“I will not ask about one thing, to avoid being a joke, Whom each of these men stood to oppose in battle Or from which enemy’s lance he received his wound. For these words are hollow to those who hear them And those who repeat them: who can stand in a battle And then report truly who was brave or not As the lance went passing before his eyes?”
“Old age, hard to wrangle, how much I hate you! And I hate all those people who try to lengthen life By feeding it with foοd and drink and medicine, Turning aside the force so they might not die. It is better—since they don’t help the world at all— For them to die and go away, making space for the young.”
Proclus, Commentary on Plato’s Parmenides 1025.29-37
“Our soul experiences many wanderings and turns—one comes from the imagination, another emerges in the beliefs before these, and other occurs in understanding. But the life governed by the mind is free from vagrancy and this is the mystical harbor of the soul into which the poem leads Odysseus after the great wandering of his life and where we too, if we want to be saved, may find our mooring.”
“My nurse was the Island of Tyre but the country which bore me
Was Atthis which rests in Assyrian Gadara.
I, Meleager, came as a shoot of the Muses from Eukrates
And I ran first in play with the Menippiean Graces.
If I am Syrian, why is it a surprise? Friend, we inhabit
One country, the world. One Khaos gave all mortals this life.
I inscribe these words on a tablet before my tomb, now very old.
For old age is Hades’ neighbor next door.
Offer a word to bid this chatty old man farewell,
And may you come to a chatty old age too.”
A friend of mine (not a classicist) found a vintage Latin Magnetic Poetry set and gave it to me. It’s not so much for Latinists as it is for English-speakers familiar with Latin: it’s got all the familiar phrases from law (habeas corpus) and Catholicism (in nomine patris) and general fancy talk (caveat emptor).
I decided to give it a go, and see what syntactically coherent sentences and phrases I could put together in classical-ish Latin. I set myself the rule of using every word in the kit, and not reusing any word that wasn’t duplicated in the kit. Don’t bother scanning them, as they’re not metrical, but who’s to say they aren’t Saturnians?
Some of them sound like they could plausibly have been written or at least thought by an actual historical Roman:
ars firma uitae est scientia in libris life’s reliable skill is book-knowledge
homini est nihil beati humankind has no share of happiness
Magna Mater omnes forma mala amat the Great Mother loves everyone who has a bad body
uidi populum facile errare et labi ad bellum
I’ve seen the populace easily going astray and slipping towards war
aurea uox mea non est pura my golden voice is not pure
sic ego rebus maximis gratias non emeritus sum that’s why I haven’t earned thanks for my super-great accomplishments
Some had a feeling of banter that could, if you squint real hard, fit in a comedy of Plautus:
amor ab ipso bono quem hominem amas; te uici, Maria
I’m loved by the very nobleman whom you love; I’ve beaten you, Maria
idem sum de quo delirium est I’m the very guy everyone’s crazy about
tu Brute carpe artes pauperes salis dum gratia patris fiat tibi absurdo
you, Brutus, pick out the impoverished arts of wit so long as you’ve got your dad’s good will, you ridiculous man
aue homo quid in curriculum uadis de quo non bene cogito?
hey, dude, why are you wandering onto the racetrack that I don’t think well of?
Others entered the danger zone, of either hanky panky or sacrilege:
ueni ad opus sub toga filii proximi I got to work underneath the toga of the boy next door
coitus habeas tremens ante nauseam may you, trembling, have sex to the point of nausea
pax alma mirabilis pacifici Satanas domini beati toto anno aureo in cetera terra beata
the wondrous nourishing peace of the peace-bringing blessed lord, o Satan, within the entire golden year in the remaining blessed land
nosce unum partum e culpa dei: filius caueat de te pater et de poena dura et nomine minimo delicti
recognize one born out of God’s mistake: the Son is on guard against you, Father, and against harsh punishment and against the slightest name of criminal action
But the best ones took me into the realm of the bizarre:
lupus bipes Christum in flumina sequitur minima cum cura
a wolf walking on its hind legs chases Christ into the rivers he don’t give a fuck
alter emptor lupi mortui exit e gloria populi the dead wolf’s other buyer has lost the good reputation of the public
uiam inueniam aut bona faciam absentia nulla fide
I’ll find a way— or I’ll make all my property disappear with no regrets
mortem malo sed corpus magnum uirile ago per uitam annum perpetuum
I prefer death but I drag my giant manly body through life for an endless year
And in case it wasn’t clear what the whole Magnetic Poetry set was trying (with middling results) to do, notice that one standalone magnet at the top of the photo: LATIN.
