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The Roman Jews (1). Are They the Most Ancient Romans Surviving?

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Man of Roma:

No thoughts to add. Only to remind Lichanos that Romans do not surrender (and don’t take prisoners.)

ψ

On a side note, the one-post-a-day discipline has ended so we’ll now post once every three days.

ψ

More time for living? For writing?

Flavia: “Sei un universo introverso”
The Old Man: “Sei un universo estroverso”

Why on earth 2 opposite universes (not to mention one being a matriarch the other a patriarch, one a man one a woman) EVER got together?

ψ

Exeunt … *quarelling*

Exeunt … *smiling*

Mario: “BASTA!”

Originally posted on Man of Roma:

An image of the Roman Ghetto. Giggetto restaurant and Augustus' Porticus Octaviae behind

An image of the Roman Ghetto. The famous Giggetto restaurant on the left with Augustus’ Porticus Octaviae in the background

“Who’s more Roman than the Roman Jews? Some of us date back from the times of Emperor Titus [39-81 AD]” – Davide Limentani told me in the early 80s.

Limentani was (and perhaps still is) at the head of a big wholesale and retail glass and silver company in Rome. I had phoned him three days earlier for an interview that had to be published on the Roman daily La Repubblica.

Ditta LimentaniI remember a lovely spring day in the old alleys of the Roman Ghetto, with swallows crying over a glorious blue sky. He was sitting at his desk in the aisle of an impressively ramified, catacomb-like store in via Portico d’Ottavia 47 (look at its stripped-down sign above,) crammed with an immense variety of crystal, pottery…

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“Why we still like the Germans (and will always like them).” 2

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Ulrich Beck:
“Europe’s crisis is mental”

Ulrich Beck (born 1944). German sociologist

Ulrich Beck (born 1944) professor at the Ludwig-Maximilians-University Munich until 2009 now holds a professorship at Munich University and at the London School of Economics. Wikimedia (source)

 

Ulrich Beck, who coined the term risk society, is a professor of Sociology at Munich University and at the London School of Economics (read further.)

[full text of an article appeared (April 10, 2014) on the Roman daily La Repubblica. The said article is here paraphrased, translated and abridged by MoR]

Dante, Mozart
and the future of Europe

Dante & Mozart. Accordind to Beck, Europe's future restarts from them (many themes from our blog reverberate to this and other notions by Ulrich Beck (not many doubts about it)

Dante & Mozart. According to Beck, Europe’s future restarts from them (many themes from our blog reverberate to this and other notions by Ulrich Beck. Source from the Cisl Scuola web site

Europe’s crisis is not economical, it is mental. It is a lack of imagination as for the good life beyond consumerism.

Most critics of Europe are caught in nostalgic nationalism. French intellectual Alain Finkielkraut, for example, argues that Europe was created against the Nations.”

Such criticism – Beck observes– is based on a national illusion and presupposes a national horizon as for Europe’s present and future.

To these critics, Beck retorts:

“Open up your eyes! Europe and the whole world is going through a big transition.”

He then brings forth two paradoxical examples:

All British media are full of accusations against the EU. Eurosceptic Britain is nonetheless shaken by a wave of European public opinion unknown before.

China, as a result of its investment policy & economical dependence, has long been an informal member of the euro-zone. Should the Euro fail, China would get a hard blow.

Cosmopolitanism vs
citizens of the world

It is clear that advancing cosmopolitanism does not produce citizens of the world. On the contrary, the need for boundaries gets stronger as the world gets more cosmopolitan.

“Out of Euro, out of EU!”

Thus French Marine Le Pen‘ s extreme right-wing NF has won in France.

Putin, on the other hand, has collected the ‘need of boundaries of the Russians’ with his motto:

“Where there are Russians, there is Russia.”

However, such aggressive Russian nationalism – Beck continues – proves that one cannot project the past of the nations onto the future of Europe without destroying the future of Europe itself.

