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

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

The Evening Commute

Mimnermus Fr.12

because it is the sun’s lot to toil all day,
there’s no rest for his horses, nor for him,
from the time rose-fingered Dawn,
leaving the ocean behind,
ascends the sky.
it’s like this:
quite a handsome hollow bed, and winged too,
forged of precious gold by the hands of Hephaestus,
carries him, while he sleeps to his heart’s contents, atop the waters:
from the country of the Hesperides to the land of the Ethiopians.
there his horses and swift chariot stand
until Dawn, an early riser, gets on her way.
the son of Hyperion mounts his chariot then.

ἠέλιος μὲν γὰρ πόνον ἔλλαχεν ἤματα πάντα
οὐδέ κοτ᾽ ἄμπαυσις γίγνεται οὐδεμία
ἵπποισίν τε καὶ αὐτῷ, ἐπεὶ ῥοδοδάκτυλος Ἠὼς
ὠκεανὸν προλιποῦσ᾽ οὐρανὸν εἰσαναβῇ:
5τὸν μὲν γὰρ διὰ κῦμα φέρει πολυήρατος εὐνὴ
κοιΐλη, Ἡφαίστου χερσὶν ἐληλαμένη
χρυσοῦ τιμήεντος, ὑπόπτερος, ἄκρον ἐφ᾽ ὕδωρ
εὕδονθ᾽ ἁρπαλέως χώρου ἀφ᾽ Ἑσπερίδων
γαῖαν ἐς Αἰθιόπων, ἵνα οἱ θοὸν ἅρμα καὶ ἵπποι
10ἑστᾶσ᾽, ὄφρ᾽ Ἠὼς ἠριγένεια μόλῃ:

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.

The Debt To The Birds

Felekşan Onar’s “Perched” at the Damascus Room, Dresden Museum of Ethnology, 2020. Photo Credit: Dario J. Lagana.

Aristophanes, Birds 227-262

Epopopoi popoi popopopoi popoi, here, here, quick, quick, quick, my comrades in the air; all you who pillage the fertile lands of the husbandmen, the numberless tribes who gather and devour the barley seeds, the swift flying race that sings so sweetly. And you whose gentle twitter resounds through the fields with the little cry of tiotiotiotiotiotiotiotio; and you who hop about the branches of the ivy in the gardens; the mountain birds, who feed on the wild olive-berries or the arbutus, hurry to come at my call, trioto, trioto, totobrix; you also, who snap up the sharp-stinging gnats in the marshy vales, and you who dwell in the fine plain of Marathon, all damp with dew, and you, the francolin with speckled wings; you too, the halcyons, who flit over the swelling waves of the sea, come hither to hear the tidings; let all the tribes of long-necked birds assemble here; know that a clever old man has come to us, bringing an entirely new idea and proposing great reforms. Let all come to the debate here, here, here, here. Torotorotorotorotix, kikkabau, kikkabau, torotorotorolililix.

ἐποποῖ ποποποποποποποῖ,
ἰὼ ἰὼ ἰτὼ ἰτὼ ἰτὼ ἰτὼ,
ἴτω τις ὧδε τῶν ἐμῶν ὁμοπτέρων:
ὅσοι τ᾽ εὐσπόρους ἀγροίκων γύας
νέμεσθε, φῦλα μυρία κριθοτράγων
σπερμολόγων τε γένη
ταχὺ πετόμενα, μαλθακὴν ἱέντα γῆρυν:
ὅσα τ᾽ ἐν ἄλοκι θαμὰ
βῶλον ἀμφιτιττυβίζεθ᾽ ὧδε λεπτὸν
ἡδομένᾳ φωνᾷ:
τιὸ τιὸ τιὸ τιὸ τιὸ τιὸ τιὸ τιό.
ὅσα θ᾽ ὑμῶν κατὰ κήπους ἐπὶ κισσοῦ
κλάδεσι νομὸν ἔχει,
τά τε κατ᾽ ὄρεα τά τε κοτινοτράγα τά τε κομαροφάγα,
ἀνύσατε πετόμενα πρὸς ἐμὰν αὐδάν:
τριοτὸ τριοτὸ τοτοβρίξ:
οἵ θ᾽ ἑλείας παρ᾽ αὐλῶνας ὀξυστόμους
ἐμπίδας κάπτεθ᾽, ὅσα τ᾽ εὐδρόσους γῆς τόπους
ἔχετε λειμῶνά τ᾽ ἐρόεντα Μαραθῶνος, ὄρνις
πτερυγοποίκιλός τ᾽ ἀτταγᾶς ἀτταγᾶς.
ὧν τ᾽ ἐπὶ πόντιον οἶδμα θαλάσσης
φῦλα μετ᾽ ἀλκυόνεσσι ποτῆται,
δεῦρ᾽ ἴτε πευσόμενοι τὰ νεώτερα,
πάντα γὰρ ἐνθάδε φῦλ᾽ ἀθροΐζομεν
οἰωνῶν ταναοδείρων.
ἥκει γὰρ τις δριμὺς πρέσβυς
καινὸς γνώμην
καινῶν τ᾽ ἔργων ἐγχειρητής.
ἀλλ᾽ ἴτ᾽ ἐς λόγους ἅπαντα,
δεῦρο δεῦρο δεῦρο δεῦρο.

Χορὸς

τοροτοροτοροτοροτίξ.
κικκαβαῦ κικκαβαῦ.
Τοροτοροτοροτορολιλιλίξ.

  1. An Oriental Interior 
The ‘Damascus Room’, Dresden Museum of Ethnology. Detail of
the large wall closet door, right shutter, contrast between gilded ‘ajamī decoration and duller painted houses. Photo: Anke Scharrahs.

The one-hundred-and-thirteen elaborate wooden panels that make up the Damascus Room at the Dresden Museum of Ethnology testify to the immense wealth of the era, at the beginning of the 19th century when wood and ceiling panels adorned the reception room of Damascene houses in Ottoman Syria. A detailed composition of city landscapes, bouquets of flowers, bowls of fruits and Arabic calligraphy was executed around a main framework in which vertical panels, niches, wall closets, doors and windows were integrated, often aggrandized by the use of mirrors in a sophisticated painting technique known as ‘ajamī (Persian). This pastiglia style involved preparation of the wood with a rough white ground layer, followed by more colorful paint layers, underdrawing, transfer of patterns, then followed by application of ornaments, metal leaf and dyed glazes. 

Scholar Anke Scharrahs interviewed Damascene artists revealing that knowledge about this intricate painting technique of the 17th and 18th centuries (rich in organic pigments and animal resins) was subsequently lost to modern pigments and European influences. In fact the panels were often washed down, restored and repainted every few generations, therefore only a few original interiors remain in Syria itself, so that the preservation state of the Damascus Room is nothing short of astonishing (only four such interiors exist in the Western world).

