Ancient Greek Quotes
Quotes tagged as "ancient-greek"
Showing 1-15 of 15
“The value of Greek prose composition, he said, was not that it gave one any particular facility in the language that could not be gained as easily by other methods but that if done properly, off the top of one's head, it taught one to think in Greek. One's thought patterns become different, he said, when forced into the confines of a rigid and unfamiliar tongue. Certain common ideas become inexpressible; other, previously undreamt-of ones spring to life, finding miraculous new articulation. By necessity, I suppose, it is difficult for me to explain in English exactly what I mean. I can only say that an incendium is in its nature entirely different from the feu with which a Frenchman lights his cigarette, and both are very different from the stark, inhuman pur that the Greeks knew, the pur that roared from the towers of Ilion or leapt and screamed on that desolate, windy beach, from the funeral pyre of Patroklos.
Pur: that one word contains for me the secret, the bright, terrible clarity of ancient Greek. How can I make you see it, this strange harsh light which pervades Homer's landscapes and illumines the dialogues of Plato, an alien light, inarticulable in our common tongue? Our shared language is a language of the intricate, the peculiar, the home of pumpkins and ragamuffins and bodkins and beer, the tongue of Ahab and Falstaff and Mrs. Gamp; and while I find it entirely suitable for reflections such as these, it fails me utterly when I attempt to describe in it what I love about Greek, that language innocent of all quirks and cranks; a language obsessed with action, and with the joy of seeing action multiply from action, action marching relentlessly ahead and with yet more actions filing in from either side to fall into neat step at the rear, in a long straight rank of cause and effect toward what will be inevitable, the only possible end.
In a certain sense, this was why I felt so close to the other in the Greek class. They, too, knew this beautiful and harrowing landscape, centuries dead; they'd had the same experience of looking up from their books with fifth-century eyes and finding the world disconcertingly sluggish and alien, as if it were not their home. It was why I admired Julian, and Henry in particular. Their reason, their very eyes and ears were fixed irrevocably in the confines of those stern and ancient rhythms – the world, in fact, was not their home, at least the world as I knew it – and far from being occasional visitors to this land which I myself knew only as an admiring tourist, they were pretty much its permanent residents, as permanent as I suppose it was possible for them to be. Ancient Greek is a difficult language, a very difficult language indeed, and it is eminently possible to study it all one's life and never be able to speak a word; but it makes me smile, even today, to think of Henry's calculated, formal English, the English of a well-educated foreigner, as compared with the marvelous fluency and self-assurance of his Greek – quick, eloquent, remarkably witty. It was always a wonder to me when I happened to hear him and Julian conversing in Greek, arguing and joking, as I never once heard either of them do in English; many times, I've seen Henry pick up the telephone with an irritable, cautious 'Hello,' and may I never forget the harsh and irresistible delight of his 'Khairei!' when Julian happened to be at the other end.”
― The Secret History
Pur: that one word contains for me the secret, the bright, terrible clarity of ancient Greek. How can I make you see it, this strange harsh light which pervades Homer's landscapes and illumines the dialogues of Plato, an alien light, inarticulable in our common tongue? Our shared language is a language of the intricate, the peculiar, the home of pumpkins and ragamuffins and bodkins and beer, the tongue of Ahab and Falstaff and Mrs. Gamp; and while I find it entirely suitable for reflections such as these, it fails me utterly when I attempt to describe in it what I love about Greek, that language innocent of all quirks and cranks; a language obsessed with action, and with the joy of seeing action multiply from action, action marching relentlessly ahead and with yet more actions filing in from either side to fall into neat step at the rear, in a long straight rank of cause and effect toward what will be inevitable, the only possible end.
In a certain sense, this was why I felt so close to the other in the Greek class. They, too, knew this beautiful and harrowing landscape, centuries dead; they'd had the same experience of looking up from their books with fifth-century eyes and finding the world disconcertingly sluggish and alien, as if it were not their home. It was why I admired Julian, and Henry in particular. Their reason, their very eyes and ears were fixed irrevocably in the confines of those stern and ancient rhythms – the world, in fact, was not their home, at least the world as I knew it – and far from being occasional visitors to this land which I myself knew only as an admiring tourist, they were pretty much its permanent residents, as permanent as I suppose it was possible for them to be. Ancient Greek is a difficult language, a very difficult language indeed, and it is eminently possible to study it all one's life and never be able to speak a word; but it makes me smile, even today, to think of Henry's calculated, formal English, the English of a well-educated foreigner, as compared with the marvelous fluency and self-assurance of his Greek – quick, eloquent, remarkably witty. It was always a wonder to me when I happened to hear him and Julian conversing in Greek, arguing and joking, as I never once heard either of them do in English; many times, I've seen Henry pick up the telephone with an irritable, cautious 'Hello,' and may I never forget the harsh and irresistible delight of his 'Khairei!' when Julian happened to be at the other end.”
― The Secret History
“O Zeus! Why have you given us clear signs to tell
True gold from counterfeit; but when we need to know
Bad men from good, the flesh bears no revealing mark?”