ψ

Ulrich Beck: “What if Putin’s ethno-nationalism were a salutary shock for Europe plagued by national selfishness?”
Alain Finkielkraut: “We Europeans are traumatized by Hitler!”
Ulrich Beck: “Yet, Hitler despised the Nation and desired to replace it with the Race. So it seems we want the nations to atone for Hitler’s folly. Due to their Holocaust trauma, should the Germans therefore erase nationalism entirely?
No, but we have a common premise here:

The catastrophe of the Holocaust, of Hitler and Nazi Germany (with the Nuremberg trials).

Such tragedy has helped us develop the notion of crimes against humanity. Hence a new dimension saw its birth, European law, which relativizes national law. At the same time a new world-wide scope of humanity was born : the ‘never again’ ethics.

Then Beck adds two arguments:

The world and us need more than ever a “European vision” for coping with the ills of globalization (climate change, poverty, inequality, 1% vs 99% etc. in the US, war, violence). The idea is that the mobilizing force of a forewarned disaster can found a European identity.

Also …. [to be continued]

Capitoline She-Wolf. Rome, Musei Capitolini. Public domain

Previous installment:

“Why we still like the Germans (and will always like them).” 1

A Berber from the Monti rione makes (today) jewels. The Berber Augustine (2000 years ago) shook Antiquity & Rome. Both changed (never to change)

_public_media_croci tuareg

Italian original

[Draft. We’ll stop posting for a few days, this blog crying badly for graphical renovation]

A Berber jeweler,
in today’s Subura

Not far from our house and from Rome’s ancient Subura there’s a little shop where a Berber Tuareg – a tall, dark-skinned man of a majestic beauty – makes splendid jewels that perpetuate a multimillenial tradition – married, inter alia, with an equally beautiful woman from Northern Italy.

ψ

The Samnite: “An ‘acquired’ Roman, one might say.”
The Tobacconist *nodding, with a radiant smile*

A Berber metaphysician
2,000 years ago

Saint Augustine and Saint Monica by Ary Scheffer (1846)

Saint Augustine and Saint Monica, his mother. 1846 painting by French Ary Scheffer (Wikipedia, click for credits and larger image)

Another ‘acquired’ Roman – born almost 2000 years earlier (and Berber too from his mother’s side) was Augustine of Hippo.

More precisely, Aurelius Augustinus Hipponensis (354 – 430 CE,) his family having been legally Roman for more than a century.

Augustinus didn’t make jewels but he almost certainly wore some very similar to those made in the small shop of the Monti rione.

The African sage ruminated, instead, his vast soul tormented.

Augustine praying in his study, by Sandro Botticelli, 1480, Chiesa di Ognissanti, Florence, Italy. Credits

Augustine praying in his study, by Sandro Botticelli, 1480 (detail.) Chiesa di Ognissanti, Florence, Italy. Credits and entire painting

From such torment stemmed The Confessions and most of all The City of God – two visionary works that only a Berber-Punic Algerian could conceive.

An explosion of visions, ideas, and mysticism.

ψ

The pagan gods were shaken (but adapted themselves).

The myth of Rome was nearly destroyed – the City of God, metaphysically celestial, going way beyond the Urbs beacon of the Orb (though Rome adapted and survived, licking her wounds.)

Tomba di S. Agostino nella Basilica di San Pietro in Ciel d'Oro a Pavia

Tomba di S. Agostino nella Basilica di San Pietro in Ciel d’Oro a Pavia, Italia. Source (bigger picture)

 

Governess of a billion souls (of nations no more), with a Pontifex Maximus, Francesco, shepherd at last and close to the poor (like Augustine), Rome the eternal looks today at the greatest intellectual of the first millennium CE (on this side of the planet.)

With deep love and profound respect.

 

ψ

We, in our lowest pochezza, nurture the same feelings.

Without forgetting, allow us, that our roots are, and remain, pagan.

 

Capitoline She-Wolf. Rome, Musei Capitolini. Public domain

Nota. L’idea mistico terrena di Roma, cemento ideologico dell’Impero Romano, venne indebolita, e l’impero con essa, dall’esplosione creativa di Agostino.

Ma l’idea non morì (e mai morirà).