But the journey of the Damascus Room to its present splendor took two centuries, and is as protracted as the history of the museum housing it. The Dresden Museum of Ethnology dates back to 1560 with the cabinet of curiosities established by Augustus, the elector of Saxony, and was subsequently transformed into different museums, under different names, as European ideas about culture were being shaped by both science and colonialism. 

It was the year 1898 when a German art collector, Karl Ernst Osthaus, known primarily for his interest in the avant-garde movement, traveled throughout the Ottoman Empire, collecting artifacts from bazaars and workshops. But there was one treasure hunt that couldn’t be completed: The search for an Oriental interior. Although he traveled far and wide in all the major cities of the empire, it was to no avail, and at the end of his journey, he passed on the responsibility to the German consulate in Damascus. The consulate in turn assigned photographer Hermann Burchardt to the task, who had been living in Damascus since 1893. A suitable interior was found (dated 1810-11), purchased, disassembled and sent to Germany. Osthaus was then very involved in modern art, so when the pieces arrived at his estate in Hagen, they were kept in an attic and quickly forgotten. 

Restoration of the wooden panels with ‘Ajami decoration of the Damascus Room, 2016. Photo: Anke Scharrahs.

After Osthaus’ death in 1921, the panels were discovered and donated to the Dresden Museum of Ethnology in 1930, and the collections of the museum were about to go on show at the Zwinger palatial complex (dating back to the 18th century Baroque), but the space provided for the Damascus Room proved too small – the surface area of the room is 4 x 5.5 m and 5.4 m high. This mismatch turned out to be a fortunate event, because the room would have been completely destroyed during the bombing of Dresden in 1945.

Once again forgotten, it was rediscovered in 1997, but by then no one knew how to assemble it together. How do the one-hundred-and-thirteen pieces fit together? Two students from Dresden, Ulrike Siegel and Antje Werner, took up the challenge of putting the puzzle back together, measuring every single piece, meticulously documenting each item and following the number coding written onto the backsides. 

But then it needed to be restored. 200 years hadn’t passed in vain, and many of the wooden pieces had been eaten by worms, damaged by dampness, large flakes of paint fell off and the entire thing was covered in dust and mold. A restoration began that wouldn’t be completed until the end of 2019. The following year, in the autumn of 2020, amidst the raging pandemic, as if continuing the trail of oblique historical journeys, it met a peculiar contemporary artistic intervention coming from the place where it all had begun, modern Syria and Turkey.

An installation consisting of colorful glass swallows with their heads tilted downwards, placed on the floor of the lavish room, would tell a story where the different pasts and presents of these interiors would meet: Improbable journeys and the (im)possibility of travel, exile, migration, uncertainty, memory and the feeling of having fallen out of the world, whilst living in the presence of all its traces. 

 

2. Birds Without Wings 

Felekşan Onar’s “Perched” at the Aleppo Room, Pergamon Museum, 2018, photo: David von Becker.

Three years earlier, in 2017, Turkish glass artist Felekşan Onar arrived in Berlin from Istanbul with the intention to work at a glass studio, and blow into plaster moulds closed winged birds for her project “Perched”, without knowing at the time its final destination. The wingless swallows with their heads tilted downwards, resembled for Onar, the millions of Syrian refugees stranded in Istanbul, not knowing where to go, or what is going to happen next. In Onar’s words, “Simply perched on sidewalks, like birds without wings”.

This reflection however, was interlocked with an earlier metaphor: She began thinking about the birds after a reading of Louis de Bernières’ novel “Birds Without Wings” (published in 2004); set in the era of population exchanges between Greece and Turkey, in the period following World War First; the novel chronicles an era of intolerance and forced migration, still consequential to this day for both countries.

The plot of de Bernières’ novel revolves around the tragic love story between Philothei, a beautiful Greek woman, and Ibrahim, her Muslim suitor, who loses his mind halfway through the novel after returning from the trenches of war, vividly recounted. The novel is set in the fictional village of Eskibahçe, based upon Kayaköy, a Greek village in the Turkish province of Fethiye, deserted after 1923, when a series of agreements that would define the present-day borders between Greece and Turkey meant the forced migration of all Christian Greeks from Anatolia to the Greek mainland, and Muslims in Greece to Anatolia.

These peoples left behind their homelands, becoming refugees in newly established countries, shattering an ancient multicultural geography. Kayaköy is today a derelict ghost town after many failed attempts of the Turkish government to lure Muslims from Greece to occupy the abandoned houses.   

This story was familiar to Onar: Born in the Aegean region of Turkey, in the town of Söke–some hundred kilometers from Izmir, the ancient Greek Anaia, renamed Soka in the Byzantine era–it was impossible for her not to be immersed in the cultural world of the population exchanges: A housekeeper from her childhood, Nazmiye Hanım, had come from Crete to Söke as a result of this population exchange, and often told mesmerizing tales about her homeland in the heavily accented Turkish of a native Greek speaker. Therefore, years later Onar identified Nazmiye Hanım with many of the characters in de Bernières’ narrative.

At the height of the Syrian crisis,  Onar saw in these birds without wings, part of “Perched” (there are ninety-nine birds in total), a slow meditation not only on the present circumstances but on the permanent waves of migration and spatial redistribution of peoples that form of the core of Mediterranean history since antiquity.

Ghost town of Kayaköy

In the words of Nadania Idriss, the founder of Berlin Glassworks (herself of Syrian background) where Onar completed blowing the swallows, The pigments and surface texture of each unique sculpture recall the multitude of hues that hold in Syrian daily life; and yet these swallows sit patiently, heads tilted downward as they try to understand the situation that has befallen them.”

It was Idriss who facilitated a conversation with the Museum of Islamic Art at the Pergamon Museum, and as a result the first stop in the journey of the wingless birds was the famous Aleppo Room at Pergamon in 2018. In fact, this might be the most spectacular of all Syrian interiors in the world, dated as far back as the early 17th century, and acquired in 1912 by German orientalist and archaeologist Friedrich Sarre in Aleppo. A conservator at the museum, Anke Scharrachs, then encouraged Onar to connect with other museums in possession of Damascene interiors (Scharrachs was involved in the restoration of the Dresden panels). 

And that’s how “Perched” traveled then to the Damascus Room in Dresden, and the year prior, to the Islamic Galleries at the Victoria & Albert Museum in London. A double metaphor grew out of the Aleppo Room at Pergamon with its spectacular colorful panels, laden with rich ornamental fauna, according to Stefan Weber, director of the Islamic Museum: The lively, colorful peacocks, ducks and pigeons on the wall panels stand in almost oppressive contrast to the small, fragile birds with clipped wings seated on the ground. Not only does the installation resonate with the sad fate of a once flourishing metropolis – now destroyed by the civil war – but it also picks on the reality of Syrian refugees in modern Turkey.”