― Medea
True gold from counterfeit; but when we need to know
Bad men from good, the flesh bears no revealing mark?”
― Medea
“In ancient Greek you use the verb ἁρπάζειν, which comes over into Latin as rapio, rapper, raptus sum and gives us English rapture and rape—words stained with the very early blood of girls, with the very late blood of cities, with the hysteria of the end of the world.”
― Norma Jeane Baker of Troy
― Norma Jeane Baker of Troy
“Well, when do we act like sheep: when we act for the sake of the belly, or of our sex-organs, or at random, or in a filthy fashion, or without due consideration, to what level have we degenerated?
To the level of sheep.”
― Epictetus. The Discourses as Reported By Arrian. Vol. I. Books 1 and 2. With an English Translation By W. A. Oldfather
To the level of sheep.”
― Epictetus. The Discourses as Reported By Arrian. Vol. I. Books 1 and 2. With an English Translation By W. A. Oldfather
“Streams of the sacred rivers flow uphill;
Tradition, order, all things are reversed:
Deceit is men's device now,
Men's oaths are gods' dishonour.
Legend will now reverse our reputation;
A time comes when the female sex is honoured;
That old discordant slander
Shall no more hold us subject.”
― Medea
Tradition, order, all things are reversed:
Deceit is men's device now,
Men's oaths are gods' dishonour.
Legend will now reverse our reputation;
A time comes when the female sex is honoured;
That old discordant slander
Shall no more hold us subject.”
― Medea
“Sappho isn't really meant to be read. It's meant to be sung and there were dances for the songs, also. Sappho was a performance artist, and now she exists as a textual project. She was saved by her critics, and by people who wrote of her in letters to each other. As the morning sun lathers the pool through the long windows and stripes the opposite walls in gold, I look at the fragment translations. She's paper, too. A paper poet for a paper boy. People claim to be translating her but they don't, really, they use her to write poems from as they fill in the gaps in the fragments. A duet. She may have meant for these to be solos but they're duets now, though the second singer blends in with the first. The first singer in this case is offstage, like in the old days of stars who couldn't sing, a real singer hidden behind a curtain, which is the velvet drape of history.”
― Edinburgh
― Edinburgh
“How strange, that bad soil, if the gods send rain and sun,
Bears a rich crop, while good soil, starved of what it needs,
Is barren; but man's nature is ingrained - the bad
Is never anything but bad, and the good man
Is good: misfortune cannot warp his character,
His goodness will endure.”
― Hecuba
Bears a rich crop, while good soil, starved of what it needs,
Is barren; but man's nature is ingrained - the bad
Is never anything but bad, and the good man
Is good: misfortune cannot warp his character,
His goodness will endure.”
― Hecuba
“... Misfortunes in the end
Grow tired of plaguing; storms in time blow themselves out.
So luck will change from man to man; and everything
Yields place to something else. Despair is cowardly;
The brave man holds fast to confidence and hope.”
― Herakles
Grow tired of plaguing; storms in time blow themselves out.
So luck will change from man to man; and everything
Yields place to something else. Despair is cowardly;
The brave man holds fast to confidence and hope.”
― Herakles
“The men of old times had little sense;/If you called them fools you wouldn't be far wrong./They invented songs, and all the sweetness of music,/To perform at feasts, banquets, and celebrations;/But no one thought of using/Songs and stringed instruments/To banish the bitterness and pain of life.”
― Medea
― Medea
“What the spirit of man can aim at achieving is a dignity which remains when the gods have withdrawn or joined the side of evil, a serene despair which knows that the world contains no higher hope than the human spirit can find within itself.”
― Medea and Other Plays
― Medea and Other Plays
“The six philosophical schools, whose principles are explained in the Darsana Sastra, comprise all the metaphysics of the old Academy, the Stoa, the Lyceum; nor is it possible to read the Vedanta, or the many fine compositions in illustration of it, without believing that Pythagoras and Plato derived their sublime theories from the same fountain with the Sages of India.”
―
―
“If Greek culture has influenced Western civilization, we must not forget that, in spite of the inestimable benefits of Greece to India, the ancient Greeks themselves were also sons of Hindu thought. As has already been mentioned, Pythagoras went to India in order to draw from the very source the principles which constituted the foundation of his doctrine and which in its turn influenced Plato, Socrates and even Aristotle to a certain degree. Apollonius of Tyanae, Plotin, did they not follow in the footprints of their predecessors, in directing themselves towards far-off India? China, Persia, Islam – the three-fourths of Asia – these civilizations which had already been influenced by the missions of Asoka, were they not attracted by India’s wisdom?
That is the reason why ancient India is our Mother. In the measure that we Westerners make our intellectual and spiritual genealogy reach back to India shall we learn to love her and to consider in its true light her wisdom, the patrimony of every man.”
―
That is the reason why ancient India is our Mother. In the measure that we Westerners make our intellectual and spiritual genealogy reach back to India shall we learn to love her and to consider in its true light her wisdom, the patrimony of every man.”
―
“We are told by the Greek writers that the Indians were the wisest of nations, and in moral wisdom, they were certainly eminent.”
―
―
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