I managed to use every single word in the kit, which means this page has the sum of all Latin Magnetic Poetry options — so now it’s your turn to mix & match. Post your handiwork in the comments!
“I reject you, speaker of fate, divine protector of truth.
I am in debt only to my father.
I am a double-parricide, more guilty, I fear, since
I killed my mother. She was done in by my crime.
Apollo, you liar, I have outdone my evil destiny.
I pursue lying paths with a trembling step.
Pulling myself away with each slowed print,
I guide my dark sight with a shaking right hand.
I move forward, unsure foot after slipping foot,
Go, flee, disappear. But, stop, don’t fall on mother.
Any who are tired at heart and overcome with sickness,
Lugging around a half-dead body, look at me: I am leaving.
Lift up your gaze to see, a lighter sky follows
My back. Whoever lies in isolation
And still breathes can now take a deep breath
Of clean air. Go, go and help those cast aside.
I take the deadly sicknesses away from this land with me.
Brutal Fate, terrible shaking of Disease,
Starvation and dark Death, maddening Sickness,
Leave with me, Come with me. These are the guides who please me.”
Fatidice te, te praesidem veri deum
compello: solum debui fatis patrem;
bis parricida plusque quam timui nocens
matrem peremi: scelere confecta est meo.
o Phoebe mendax, fata superavi impia.
Pavitante gressu sequere fallentes vias;
suspensa plantis efferens vestigia
caecam tremente dextera noctem rege.
—ingredere praeceps, lubricos ponens gradus,
i profuge vade—siste, ne in matrem incidas.
Quicumque fessi pectore et morbo graves
semianima trahitis corpora, en fugio, exeo:
relevate colla, mitior caeli status
post terga sequitur. quisquis exilem iacens
animam retentat, vividos haustus levis
concipiat. ite, ferte depositis opem:
mortifera mecum vitia terrarum extraho.
Violenta Fata et horridus Morbi tremor,
Maciesque et atra Pestis et rabidus Dolor,
mecum ite, mecum. ducibus his uti libet.
The following is not really a single poem but rather a collection of lines cited in Athenaeus, Plutarch and others and attributed to Cleobulina
Cleobulina fr. 3.1
“I have seen a man fashioning bronze on another man with fire
Fitting it so well that he joined them in the blood.
I saw a man stealing and deceiving violently—
To accomplish this with violence is the most just thing.
A donkey corpse struck me on the ear with its horny shin.”
These lines are poetic riddles: the first one, according to Athenaeus, is about using a cupping glass to draw blood to the surface of the skin) the last one is about a Phrygian flute (which was made from a donkey bone)
I have been taking the end of the world seriously, but not really that seriously, for a while now. Last fall, I wrote an essay on Nicola Gardini’s Long Live Latin, called “Loving Latin at the End of the World“. Last Spring, I tried to think about the fate of Classical Studies in some kind of an apocalypse, sketching out ideas for “The Future of the Past.” Eidolon has had the market cornered on Classics and the end of the world, with Nandini Pandey’s article “Classics in a time of Quarantine” hard on the heels of their End of the World Edition. But, then things jumped off the screen into the real.
For the past few weeks the best adjective I can use to describe my general feelings is “elegiac”—and I mean this in the rather modern reception of the word which emphasizes its funereal tone, its use in epitaphs, rather than its metrical/generic use. Being part of a slow-motion disaster, a horrendous and at times horrifying transformation of our human communities, is in some ways indescribable, ineffable. In emails and with others I find myself trying to calm with the same phrases we all use about being in “unchartered territory” and how we need to be patient and reserve judgment for later.
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
As I have talked about on Scott Lepisto’s Itinera podcast, my formative years were spent reading, in the isolation that living in a rural area before the dawn of the internet can bring you. I started graduate school at NYU a few weeks before 9/11 and my primary coping strategy—apart from drinking too much—was throwing myself into Homer. And for this disaster, I am a professor.