From ambers, to amethysts and greys and blues, greens and pinks, the iridescent colored glass swallows hint at the archetypal role of birds in the ancient Mediterranean as both messengers and mediators, rather than silent spectators in the drama of mankind. 

 

3. The Debt to the Birds

Felekşan Onar’s “Perched” at the Damascus Room, Dresden Museum of Ethnology, 2020. Photo Credit: Dario J. Lagana .

When “Perched” opened at the Dresden Museum of Ethnology (part of the Staatliche Kunstsammlungen Dresden, one of the largest and oldest art and artifacts collections in the world), it was already September 2020, at the height of the pandemic, and it was no longer possible for anyone in Turkey, and not only refugees, to fly anywhere in Europe, so that the metaphor came home to roost: The artist Felekşan Onar was unable to travel for the exhibition.

At the time a monograph about the entire journey of “Perched” was in preparation, which saw the light in December, and was supposed to be launched at the museum, but with the closure of cultural institutions in Germany due to the pandemic this wasn’t possible either. For this monograph, de Bernières contributed a short story, “The Debt to the Birds” (Onar and de Bernières met for a public conversation at the Victoria & Albert), that sets the story and trajectory of Onar’s birds, on a different, much more complex itinerary.   

“The Debt to the Birds” is a deceptively simple tale about a boy that was given a gun by his father on a promise: You must promise me never to shoot a bird that you do not intend to eat, nor ever shoot a man unless you’re at war. Do you promise?” The young boy, like his father before him, was tempted by his father’s words and shot a sparrow, watching it die in the grass. Three years later, he found a young jackdaw with a broken wing, and brought it home to cure it, in order to repay his debt to the birds. The bird healed quickly and became his loyal companion, perched on his shoulder, and then he was instructed by his father to teach it how to fly, at the risk that it might fly away. When it flew off with a posse of jackdaws, never to return, both father and boy thought that they had finally repaid their debt to the birds. The boy became a father and passed on the gun to his son, but yet he did not tempt him by telling him not to shoot the birds.

Distant from the historical world of de Bernières’ “Birds Without Wings”, there happen to be a number of uncanny parallels between “The Debt to the Birds” and Aristophanes’ play “The Birds”, performed in 414 BC at the Dionysia festival in Athens.

These parallels ground the spatiotemporal framework of Onar’s “Perched” in a larger, aporetic logic, allowing the viewer (as if the audience of a live, theatrical performance) to move in between different temporalities, depending not only on the context. The Oriental interiors function here also as a springboard that releases the audience away from the historical context onto a nondescript area, free of allegory and actually also free of debt (I will return to this at the end). They are both are interrogative texts, set specifically against interpretation, by taking place outside any context whatsoever. One couldn’t name a specific timeframe in which the events unfold.  

Etching by Henry Gillard Glindoni (1852— 1913) of the 1883 performance of Birds at the University of Cambridge, Wellcome Library, London

This is in fact an anomaly in Aristophanes’ surviving plays, and by all means an innovation, although it is written in the conventional style of old comedy. “The Birds” contains no direct reference to the Peloponnesian War, and hardly any references to Athenian politics (although much has been theorized about political allegory in the play), and in the manner of Aesop’s Greek tales, it is set in remote, but undefined times.

In “The Debt to the Birds”, there are two oblique references to war, ‘never shoot another man unless at war’ in the promise, and the father having been a soldier himself. But we know nothing about when or where the events take place. There seems to be a search for redemption in both texts which ultimately fails, by means of different strategies: In Aristophanes, the conclusion of the play is the instauration of a human-led tyranny after the defeat of the gods, and in de Bernières a potential cycle of return to debt with the birds. 

In the larger scheme of Aristophanes’ play we know that it is a narrative about the foundation of a political community, but in such terms, so fantastic (two elderly Athenians convince the birds to create a walled city in the air, to prevent the aromas of sacrificial offerings from reaching the Olympian gods), that the cloud-cuckoo-land becomes less than a metaphor, offering something alien to the pattern of problem-and-solution of the comic universe, namely, a suspension.

For de Bernières, on the other hand, the smoothed out but always latent cycle of repetition between violence, debt and settlement, indicates a species of non-linear time, more akin to myth than to history. This time out of joint that cannot be put back together, resembles simultaneously the chaotic temporality of the ancients, marked only by events and decay, and the timelessness of Onar’s swallows, head tilted down, waiting and waiting, still at the Damascus Room. 

 

4. Unfamiliar Futures

Felekşan Onar’s “Perched” at the V&A Museum, Islamic Galleries, 2019. Photo Credit: Daniel Oduntan.

The resemblances between the ancient comedy and the contemporary tale do not end with the site of temporality. There’s a crucial passage in de Bernières: The essence of man is to be a prisoner, but the essence of a bird is to be free. A bird shows no passport at the borders. It pays no taxes. A bird has no pockets and when it dies it has no shroud.”

Not only is this passage immediately connected to a key fragment in his novel “Birds Without Wings” (“Man is a bird without wings, and a bird is a man without sorrows”) but also to Aristophanes’ play, when the starring humans, Euelpides and Pisthetaerus, ask the Hoopoe, formerly King Tereus who metamorphosed into a bird, what is it like to live with the birds? The idea of a utopian, moneyless, political community, resonates strongly in both authors, and the impossibility to realize this fantasy reveals in its aporias a tension that remains without offering resolution.

Aristophanes, Birds, 154-161

Euelpides
I would not be Opuntian for a talent. But come, what is it like to live with the birds? You should know pretty well.
Epops
Why, it’s not a disagreeable life. In the first place, one has no purse.
Euelpides
That does away with a lot of roguery.
Epops
For food the gardens yield us white sesame, myrtle-berries, poppies and mint.
Euelpides
Why, ‘tis the life of the newly-wed indeed.

Yet, the most interesting parallel between them, concerns the antiquity of birds, thus, once again, the question of the origins and new beginnings (and therefore of foundations) returns. In “The Debt to the Birds”, the father explains to the boy, “Did you know that dinosaurs are not extinct after all? We were all completely wrong. They’re beginning to think that the little dinosaurs survived, so now we have lizards and amphibians, and birds […] We look out of our windows and see the trees full of little dinosaurs!”

The story continues later, with a moving passage on the boy: “That evening the boy sat his jackdaw on its perch and looked into its face. He recognized the extreme antiquity of its being, and said to it ‘Your soul is millions of years more ancient than mine. My soul is young compared to yours.’ The bird looked back into his eyes and shook its wings a little, just as fledging does when hoping to be fed.” And furthermore: “That evening the boy repeated to the bird on its perch in his bedroom ‘Your soul is more ancient than mine.'”  

