius’ werewolf doesn’t eat human flesh (that we know of).
  3. The moon-association may be a later accretion on the tradition. All of the medical texts associate werewolves with the night; the Roman texts agree. The lunar cycle may be implied in the Petronius tale (where the transformation happens when the light is almost as bright as day) or in the later medical texts vis a vis the connection with menstrual cycles.
  4. There is one hint of a dog-bite being associated with lycanthropy, but no foundational notion that you contract lycanthropy from a werewolf.  In addition, there are no specific suggestions or methods for how to kill a werewolf.

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Virtue and the Arts: Some Aristotle to Start Your Day

Some Aristotle for this morning. I don’t think I actually believe the third point–because I suspect that insisting that human character is constant and consistent is actually (1) wrong and (2) impacts mental health negatively. But I like the beginning and the emphasis on that Aristotelian notion that doing something makes you something...

Aristotle, Nicomachean Ethics 2.2-4

“Or is this also true in the arts? For spelling a word accidentally or with someone else guiding you is possible. Then, one will be a scholar if he spells something the way a scholar does, by which I mean according to the scholarly art itself. In addition, there is no real similarity between the arts and virtue. For the products of art are good in themselves—it suffices if they develop while having their own quality.

But acts of virtue don’t have their own intrinsic quality and are performed wisely or justly, but if the person who does them acts in a certain way. First, he must understand what he does. Second, he must choose to do it and for its own nature. And, third, he must act from a fixed and constant character. None of these conditions are necessary for the other arts apart from understanding the act. But knowledge is of little or no importance for the virtues while the other conditions are not minor but rather everything, if truly [virtue] emerges from repeatedly doing just and wise things.”

ἢ οὐδ᾿ ἐπὶ τῶν τεχνῶν οὕτως ἔχει; ἐνδέχεται γὰρ γραμματικόν τι ποιῆσαι καὶ ἀπὸ τύχης καὶ ἄλλου ὑποθεμένου· τότε οὖν ἔσται γραμματικός, ἐὰν καὶ γραμματικόν τι ποιήσῃ καὶ γραμματικῶς, τοῦτο δ᾿ ἐστὶ [τὸ] κατὰ τὴν ἐν αὑτῷ γραμματικήν. ἔτι οὐδ᾿ ὅμοιόν ἐστιν ἐπὶ τῶν τεχνῶν καὶ τῶν ἀρετῶν· τὰ μὲν γὰρ ὑπὸ τῶν τεχνῶν γινόμενα τὸ εὖ ἔχει ἐν αὑτοῖς, ἀρκεῖ οὖν αὐτά πως ἔχοντα γενέσθαι· τὰ δὲ κατὰ τὰς ἀρετὰς γινόμενα οὐκ ἐὰν αὐτά πως ἔχῃ, δικαίως ἢ σωφρόνως πράττεται, ἀλλὰ καὶ ἐὰν ὁ πράττων πως ἔχων πράττῃ, πρῶτον μὲν ἐὰν εἰδώς, ἔπειτ᾿ ἐὰν προαιρούμενος, καὶ προαιρούμενος δι᾿ αὐτά, τὸ δὲ τρίτον καὶ ἐὰν βεβαίως καὶ ἀμετακινήτως ἔχων πράττῃ. ταῦτα δὲ πρὸς μὲν τὸ τὰς ἄλλας τέχνας ἔχειν οὐ συναριθμεῖται, πλὴν αὐτὸ τὸ εἰδέναι· πρὸς δὲ τὸ τὰς ἀρετὰς τὸ μὲν εἰδέναι μικρὸν ἢ οὐδὲν ἰσχύει, τὰ δ᾿ ἄλλα οὐ μικρὸν ἀλλὰ τὸ πᾶν δύναται, εἴπερ ἐκ τοῦ πολλάκις πράττειν τὰ δίκαια καὶ σώφρονα περιγίνεται.