So, in a way, I should be really well-prepared emotionally for COVID-19’s brand of slow-motion destruction. I think this is probably true, on an intellectual level; on an emotional one, however, I am probably a wreck. And part of my particular brand of being a wreck is (1) I sleep even less well than usual and (2) fragments of poems fill my waking hours and sleep.
These are not fragments of my own, but poems ancient and modern that have been part of my life, either in education or from reading. I have engaged with the world through written words for nearly as long as I can remember—they are comfort, paradigms for guidance, distraction, etc. But poetry has a special place in my heart. Long before I poorly translated Latin and Greek for twitter, I spent time trying to write poetry (and was quite limited at it). These years gave me practice reading, memorizing, and keeping poetry close to heart.
And in the heart, there’s no timeline, there’s no catalog to separate things. So, when Langston Hughes jumps to mind with his Advice:
Folks, I’m telling you,
birthing is hard
and dying is mean-
so get yourself
a little loving
I can’t help but thinking of Catullus’ Vivamus mea Lesbia (Carm. 5) and his “We must sleep a lonely endless night” (nox est perpetua una dormienda) summoning to mind 11th grade’s Andrew Marvell’s great beginning, from To His Coy Mistress “Had we but world enough and time” eventually receding into what I still find ridiculous in his “vegetable love should grow.” Poems join me when, like Billy Pilgrim, I come unstuck in time.
There’s no shortage of poems exhorting us to live. There’s Ashurbanipal’s famous epitaph, dishing out the wisdom straight: “Know well that you are mortal: fill your heart / By delighting in the feasts: nothing is useful to you when you’re dead.” (εὖ εἰδὼς ὅτι θνητὸς ἔφυς σὸν θυμὸν ἄεξε,/ τερπόμενος θαλίῃσι· θανόντι σοι οὔτις ὄνησις). For every serious injunction tomemento mori or carpe diem with Horace there are humorous ones too, like Martial’s poem 5.58 which ends, “Postumus, even living today is too late; / he is the wise man, who lived yesterday” (Cras uiues? Hodie iam uiuere, Postume, serum est: / ille sapit quisquis, Postume, uixit heri.)
Ending the World in a Poem
The problem is that I don’t know many poems about the end of the world. There is not too much about the world ending in the modern sense in ancient Greek and Roman texts that I know of prior to the period that gives us the Biblical Revelation. Greek and Roman Cosmogony tends towards the cyclical and not the epoch-ending stuff we see in Norse Ragnarok. There are certainly a lot of disasters and they tend to reflect natural disasters like the flood which appears inset in the Gilgamesh Narrative, as part of the Sumerian Atrahasis, in the Biblical Genesis, or in the tales we have of the Greek Deucalion who survived a flood too.
Ovid’s version of this flood in the Metamorphoses is an unmaking of the creation that begins his poem. In the creation, everything which before was all mixed together and “compressed because of its own weight” (et pressa est gravitate sua, 1.30) is reorganized when ‘some god’ “separated the mass and apportioned the portion into parts” (congeriem secuit sectamque in membra redegit, 1.33). In anger over Lykaon’s sacrifice of human flesh, Zeus attacks the land until “the land and sea were showing no difference” (Iamque mare et tellus nullum discrimen habebant, 1.291). Of course, humans and their cities rise again, under the threat/promise that destruction is always imminent for hubristic and impious souls.
It is not that ancient authors are not concerned with death, but rather not with species death, with the eradication of humans as we know them. Perhaps this is because such an act prior to our anthropocene era of extinction was unthinkable, beyond the ken of the ancients. Perhaps, it is really too big for most of us to handle. (Which helps to explain our rapid, even if wildly imperfect, response to COVID-19 and our absurd denial about climate change.)
The end of a single life functions as easily as a metaphor for the end of humankind as the end of humankind does for the end of an individual life. (And this later function, I think, is important in popular, modern eschatology which uses civilization ending narratives to force us to think about mortality.) Mediterranean thought does show some evidence of the metaphor of one life as all of humankind, Philo sees the death of the individual as of no consequence to art “unless unless we believe that the death of one individual person in turn visits ruin upon humankind” (εἰ μὴ καὶ ἀνθρώπου τινὸς τῶν ἐν μέρει θάνατον φθορὰν ἐργάσασθαι φήσομεν ἀνθρωπότητι, The Worse Attack the Better 206). In this, he echoes lines in the Qu’ran and the Talmud making similar interrelational claims.