In these apparently innocuous passages, de Bernières is enlarging the historical space of Onar’s birds, breaking down the repetitive cycle of timelessness: Trapped inside an infinitely expanding present, these refugees moving across the world, but particularly visible in both Turkey and Germany, cannot articulate stories that narrate either past or future; they’re rooted in the presentism of despair that quickly devours the future as a temporal index, while at the same time not being entirely free from the immediate past. All recollection is fragmented. These birds, caged by traumatic events, acquiesce to a type of memory-work, structured by repetition and transitoriness, rather than a series of checkpoints in reality to orient yourself in the world.

The introduction of a primeval consciousness of time, a time before time, of unquantifiable properties, preceding the uniformity of historical experience, opens up a dialogue between de Bernières and Aristophanes, on a crucial passage from “The Birds”. In the one-sided agon of the play (there’s no antagonist, and the formal argument is constructed around convincing an already eager audience) a political cosmogony is laid out, by means of which the realization of a utopian city in the sky acquires legitimacy. The birds are now endowed with a new, previously unknown, master narrative. Enlarging the past works here in two directions: At first it provides a lasting consciousness of duration by probing the depth of origin, and then, it brings out an invented, alternative future, on which the past itself can be re-inscribed back, without the horizon of continuity losing its template.   

Aristophanes, Birds 465-485

Pisthetaerus
By Zeus, no! But I am hunting for fine, tasty words to break down the hardness of their hearts. To the Chorus. I grieve so much for you, who at one time were kings…
Leader of the Chorus
We kings? Over whom?
Pisthetaerus
…of all that exists, firstly of me and of this man, even of Zeus himself. Your race is older than Saturn, the Titans and the Earth.
Leader of the Chorus
What, older than the Earth!
Pisthetaerus
By Phoebus, yes.
Leader of the Chorus
By Zeus,but I never knew that before!
Pisthetaerus
That’s because you are ignorant and heedless, and have never read your Aesop. He is the one who tell us that the lark was born before all other creatures, indeed before the Earth; his father died of sickness, but the Earth did not exist then; he remained unburied for five days, when the bird in its dilemma decided, for want of a better place, to entomb his father in its own head.
Euelpides
So that the lark’s father is buried at Cephalae.
Pisthetaerus
Hence, if they existed before the Earth, before the gods, the kingship belongs to them by right of priority.
Euelpides
Undoubtedly, but sharpen your beak well; Zeus won’t in a hurry to hand over his scepter to the woodpecker.
Pisthetaerus
It was not the gods, but the birds, who were formerly the masters and kings over men; of this I have a thousand proofs. First of all, I will point you to the cock, who governed the Persians, before all other monarchs, before Darius and Megabazus. It’s in memory of his reign that he is called the Persian bird.

Detail from Felekşan Onar’s “Perched” at the Damascus Room, Dresden Museum of Ethnology, 2020. Photo Credit:  Dario J. Lagana.

Aristophanes, of course, was aware of a double-bind that we have carried over into the modernist imaginary: Cosmogonies are also structures of power and the pendulum can swing in any direction. Narratives can be manipulated as well, as the conclusion of “The Birds” exemplifies, under the new tyranny of Pisthetaerus. But as a mythology of origins, this cosmogony throws the body politic (of the birds) back to a future that is assumed to exist, as if the past had shed light on it (and yet fails).

When Euelpides and Pisthetaerus turned to the birds for help, and yet with a masterplan to create a new city in the sky, what they longed for was more than a political community itself; it was about an impossible political community where utopia and law could coexist. De Bernières subtly touches on this sentiment from the father’s viewpoint: “For us the birds represent all the freedom that we can never have. They give us something to aspire that we cannot reach. And sometimes when you aspire to what you cannot reach, one day after all, you will reach it.”

The long duration translates in de Bernières’ story into a multi-temporality, projected back on the journey of “Perched”: The journey of migrants towards Turkey and Europe contains many other journeys from the past, articulated here through the accumulation of cultural meanings embedded in the glass birds across time, and of which the current predicament is only one among the possible worlds. What emerges here is the possibility of an unfamiliar, yet un-created future, not necessarily the direct consequence of the past.

New foundations and master narratives can be anchored anywhere in the temporal index:  It is not only the history of Syrian refugees perched on the streets of Istanbul juxtaposed to the population exchanges between Greece and Turkey, but also the arrival of Byzas of Megara in the 6th century BC to found the city that three political orders later would become Istanbul, and the permanent condition of migration that shaped the Mediterranean cultural space since times before time (no less than the modern world) or the long journey of glass since the 4th millennium BC, appearing simultaneously in Syria, Eastern Mesopotamia and Ancient Egypt, long before it adorned the Ottoman palaces of Istanbul, challenging constantly our ideas about archaeological contexts and mobility networks. 

 

5. Whose Cultural Property?    

Felekşan Onar’s “Perched” at the Aleppo Room, Pergamon Museum, 2018. Photo: David von Caspar.

Yet it is significant that the journey of “Perched” has begun in European encyclopedic museums, and has been decidedly defined by their interiors and galleries. The encyclopedic museum, we recognize today, is deeply rooted in the experience of colonialism and the concept of universal history. This all-encompassing history, with Western mankind at the center, is a politically heliocentric universe, largely flawed, but at the same time, manufacturer of the colonial world-system, which has inflicted infinite violence on large swaths of the Earth.

As large collections of artifacts from all over the world, the Western museums perform what archaeologists Dan Hicks and Sarah Mallet,  have called in their work, the weaponization of time: The dispossession of both cultural property (in museums) and peoples (at the borders of nation states) is not simply circumstantial or situational, but ontological. Controlling time, by placing objects outside of everyday historical experience, often destroying complex systems and contexts along the way, suspends the temporality of objects under the unfulfillable promise of permanence. But isn’t the most fundamental reflection underlying “Perched”, the struggle of memory against the destruction of richly layered, pluriversal, complex contexts? An answer is difficult to arrive at.

And thinking about birds, is for us, always thinking also about the museum. Most of our knowledge about birds comes from the collections of encyclopedic natural museums, often mediated by the utilitarian beliefs of 19th century social science. Commenting on the 33,000 years old Water Bird in Flight from the Hohle Fels Cave in south-west Germany, carved in stone during the Upper Paleolithic, John Berger made an important remark for our context: “The supposition that animals entered the human imagination as meat or leather or horn is to project a 19th century attitude backwards across the millennia. Animals first entered the imagination as messengers and promises.” Is there an intrinsic relationship between promises and debts?

If we have a debt with the birds, what does this debt consist of? And if de Bernières is correct, and birds do in fact represent freedom, shouldn’t we be free also from debt? Hannah Arendt was one of the first modern thinkers to treat the faculty of making promises with philosophical seriousness, arguing that they help stabilize the world by making it predictable to the extent that it is humanly possible and that the reality of the space of appearances, where concerted power could arise, is guaranteed only by mutual promise or contract.