ψ

Si pensi solo che gli ultimi due imperi del continente europeo dissoltisi con la prima guerra mondiale erano guidati da uno Zar, russo, e da un Kaiser, tedesco. Sia Zar che Kaiser significano Cesare, ovvero:

Gaius Julius Caesar, Pontifex Maximus e iniziatore dell’impero romano.

[Se uno credesse ai segni … ma non ci crediamo]

 

 

 

Un berbero di Monti (oggi) fabbrica gioielli. Il berbero Agostino (due millenni fa) scuote l’antichità e Roma. Che cambiano (per non cambiare mai)

_public_media_croci tuareg

English translation

[We’ll stop posting for a few days, this blog crying badly for graphical renovation]

Gioiellere berbero,
nella Suburra, oggi

Non lontano da casa nostra e dalla Suburra c’è un negozietto dove un berbero Tuareg – uomo alto, dalla pelle scura e di maestosa bellezza – fa gioielli meravigliosi che continuano una tradizione plurimillenaria (tra l’altro essendosi unito a una donna anch’essa molto bella, del Nord Italia).

ψ

The Samnite: “Un romano ‘acquisito’, si potrebbe dire”.
The Tobacconist *annuendo, un sorriso luminoso*

Pensatore Berbero,
2000 anni fa

Saint Augustine and Saint Monica by Ary Scheffer (1846)

Saint Augustine and Saint Monica, his mother. 1846 painting by French Ary Scheffer (Wikipedia, click for credits and larger image)

‘Acquisito’ lo fu un altro romano di quasi 2000 anni fa, berbero anch’egli da parte di madre, Agostino d’Ippona.  Per la precisione, Aurelius Augustinus Hipponensis (354 – 430 d.C), di famiglia legalmente romana, appunto, da più di un secolo.

Augustinus non faceva gioielli (ne avrà solo indossati di simili a quelli del Tuareg di Monti).

Augustinus in verità pensava. E si travagliava.

Augustine praying in his study, by Sandro Botticelli, 1480, Chiesa di Ognissanti, Florence, Italy. Credits

Augustine praying in his study, by Sandro Botticelli, 1480 (detail.) Chiesa di Ognissanti, Florence, Italy. Credits and entire painting

Da tale travaglio nacquero Le Confessioni e soprattutto La Città di Dio, due libri geniali che solo un punico berbero algerino poteva scrivere.

Un’esplosione di visioni, idee e misticismo.

ψ

Gli dei pagani ne furono scossi (ma si adattarono).

ll mito di Roma ne fu quasi distrutto – la Città di Dio metafisicamente celeste andava oltre l’urbe faro terreno dell’orbe (ma Roma si adattò e sopravvisse, leccandosi le ferite).

Tomba di S. Agostino nella Basilica di San Pietro in Ciel d'Oro a Pavia

Tomba di S. Agostino nella Basilica di San Pietro in Ciel d’Oro a Pavia, Italia. Source (bigger picture)

 

Governatrice di un miliardo di anime (non più di popoli), con un Pontifex Maximus, Francesco, finalmente pastore e vicino alla povera gente (come Augustinus), Roma l’eterna guarda oggi al più grande intellettuale del primo millennio d.C.

Con amore profondo, e con rispetto.

ψ

Noi, nella nostra infima pochezza, proviamo gli stessi sentimenti.

Pur non dimenticando, ci sia concesso, che le nostre radici sono e restano pagane.

Capitoline She-Wolf. Rome, Musei Capitolini. Public domain

Nota. L’idea mistico terrena di Roma, cemento ideologico dell’Impero Romano, venne indebolita, e l’impero con essa, dall’esplosione creativa di Agostino.

Ma l’idea non morì (e mai morirà).

ψ

Si pensi solo che gli ultimi due imperi del continente europeo dissoltisi con la prima guerra mondiale erano guidati da uno Zar, russo, e da un Kaiser, tedesco. Sia Zar che Kaiser significano Cesare:

Giulio Cesare, Pontifex Maximus e iniziatore dell’impero.