When it’s over, I don’t want to wonder
if I have made of my life something particular, and real.
I don’t want to find myself sighing and frightened,
or full of argument.
I don’t want to end up simply having visited this world
I first read Oliver with the poet Olga Broumas when I was an undergraduate at Brandeis. Olga encouraged us to read a book of poetry a week and I kept that up through my first semester of graduate school until Hektor took over completely.
Is there any reason for poetry to exist beyond the contemplation of life and death? I am sure there is, but many days I might be unable to hear it, searching instead in its words for that reflection of what I fear and seek myself. Modern poetry can differ from the major themes of ancient death in contemplating in how it communicates its stark simplicity: poets like Ibykos and Mimnermus acknowledge death is all around us while a modern talent like Gwendolyn Brooks turns our ear to the deaths of the unknown in The Boy Died in my Alley:
Without my having known.
Policeman said, next morning,
“Apparently died alone.”
“You heard a shot?” Policeman said.
Shots I hear and Shots I hear.
I never see the dead.
Greek poetry often celebrates the infamous and the famous alike, leaving forgotten the passing of most. (Although there are memorials of even minor figures if you look hard enough.) Brooks remarks on the momentous deaths that fail even to bring us pause. (And in this I shudder to think of the humanitarian disaster being prepared in our American prisons and on the streets for the homeless and unknown.)
But many poems home in on our personal relationship with death. Death’s coming is unexpected, as Pablo Neruda writes inNothing But Death “Death arrives among all that sound / like a shoe with no foot in it, like a suit with no man in it.” Yet, of all things in life it should be fully expected, fully anticipated. We know it is coming: we can prepare.
Perhaps we cannot. Perhaps the end of the life of an individual is ultimately unthinkable. We cannot see our way out of our bodies because they are all we have and no matter how many times we read Plato’s Phaedo the basic assertion—that because we think and exist now we must always have existed and just don’t remember it—does not square with the intuitive knowledge that I did not exist before so I will not exist again. Sometimes, we can embrace this, or at least make it more concrete as F. G. Lorca does in Gacela of the Dark Death, when expanding on the image of death as sleep:
I want to sleep the sleep of the apples,
I want to get far away from the busyness of the cemeteries.
I want to sleep the sleep of that child
who longed to cut his heart open far out at sea.
But this peace, this sense of surrender is beyond me. When wading into the news these days, I am too often reminded of the wordsDylan Thomas wrote for his father in is final years:
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Rage in/Against Poems
Can a Homerist think of rage without thinking of Achilles? If I think back to the notion of the death of the individual as a metaphor for humankind (and the reverse), the Iliad itself is something different for me Everyone knows that Achilles has two choices: he can live a long life, without fame; or he can die young with glory. But the choice he does not have at all is about whether or not he has to die.
The Rage the poem sings from line 1 is variously anger over Agamemnon’s slight to his honor or his anger at Patroklos’ death. This second cause is his more famous rage, that which kills Hektor and drives much of the action of the poem. On the other side of that rage, as my friend Emily Austin emphasizes in her work, is longing, a desire for what is lost in the form of Patroklos. And Patroklos, like Enkidu for Gilgamesh, is a stand in for the hero himself.
There are 16 books of the Iliad before Patroklos dies. Perhaps a unifying feature of Achilles’ rage is anger over death and life itself? When we find Achilles in book 9, contemplating his own life, he insists “The coward and the noble man are held in the same honor / the lazy man and the one who does a lot die the same.” (ἐν δὲ ἰῇ τιμῇ ἠμὲν κακὸς ἠδὲ καὶ ἐσθλός· / κάτθαν’ ὁμῶς ὅ τ’ ἀεργὸς ἀνὴρ ὅ τε πολλὰ ἐοργώς, Il. 9.320-321). This is typically taken as indicating Achilles’ existential issue with the “heroic code” or Achaean society. But if we take the Achilles from the Odyssey more seriously, the one who tells Odysseus not to “sweet-talk me about death” (μὴ δή μοι θάνατόν γε παραύδα, 11.488), Achilles’ rage is more like Thomas’. It is that deep, fundamental incredulity that I who am now alive must one day be dead.