But it was David Graeber in his monumental anthropology of debt, who made the connection between debts and promises: “A debt is the perversion of a promise.” All human economies have been heretofore based on a system of debt and credit that boils down to trust between peoples, and not to barter as economic historians have chosen to believe. All revolutionary movements in the ancient world were defined by a single program: The cancellation of all debt.

Waterbird in Flight from the Hohle Fels Cave.

If the crucial question here is the settlement of a debt, could we try perhaps to free ourselves (this was a fundamental argument in Graeber’s work: we can only be free with each other, not from each other) and cancel our debt through a promise? The promise of time, of giving time, of giving time back, another idea I’m borrowing from Hicks and Mallet. What would it mean to give time back in the context of the birds in the Damascus Room?

All of the Oriental interiors in Germany were legally acquired as per extant documentation, and there’s no restitution claim for them as in the case of say the Benin Bronzes or the Parthenon Marbles (Nigerian artist Emeka Ogboh, recently staged an intervention in Dresden through ‘missing’ posters in the city over one of the Benin Bronzes at the museum) but the question remains whether the grand tour of collecting antiquities in the Near East during the era of the great archaeological discoveries wasn’t embedded in terrible imbalances of power that remain to this day and account for many violent conflicts in the region.

Archaeology has been the main factory of universal history, and as decolonization struggles all over the world inform us, there’s in fact no such a thing as universal heritage, because heritage isn’t a concrete set of parameters for the preservation of a common past, but instead, a notion and symptom of time crises, in order to (re)produce pasts as touristic sites, with the present tense as the boundary event of our world. 

Yet there’s something perplexing happening in the journey of Felekşan Onar’s swallows through these stately rooms in Berlin, London and Dresden: The birds, both as metaphor and artifact, imbued with so many blueprints of time, recent and distant, have begun accumulating contexts rather than merely reflecting them. With an eventual journey back from Germany to Istanbul in the horizon (a number of birds have been accessioned to the collection of the V&A Glass Gallery, and the permanent home of “Perched” will be in due course of time at the Dresden collection), they are now also pregnant with unfamiliar, open-ended, contingent futures.

Giving back time to cultural artifacts and peoples means essentially to re-insert them into temporality not only in absolute terms but through the relative durability of institutions and political agency. One can’t help but wonder after a reading of “Perched” through de Bernières and Aristophanes, whether it wouldn’t be possible to create new future-oriented cosmogonies for these artifacts and stories, beyond and outside closed museological systems. 

A striking passage in Aristophanes, during the first formal argument between the two elderly Athenians and the hoopoe,  brings to mind a poetic spatial metaphor: When Pisthetaerus asks the hoopoe to look up and down and what he has seen, the sky (οὐρανός) the bird says to have seen and the pole (πόλος) of the birds that Pisthetaerus refers to, do not carry identical meaning. The sky is a region of the atmosphere and outer space, a kind of unbounded expanse, whereas a pole, is a vaulted dome, the firmament, that in ancient cosmologies divided the primal sea from the dry land.

This firmament as David Konstan argues, is a bounded space, ‘not everywhere’, which necessarily grounds the utopian city in the sky within the framework of the polis, a community. Pisthetaerus goes on to add that this pole is a place (τόπος), expression which Seferis identifies with a country or fatherland in Mythistorima X. There’s a circumscribed place to stand on, even in the sky. 

Aristophanes, Birds, 178-196

Pisthetaerus
What have you seen?
Epops
The clouds and the sky.
Pisthetaerus
Very well! is not this the pole of the birds then?
Epops
How their pole?
Pisthetaerus
Or, if you like it, their place. And since it turns and passes through the whole universe, it is called ‘pole.’ If you build and fortify it, you will turn your pole into a city. In this way you will reign over mankind as you do over the grasshoppers and you will cause the gods to die of rabid hunger.
Epops
How so?
Pisthetaerus
The air is between earth and heaven. When we want to go to Delphi, we ask the Boeotians for leave of passage; in the same way, when men sacrifice to the gods, unless the latter pay you tribute, you exercise the right of every nation towards strangers and don’t allow the smoke of the sacrifices to pass through your city and territory.Very well! is not this the pole of the birds then?
Epops
By earth! by snares! by network! by cages! I never heard of anything more cleverly conceived; and, if the other birds approve, I am going to build the city along with you.

The gift of time that cancels debt, at the heart of “Perched”, is a with-world, beyond the space of appearances and the realm of objects, which according to Sophie Loidolt, in her study of Arendt’s political intersubjectivity, “emerges through our intersubjective relations and which holds all these dimensions of meaning together in one world where we can exist as humans.” The gift is a promise, the promise of multiple meanings embedded in concrete, actual experienced time, looking backwards and forwards, without the grip of the instant. Where’s eternity then? 

*

“Perched” by Felekşan Onar is on view at the Dresden Museum of Ethnology, September 5, 2020 through February 21, 2021 (the museum is currently closed due to pandemic regulations), the monograph “Perched: Felekşan Onar”, published by Paul Holberton Publishing, with contributions by Felekşan Onar, Nadania Idriss, Stefanie Bach, Louis de Bernières, Stefan Weber, Mariam Rosser-Owen and Glenn Adamson, is currently available, in English and German.

Detail from Felekşan Onar’s “Perched”, V&A Museum, Islamic Galleries, 2019. Photo Credit: Daniel Oduntan.

Arie Amaya-Akkermans is a writer and art critic based in Istanbul. He’s also tweeting about Classics, continental philosophy, contemporary art and Turkey/Greece.

Bibliography

  • Hannah Arendt, The Human Condition, University of Chicago Press, 1958
  • Gregory Dobrov, “Aristophanes’ Birds and the Metaphor of Deferral”, in Arethusa, Vol. 3 No. 2 (Fall 1990)
  • David Graeber, Debt: The First 5000 Years, Melville House, 2012
  • Francois Hartog, Regimes of Historicity: Presentism and Experiences of Time”, Columbia University Press, 2016
  • Dan Hicks & Sarah Mallet, Lande: The Calais ‘Jungle’ and Beyond, Bristol University Press, 2019, open access
  • David Konstan, “A City in the Air: Aristophanes’ Birds”, in Arethusa, Vol. 3, No. 2 (Fall 1990)
  • Sophie Loidolt, Phenomenology of Plurality: Hannah Arendt on Political Intersubjectivity, Routledge Research in Phenomenology, 2019 
  • Annegret Nippa & Anke Scharrahs, The Damascus Room in Dresden – A Treasure of Ottoman Interior Design in Germany, 2003, online
  • Anke Scharrahs, “Insight into a Sophisticated Painting Technique: Three Polychrome Wooden Interiors from Ottoman Syria in German Collections and Field Research in Damascus”, in Studies in Conservation, Volume 55, 2010 

The Power of the Cold

Some sophistic considerations from Plutarch

On The Principle of Cold (Moralia 945)

“Is there truly some power of the cold, Favorinus, a principle and substantial thing, just as fire is the principle power of heat, by the presence of and through sharing of which each thing becomes cold? Or is coldness the subtraction of warmth just as people say that darkness is bereavement of life and stillness the absence of movement? Cold does seem to be still while warm has movement while the cooling of higher temperatures occurs by no presence of a force but instead thanks to the separation of heat. For heat appears to leave at the very same time that the rest of a substance cools. And steam, which water emits as it boils, escapes with the passing of the warmth. For this reason the larger amount loses mass when it cools as it loses the heat and nothing else replaces it.