[Se uno credesse ai segni … ma non ci crediamo]

 

 

 

“Why we still like the Germans (and will always like them).” 1

Cologne Cathedral and Hohenzollern Bridge. Germany

Cologne Cathedral and Hohenzollern bridge, Germany (Source . Courtesy of Bankoboev.ru)

[draft, in progress]

Note. This post regards the Germans and other folks from the point of view of South Europe and of Germany

The Mediterranean & the Germans

There may be problems with the Germans (the Euro crisis, the upcoming European elections, etc.)

Transient problems, in truth.

Since so many things unite us: 2000 years ago – when they began to merge with us – and today, when the merger goes further.

Where to?

To an increasingly united Europe.

Four friends
at the Caffè Capitolino

caffetteria_large

On the caffè Capitolino‘s spectacular terrace above the temple of Jupiter Optimus Maximus’s foundations (on the Capitoline Hill) four friends gather and chat, sipping their lemon granita.

ψ

Fulvia: “You make it simple. 2000 years ago and today: we’ve always been colliding.”
Old Man: “You’re wrong, Fulvia. Back then: fusion not collision. And today …”
Extropian: “… today fusion too. Despite your bursting breasts  – *winking at her*; Fulvia, 64, is still a beauty – OM is right. Just this: the collapse of the Italian economy would result in a (symmetrical) collapse of half of the German industry, since we provide many of the components for Germany’s manufacturing.”
The Tobacconist: *Nodding*

Roma-gourmet_CafCapTerraz

[The Tobacconist pops in here for the first time. His perfectly organized store gently flooded by classical (preferably German) music, TT is steeped in Hegel, Kant & the Nichiren Buddhism. Both the highbrow and the lowbrow from his rione ask for his consilium (or wisdom advice.)

Ulrich Beck:
“Europe’s crisis is mental”

Ulrich Beck (born 1944). German sociologist

Ulrich Beck (born 1944). German sociologist, professor at the Ludwig-Maximilians-University Munich until 2009, he holds a professorship at Munich University and at the London School of Economics [Wikimedia. Click for credits and to enlarge]

Ulrich Beck:

[full text; paraphrased, translated – draft – and abridged by MoR]

Europe’s crisis is not economical, it is mental. It is a lack of imagination as for the good life beyond consumerism.

Most critics of Europe are caught in nostalgic nationalism. French intellectual Alain Finkielkraut, for example, argues that Europe was created against the Nations.

Such criticism – Beck answers back – is based on the national illusion and presupposes a national horizon as for Europe’s present and future.

To these critics Beck retorts: open up your eyes! Europe and the whole world is going through a transition.

Two paradoxical examples:

  • All British media are full of accusations against the EU, but Eurosceptic Britain is also shaken by a wave of European public opinion never known before.
  • China, as a result of its investment policy and so on has long been an informal member of the euro-zone: should the Euro fail, China would get a hard blow.

[to be continued]

Capitoline She-Wolf. Rome, Musei Capitolini. Public domain

Next installment:

“Why we still like the Germans (and will always like them).” 2

Obesssion and balance in creativity. Greeks’ and Romans’ Golden Mean (& Paolo Buonvino’s, a Sicilian composer.) Dialectics (5b)

diary

Read the original non pruned post and discussion.

Draft. Pictures might be changed /added.

Notice. I’ll stop posting until April 23rd. Easter reflection (a notion you can expand chez Tarot psychologique.)

ψ

James Evershed Agate (1877 – 1947), British diarist and critic, once wrote:

“Now that I am finishing the damned thing I realise that diary-writing isn’t wholly good for one, that too much of it leads to living for one’s diary instead of living for the fun of living as ordinary people do.”

What is said above applies equally to blog-writing / writing tout court since, when dealing with passions the challenge is always the right measure.

The ancient Romans developed the fine art of cuisine so that the delights of life were augmented, but there was undeniably gluttony in some milieus.

I remember that, much younger, I stopped composing music since it had become an obsessive pastime that basically swallowed me up.

Life should be harmonious. A single part should not devour the rest (as Benedetto Croce, master of harmony, reminds us.)

Benedetto Croce

Benedetto Croce (1866 – 1952), filosofo italiano

Christopher: You wrote: “Life should be harmonious. A single part should not devour the rest”
If everyone lived according to this precept there would be no civilisation and we would all be living short and brutish lives.