And in giving in to rage, Achilles lost much of the time he would have had to be alive—this, is, perhaps one of the lessons of the Odyssey. Perhaps Achilles would have benefited from reading Audre Lorde’s A Litany for Survival:
And when the sun rises we are afraid
it might not remain
when the sun sets we are afraid
it might not rise in the morning
when our stomachs are full we are afraid
when our stomachs are empty we are afraid
we may never eat again
when we are loved we are afraid
love will vanish
when we are alone we are afraid
love will never return
and when we speak we are afraid
our words will not be heard
but when we are silent
we are still afraid
So it is better to speak
we were never meant to survive.
Creating Something with Poems
One of the more amusing memes to circulate over the past few weeks has been about the accomplishment of some famous people during plagues. Newton invented Gravity! Shakespeare wrote King Lear! The least we can do is put on pants!
The call to use this time of isolation well is predictably met by the objection that such expectations are a little bit unreasonable. (And also conditioned by some of the very dysfunctional aspects of capitalism central to our problems.) The desire to read something long and complex is understandable, but the reality is that our attention spans are fragmented. Why not start small? Why not read a poem?
Now, for me, a ‘poem’ is an expansive term: a song is a poem. This is especially true in Ancient Greece where song culture was a pervasive part of all life. No one ‘read’ Homer and Sappho in early Greece: they listened, they recited, they returned to it. (So listening is equal to if not better than reading in some ways). Modern high and low culture distinctions have obscured this; they too often deny the title “poem” to creations that do what poems do.
A poem should be defined not by some external aesthetics but by the internally sensed impact of what a poem does in the world: it creates. Our word poem comes from Greek poiêma, related to the verb poieô, “to make”. The Greek noun poiêtês, then, can be seen as “maker, creator”. This is an important meaning to me because poetry creates space, it creates worlds. A poem’s space is that of communion between its audience and others; it helps us see ourselves in humanity through that Aristotelian “identification” and it helps us develop humanity in ourselves, by seeing the world through other perspectives. Poetry should invite us, challenge us, and encourage us to see more than ourselves. And this, for me, is the goal of all reading, to bridge the gaps between our subjective consciousnesses, to help us see others as real and worthy of our attention, worthy of our regard, and worthy of our love.
Here in Scotland, for centuries, a poet was called a "makar." Today the national poet, appointed by parliament, is called "The Scots Makar."https://t.co/D9xpWw3F9j
Poetry in this sense is an act of creation, a reaffirmation of creation, by constituting and then providing access to the commonwealth of human understanding. My favorite metaphor for this from the ancient world is that passage from Plato’s Ion where Socrates describes poetic inspiration as being like a magnet imbuing successive links of metal with its force. The last link in the chain is the audience, the middle link is the performer/medium, the penultimate is the poet/creator and the source is “god/the muses”. For me, that source, that deity, is the human collective, the grand and sometimes random total sum of our shared memory (the Muses!), the shared wisdom and experience that helps us to define ourselves, to situate ourselves within a larger whole.
So I guess what I’m saying is that you should read a poem. Feel something, remember it. Share it with others. Carry it around in your head, in your heart. In these days of uncertainty and isolation, this is one way to be less alone. Or, in a way, even when alone, to be more together.
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.”
We will be putting up a call in the next few days for people to send in their own passages, favorite poems, and even posts for the site during the next few weeks. In the meantime, if you want something posted or would like to write a guest post, email me or Erik.
A random list of poets whose work was in earlier versions of this:
Franz Wright, James Wright, Nikki Giovanni, Mark Strand, Linda Gregg, Jack Gilbert, Maya Angelou, Rainer Maria Rilke, W. S. Merwin, Louise Gluck,Emily Dickinson, Robert Frost, e. e. cummings, Adrienne Rich. At some point I just started keeping only American poets of the 20th century, ignoring way too much from the rest of the world but, for what it’s worth, keeping true to my own education. Happy to have further suggestions.
Also, Patrick Stewart is reading sonnets online:
2. When I was a child in the 1940s, my mother would cut up slices of fruit for me (there wasn't much) and as she put it in front of me she would say, "An apple a day keeps the doctor away." How about, “A sonnet a day keeps the doctor away”? So…here we go: Sonnet 1. pic.twitter.com/kDoMNhdqcI
"On the sunny side a long empty beach and the light striking diamonds on the huge walls. No living thing, the wild doves gone and the king of Asini, whom we’ve been trying to find for two years now, unknown, 1/9