As a starting point, shouldn’t someone be suspicious of this argument that it denies many types of forces by defining them not as characteristics or aspects but instead as the opposite of aspects and characteristics—for example, weight is the negation of lightness, hardness the absence of softness, black the opposite of whiteness, bitter of sweet, and of these rest of matters each develops an opposite force rather than mere negation….”

  1. Ἔστι τις ἄρα τοῦ ψυχροῦ δύναμις, ὦ Φαβωρῖνε, πρώτη καὶ οὐσία, καθάπερ τοῦ θερμοῦ τὸ πῦρ, ἧς παρουσίᾳ τινὶ καὶ μετοχῇ γίνεται τῶν ἄλλων ἕκαστον ψυχρόν· ἢ μᾶλλον ἡ ψυχρότης στέρησίς ἐστι θερμότητος, ὥσπερ τοῦ φωτὸς τὸ σκότος λέγουσι καὶ τῆς κινήσεως τὴν στάσιν; ἐπεὶ καὶ τὸ ψυχρὸν ἔοικε στάσιμον εἶναι, κινητικὸν δὲ τὸ θερμόν· αἵ τε τῶν θερμῶν καταψύξεις οὐδεμιᾶς παρουσίᾳ γίνονται δυνάμεως, ἀλλ᾿ ἐκστάσει θερμότητος· ἅμα γὰρ ἀπιοῦσ᾿ ὅλη2φαίνεται καὶ ψύχεται τὸ ὑπολειπόμενον· ὁ γὰρ ἀτμός, ὃν τὰ ζέοντα τῶν ὑδάτων μεθίησιν, ἀπιόντι τῷ θερμῷ συνεκπίπτει· διὸ καὶ μειοῖ τὸ πλῆθος ἡ περίψυξις ἐκκρίνουσα τὸ θερμόν, ἑτέρου μηδενὸς ἐπεισιόντος.
  2. Ἤ πρῶτον μὲν ἄν τις ὑπίδοιτο τοῦ λόγου τούτου τὸ πολλὰς τῶν ἐμφανῶν ἀναιρεῖν δυνάμεων, ὡς οὐ ποιότητας οὐδ᾿ ἕξεις, ἕξεων δὲ καὶ ποιοτήτων στερήσεις οὔσας,3βαρύτητα μὲν κουφότητος καὶ σκληρότητα μαλακότητος, τὸ μέλαν δὲ τοῦ λευκοῦ καὶ τὸ πικρὸν τοῦ γλυκέος, καὶ ὧν ἕκαστον ἑκάστῳ πέφυκεν ἀντικεῖσθαι κατὰ δύναμιν, οὐχ ὡς ἕξει στέρησις·

    Image result for ancient greek and roman cold
    Not dressed for this weather

Tawdry Tuesday: What Did the Greeks Eat and Screw for 10 Years at Troy?

Students often complain about the lack of verisimilitude in the heroic diet–even though the Odyssey  mentions that Odysseus’ companions fish and hunt birds before they kill the cattle in Thrinacia, students find something odd about a diet of meat, bread and wine.

Apparently ancient comic poets did too–and they were concerned about the reality of heroic sexual habits as well. Obviously, as the beginning of book 1 of the Iliad makes clear, eligible ladies were not in excess supply.

[Warning: this next passage is a little, well, explicit]
Athenaeus, Deipnosophists 1.46

“Sarpedon makes it clear that they ate fish when he says that being captured is similar to hunting with a fishing net. In the comic charm, Eubolos also says jokingly:

Where dies Homer say that any of the Achaeans
Ate fish? They only ever roast meat—he never has
Anyone of them boil it at all!
And not a one of them sees a single prostitute—
They were stroking themselves for ten years!
They knew a bitter expedition, those men who
After taking a single city went back home
With assholes much wider than the city they captured.

The heroes also didn’t allow freedom to the birds in the air, but they set snares and nets for thrushes and doves. They practices for bird hunting when they tied the dove to the mast of the ship and shot arrows at it, as is clear from the Funeral Games. But Homer leaves out their consumption of vegetables, fish and birds because of gluttony and because cooking is inappropriate, he judged it inferior to heroic and godly deeds.”

prostitute
The Achaeans did not have this option…

ὅτι δὲ καὶ ἰχθῦς ἤσθιον Σαρπηδὼν δῆλον ποιεῖ (Ε 487), ὁμοιῶν τὴν ἅλωσιν πανάγρου δικτύου θήρᾳ. καίτοι Εὔβουλος κατὰ τὴν κωμικὴν χάριν φησὶ παίζων (II 207 K)·

ἰχθὺν δ’ ῞Ομηρος ἐσθίοντ’ εἴρηκε ποῦ
τίνα τῶν ᾿Αχαιῶν; κρέα δὲ μόνον ὤπτων, ἐπεὶ
ἕψοντά γ’ οὐ πεποίηκεν αὐτῶν οὐδένα.
ἀλλ’ οὐδὲ μίαν ἀλλ’ ἑταίραν εἶδέ τις
αὐτῶν, ἑαυτοὺς δ’ ἔδεφον ἐνιαυτοὺς δέκα.
πικρὰν στρατείαν δ’ εἶδον, οἵτινες πόλιν
μίαν λαβόντες εὐρυπρωκτότεροι πολὺ
τῆς πόλεος ἀπεχώρησαν ἧς εἷλον τότε.

οὐδὲ τὸν ἀέρα δ’ <οἱ> ἥρωες τοῖς ὄρνισιν εἴων ἐλεύθερον, παγίδας καὶ νεφέλας ἐπὶ ταῖς κίχλαις καὶ πελειάσιν ἱστάντες. ἐγυμνάζοντο δὲ πρὸς ὀρνεοθηρευτικὴν [καὶ] τὴν πελειάδα τῇ μηρίνθῳ κρεμάντες ἀπὸ νηὸς ἱστοῦ καὶ τοξεύοντες ἑκηβόλως εἰς αὐτήν, ὡς ἐν τῷ ἐπιταφίῳ δηλοῦται (Ψ 852). παρέλιπε δὲ τὴν χρῆσιν τῶν λαχάνων καὶ ἰχθύων καὶ τῶν ὀρνίθων διά τε τὴν λιχνείαν καὶ προσέτι τὴν ἐν ταῖς σκευασίαι ἀπρέπειαν, ἐλάττω κεκρικὼς ἡρωικῶν καὶ θείων ἔργων.