Image result for Medieval manuscript aristotle ethics papyrus
Brtitish Library, Constitution of the Athenians

Lyric Love, Translation and Transformation

Sappho fr. 31

“That man seems like the gods
To me—the one who sits facing
You and nearby listens as you
sweetly speak—

and he hears your lovely laugh—this then
makes the heart in my breast stutter,
when I glance even briefly, it is no longer possible
for me to speak—

but my tongue sticks in silence
and immediately a slender flame runs under my skin.
I cannot see with my eyes, I hear
A rush in my ears—

A cold sweat breaks over me, a tremble
Takes hold of me. Then paler than grass,
I think that I have died
Just a little.”

φαίνεταί μοι κῆνος ἴσος θέοισιν
ἔμμεν’ ὤνηρ, ὄττις ἐνάντιός τοι
ἰσδάνει καὶ πλάσιον ἆδυ φωνεί-
σας ὐπακούει

καὶ γελαίσας ἰμέροεν, τό μ’ ἦ μὰν
καρδίαν ἐν στήθεσιν ἐπτόαισεν,
ὠς γὰρ ἔς σ’ ἴδω βρόχε’ ὤς με φώναι-
σ’ οὐδ’ ἒν ἔτ’ εἴκει,

ἀλλ’ ἄκαν μὲν γλῶσσα †ἔαγε λέπτον
δ’ αὔτικα χρῶι πῦρ ὐπαδεδρόμηκεν,
ὀππάτεσσι δ’ οὐδ’ ἒν ὄρημμ’, ἐπιρρόμ-
βεισι δ’ ἄκουαι,

†έκαδε μ’ ἴδρως ψῦχρος κακχέεται† τρόμος δὲ
παῖσαν ἄγρει, χλωροτέρα δὲ ποίας
ἔμμι, τεθνάκην δ’ ὀλίγω ‘πιδεύης
φαίνομ’ ἔμ’ αὔται·

As many know and many love, Catullus 51 is a ‘translation’. This poem brought my first exposure to Sappho at the tender age of 16. I can translate it almost without looking at it.

“That man seems to me equal to a gods,
that man, if it is right, surpasses the gods
as he sits opposite you
seeing and hearing you

sweetly laughing; every sense escapes
miserable me: for the same time I see you
Lesbia, nothing is left for me

my tongue grows heavy, and a tender flame
flickers under my limbs, and twin ears
ring with their own sound, my eyes
are shaded by night.

Leisure, Catullus, is your problem:
you revel in leisure and you have done too much.
Leisure has brought kings low,
and destroyed cities once rich.”

Ille mi par esse deo videtur,
ille, si fas est, superare divos,
qui sedens adversus identidem te
spectat et audit
dulce ridentem, misero quod omnis
eripit sensus mihi: nam simul te,
Lesbia, aspexi, nihil est super mi
* * * * * * * *

lingua sed torpet, tenuis sub artus
flamma demanat, sonitu suopte
tintinant aures gemina, teguntur
lumina nocte.

otium, Catulle, tibi molestum est:
otio exsultas nimiumque gestis:
otium et reges prius et beatas
perdidit urbes.

Sappho is pretty amazing. I also love this anecdote from Aelian:

Aelian, Fragment 187/190 (from Stobaeus 3.29.58)

“Solon the Athenian, the son of Eksêkestides, when his nephew sang some song of Sappho at a drinking party, took pleasure in it and asked the young man to teach it to him. When someone asked why he was eager to learn it, he responded: “So, once I learn it, I may die.”

Σόλων ὁ ᾿Αθηναῖος ᾿Εξηκεστίδου παρὰ πότον τοῦ ἀδελφιδοῦ αὐτοῦ μέλος τι Σαπφοῦς ᾄσαντος, ἥσθη τῷ μέλει καὶ προσέταξε τῷ μειρακίῳ διδάξει αὐτόν. ἐρωτήσαντος δέ τινος διὰ ποίαν αἰτίαν τοῦτο σπουδάσειεν, ὃ δὲ ἔφη ‘ἵνα μαθὼν αὐτὸ ἀποθάνω.’

Image result for medieval manuscript sappho
Boccacio, de mulieribus claris/Le livre de femmes nobles et renomées (trad. anonyme), 15-16th century, France (Cognac). Bibliothèque Nationale MS Français 599 fol. 42