Happy Halloween: Werewolves in Greek and Roman Culture

This week we charged full speed down a lykanthropic rabbit-hole in the annual tradition.

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.

Continue reading “Happy Halloween: Werewolves in Greek and Roman Culture”

4 Years of Presidential Memories: Herodotus on Being Greek and Resisting Tyranny

7.102.1-7

“After he heard these things, Dêmarêtos was saying the following: “King, since you order me to tell the truth completely and to say things that someone might not be caught in a lie by you later, poverty has always been Greece’s companion, but virtue is acquired, nurtured by wisdom and strong custom. By cultivating this excellence, Greece has warded off both poverty and tyranny.”

῾Ως δὲ ταῦτα ἤκουσε Δημάρητος, ἔλεγε τάδε· «Βασιλεῦ, ἐπειδὴ ἀληθείῃ διαχρήσασθαι πάντως κελεύεις ταῦτα λέγοντα τὰ μὴ ψευδόμενός τις ὕστερον ὑπὸ σέο ἁλώσεται, τῇ ῾Ελλάδι πενίη μὲν αἰεί κοτε σύντροφός ἐστι, ἀρετὴ δὲ ἔπακτός ἐστι, ἀπό τε σοφίης κατεργασμένη καὶ νόμου ἰσχυροῦ· τῇ διαχρεωμένη ἡ ῾Ελλὰς τήν τε πενίην ἀπαμύνεται καὶ τὴν δεσποσύνην.

 

8.144.1-3

“To the Spartan representatives, the Athenians answered as follows: “It was a very human response that the Spartans feared we might make an agreement with the Barbarian. But because we believe it shameful that the Athenian spirit should shudder so, know that there is no amount of gold anywhere or land so exceeding in beauty and location which we would ever wish to take to align with the Persians and enslave Greece.

“There are many, serious reasons which would prevent us from doing these things, even if we were willing: first and greatest are the temples and dedications to the gods which were burned and destroyed. This compels us to seek extreme vengeance rather than making agreements with the man who contrived it. Second, is our common Hellenic blood, our shared language, the shrines of the gods and the sacrifices, customs and ways of living we keep in common—never would it be right for the Athenians to betray these things.

Know this too if you did not happen to know it before, as long as a single Athenian survives there will never be a treaty with Xerxes. Still, we give you thanks for your concern about us, that you have worried for out destroyed home enough that you are willing to supply and feed our people.”cropped-hoplites.jpg

πρὸς δὲ τοὺς ἀπὸ Σπάρτης ἀγγέλους τάδε. ‘τὸ μὲν δεῖσαι Λακεδαιμονίους μὴ ὁμολογήσωμεν τῷ βαρβάρῳ, κάρτα ἀνθρωπήιον ἦν: ἀτὰρ αἰσχρῶς γε οἴκατε ἐξεπιστάμενοι τὸ Ἀθηναίων φρόνημα ἀρρωδῆσαι, ὅτι οὔτε χρυσός ἐστι γῆς οὐδαμόθι τοσοῦτος οὔτε χώρη κάλλεϊ καὶ ἀρετῇ μέγα ὑπερφέρουσα, τὰ ἡμεῖς δεξάμενοι ἐθέλοιμεν ἂν μηδίσαντες καταδουλῶσαι τὴν Ἑλλάδα. ’

‘ [2] πολλά τε γὰρ καὶ μεγάλα ἐστι τὰ διακωλύοντα ταῦτα μὴ ποιέειν μηδ᾽ ἢν ἐθέλωμεν, πρῶτα μὲν καὶ μέγιστα τῶν θεῶν τὰ ἀγάλματα καὶ τὰ οἰκήματα ἐμπεπρησμένα τε καὶ συγκεχωσμένα, τοῖσι ἡμέας ἀναγκαίως ἔχει τιμωρέειν ἐς τὰ μέγιστα μᾶλλον ἤ περ ὁμολογέειν τῷ ταῦτα ἐργασαμένῳ, αὖτις δὲ τὸ Ἑλληνικὸν ἐὸν ὅμαιμόν τε καὶ ὁμόγλωσσον καὶ θεῶν ἱδρύματά τε κοινὰ καὶ θυσίαι ἤθεά τε ὁμότροπα, τῶν προδότας γενέσθαι Ἀθηναίους οὐκ ἂν εὖ ἔχοι. ’

‘ [3] ἐπίστασθέ τε οὕτω, εἰ μὴ πρότερον ἐτυγχάνετε ἐπιστάμενοι, ἔστ᾽ ἂν καὶ εἷς περιῇ Ἀθηναίων, μηδαμὰ ὁμολογήσοντας ἡμέας Ξέρξῃ. ὑμέων μέντοι ἀγάμεθα τὴν προνοίην τὴν πρὸς ἡμέας ἐοῦσαν, ὅτι προείδετε ἡμέων οἰκοφθορημένων οὕτω ὥστε ἐπιθρέψαι ἐθέλειν ἡμέων τοὺς οἰκέτας. ’

The Difficulty of Translating From Greek to Latin

Aulus Gellius, Attic Nights, 11.16.1-9

“We have frequently noted more than a few words or expressions which we cannot say in a few words, as in Greek, and which, even if we use as many words as possible to say them, cannot be articulated as clearly or pointedly in Latin as the Greeks can convey in a few words. For recently, when a book of Plutarch came my way and I was reading the title, which was “Peri polypragmosunes”, a man who didn’t know Greek asked me whose book it was and what it was written about. I spoke the name of the writer immediately, but the subject of the book was something I hesitated on.

At first, since I did not believe that it would be an elegant translation if I said that the book was De Negotiositate (about busyness), I began to search my mind for some other description which, as the saying goes, would express it “word for word”. But there was nothing which I could remember that I read nor anything I could invent that would not in some way be harsh or silly—if I made a new word out of multitude and negotium, in the same way we say “multifaceted” or “multicolored” or “multiform”. But it would be said no less awkwardly than if one were to translate into a single world polyphilia (having many friends), polytropia (of many ways) or polysarkia (with much flesh). Therefore, after I spent a while thinking silently, I responded that it did not seem possible to me to communicate the subject in a single word and that, as a result, I was considering how to convey the meaning of that Greek word with a phrase.”

“Therefore, beginning many affairs and working on all of them is called in Greek polypragmosunê” I said, “and the label communicates that this book is written about this matter.” Then, that unrefined man, misled by my incomplete and unclear words and thinking that polypragmonê is a virtue, said “Certainly, then, this man Plutarch, whoever he is, exhorts us to engage in business, and that very many endeavors should be pursued with dedication and speed, and he has written the name of this virtue, about which he plans to speak, on the book itself, just as you say, with propriety.” I answered “Not at all, in truth. For that is in no way a virtue, that subject which is anticipated by the Greek name on the book. And Plutarch does not do what you believe—and I did not mean to say that. Indeed, he dissuades us in this book as much as he is able from too varied and frequent and unnecessary planning or seeking of too many types of obligations. But” I added, “I do see that the root of your mistake is in my lack of eloquence, the way that I could not express in many words and with clarity what a single Greek word indicates completely and plainly.”

Adiecimus saepe animum ad vocabula rerum non paucissima, quae neque singulis verbis, ut a Graecis, neque, si maxime pluribus eas res verbis dicamus, tam dilucide tamque apte demonstrari Latina oratione possunt, quam Graeci ea dicunt privis vocibus. 2 Nuper etiam cum adlatus esset ad nos Plutarchi liber et eius libri indicem legissemus, qui erat peri polypragmosynes, percontanti cuipiam, qui et litterarum et vocum Graecarum expers fuit, cuiusnam liber et qua de re scriptus esset, nomen quidem scriptoris statim diximus, rem, de qua scriptum fuit, dicturi haesimus. 3 Ac tum quidem primo, quia non satis commode opinabar interpretaturum me esse, si dicerem librum scriptum “de negotiositate”, aliud institui aput me exquirere, quod, ut dicitur, verbum de verbo expressum esset. 4 Nihil erat prorsus, quod aut meminissem legere me aut, si etiam vellem fingere, quod non insigniter asperum absurdumque esset, si ex multitudine et negotio verbum unum compingerem, sicuti “multiiuga” dicimus et “multicolora” et “multiformia”. 5 Sed non minus inlepide ita diceretur, quam si interpretari voce una velis polyphilian aut polytropian aut polysarkian. Quamobrem, cum diutule tacitus in cogitando fuissem, respondi tandem non videri mihi significari eam rem posse uno nomine et idcirco iuncta oratione, quid ucliet Graecum id verbum, pararam dicere.

“Ad multas igitur res adgressio earumque omnium rerum actio polypragmosyne” inquam “Graece dicitur, de qua hunc librum conpositum esse inscriptio ista indicat”. VII. Tum ille opicus verbis meis inchoatis et inconditis adductus virtutemque esse polypragmosynen ratus: “hortatur” inquit “nos profecto nescio quis hic Plutarchus ad negotia capessenda et ad res obeundas plurimas cum industria et celeritate nomenque ipsius virtutis, de qua locuturus esset, libro ipsi, sicuti dicis, non incommode praescripsit”. VIII. “Minime” inquam “vero; neque enim ista omnino virtus est, cuius Graeco nomine argumentum hoc libri demonstratur, neque id, quod tu opinare, aut ego me dicere sentio aut Plutarchus facit. Deterret enim nos hoc quidem in libro, quam potest maxime, a varia promiscaque et non necessaria rerum cuiuscemodi plurimarum et cogitatione et petitione. Sed huius” inquam “tui erroris culpam esse intellego in mea scilicet infacundia, qui ne pluribus quidem verbis potuerim non obscurissime dicere, quod a Graecis perfectissime verbo uno et planissime dicitur”.

Roman Mosaic

Tales of Incest Amid Secret Assignations

Plutarch, Parallel Stories 311 22

“Because of Aphrodite’s rage, Kinyras’ daughter Smyrna lusted after her father and revealed the compulsion of this love to her nurse. The nurse brought her to her father with a trick. For she claimed that a neighboring girl wanted him but was ashamed to come to him in the open. Kinyras slept with her. At some point, because he wanted to know who his lover was, he asked for a light. But when he saw her, he pursued her with a sword as the most wanton woman. Aphrodite changed her into a tree of the same name thanks to her own forethought. This is the story Theodorus tells in his Metamorphoses

Thanks to the rage of Venus, Valeria Tusculanaria was lusting after her father Valerius and she shared the secret with her nurse. The nurse tricked the father, saying that there was some young neighborhood girl who wanted to sleep with him but was too ashamed to be seen. The father, drunk, kept asking for a torch, but the nurse got ahead of him and woke the daughter. She went to the country because she happened to be pregnant.

At some point, she threw herself over a cliff and the child survived. She stayed pregnant and eventually gave birth to Aegipan, named Silvanus in Latin. Valerius, overcome by despair, threw himself off the same cliff. Aristeides the Milesian tells this story in book three of his Italica.”

22. ΣΜΥΡΝΑ Κινύρου θυγάτηρ διὰ μῆνιν Ἀφροδίτης ἠράσθη τοῦ γεννήσαντος, καὶ τῇ τροφῷ τὴν ἀνάγκην τοῦ ἔρωτος ἐδήλωσεν· ἡ δὲ δόλῳ ὑπῆγετὸν δεσπότην· ἔφη γὰρ γείτονα παρθένον ἐρᾶν αὐτοῦ καὶ αἰσχύνεσθαι ἐν φανερῷ προσιέναι. ὁ δὲ συνῄει. ποτὲ δὲ θελήσας τὴν ἐρῶσαν μαθεῖν φῶς ᾔτησεν, ἰδὼν δὲ ξιφήρης τὴν ἀσελγεστάτην ἐδίωκεν. ἡ δὲ κατὰ πρόνοιαν Ἀφροδίτης εἰς ὁμώνυμον δένδρον μετεμορφώθη· καθὰ Θεόδωρος ἐν ταῖς Μεταμορφώσεσιν.

ΟΥΑΛΕΡΙΑ Τουσκλαναρία κατὰ μῆνιν Ἀφροδίτης ἐρασθεῖσα Οὐαλερίου τοῦ πατρὸς τῇ τροφῷ ἀνεκοίνωσεν· ἡ δὲ τὸν δεσπότην δόλῳ ὑπῆλθεν, εἰποῦσα ὡς αἰδεῖται κατ᾿ ὄψιν μίσγεσθαι, τῶν τε γειτόνων εἶναί τινα1 παρθένον. καὶ οἰνωθεὶς ὁ πατὴρ ᾔτει φῶς, ἡ δὲ τροφὸς φθάσασα διήγειρεν, ἥτις ἐπὶ τὰς ἀγροικίας ᾔει ἐγκύμων τυγχάνουσα· ποτὲ δὲ κατὰ κρημνῶν ἐνεχθείσης, τὸ βρέφος ἔζη· κατιοῦσα δ᾿ ἐγκύμων κατέστη καὶ εἰς τὸν ὡρισμένον χρόνον ἐγέννησεν Αἰγίπανα, κατὰ τὴν Ῥωμαίων φωνὴν Σιλουᾶνον. ὁ δὲ Οὐαλέριος ἀθυμήσας κατὰ τῶν αὐτῶν ἔρριψε κρημνῶν· ὡς Ἀριστείδης Μιλήσιος ἐν τρίτῳ Ἰταλικῶν.

Cinyras valt zijn dochter Myrrha aanMetamorfosen van Ovidius