MoR: “Hard to say, although my post regards happiness more than creativity in the arts & sciences. Besides, creativity seems related to both balance and unbalance (take Vincent van Gogh etc.).

You possibly suggest that big creators lived disharmony in their life. Frank Lloyd Wright devoted *most* of his time to architecture, Einstein to physics etc.

Ok, but one has to see how these people actually spent their days.

I remember a Roman top advertising agency, at the end of the 80’s, where extremely well-paid copywriters and art directors were walking around in robes and were sunbathing on an elegant terrace overlooking the Parioli district’s skyline (where the rich and famous live, or lived).

I was puzzled at first because these creativi seemed to do everything except what they were paid for. The agency’s output was though brilliant and rivalled Milan’s creativi (the best we’ve got in this country).

One often needs quiet and relaxation to produce ideas, which suggests ‘balance’.

Moving to bigger examples, Beethoven’s music conveys to me the image of ​​an unhappy person.

There are many elements of anger, of obsession, in his music. His life was almost certainly disharmonious: Beethoven’s father was an alcoholic; Karl, the composer’s nephew, whose custody Beethoven had obtained, attempted suicide. And so forth.

Johann Sebastian Bach aged 61 (1685 – 1750). Click for source

Johann Sebastian Bach aged 61 (1685 – 1750). Click for source

 

Bach’s music on the contrary (with its powerfully abstract architectures that unfold like a majestic river flowing) is much more enriching consoling, imo, and well fits the image of ​​the patient German artisan, whose methodical, quiet work was conceived as a service to God. Bach was a musician but also a good Christian, a good father, a good husband and a good teacher – which suggests harmony of life.

Which doesn’t mean many breakthroughs weren’t the product of unbalanced lives. The commonplace of the deranged genius is more than a commonplace imo, though it’s not my post’s point.

Cheri: “Your point is well taken. My grandfather always told me that moderation is the key to a balanced and contented life.”

MoR: “Hi Cheri! I like roots (as you probably like your Jewish or whatever roots), this blog being a search for roots from a past that, I believe, is still working on us Latins, though not only on us.

Enjoying the pleasures of life without excess, drinking without getting drunk, a life outside compulsions or obsessions – I am often obsessing / obsessed – is not only wise, it is part of a lifestyle, and an element of grace.

To me this is particularly evident in the French, the Latin people I possibly love most.

Neapolitan Benedetto Croce, ‘master of harmony’ …

Incidentally, the Olympian beauty seeping through his works is probably of Hellenic origin, and, like the Hellenic miracle arose from formidable difficulties (if we may compare a huge thing to a small one) Croce’s serene attitude and sharp mind came at a hard price: at 17, on vacation with his parents and his sole sister, their house being wiped out by an earthquake he barely survived and remained alone.

Claudia (my daughter): “Croce’s picture doesn’t exactly conjure up Hellenic beauty!?!?”

Potsoc: “I agree with Cheri. Many creators were, indeed, unhappy people but as many had a relatively simple and happy life. The examples given speak by themselves.”

MoR: “Someone must have already done it, Potsoc le Canadien, but it’d be interesting to systematically analyse the biographies of creators (in both arts & sciences) in search of a correlation between creative intelligence and lifestyles.

My post was more about the gratification from a life with nicely distributed, non compulsive, activities, but one can blabber a bit and wonder if Balzac, for example, was compulsive in his writing.

He may have been, but his work – so vital, energetic & rich with an immense number of vividly depicted characters – suggests a life not spent exclusively on a desk with a pen in his hand.

A correlation between scientists’ lifestyles and their innovation level seems much harder to establish. They (seem to me to) reveal less about themselves.

ALL this, in any case, is a-blowing in the wind, Paul.”

Potsoc: “I guess nobody wrote a Ph.D thesis on the subject and I will not write it.”

MoR: “Ah ah ah, right Paul :-) Getting stuffy, I know.”

Sledpress: “The need for quiet and mental space in which to be creative can’t be denied, but does that support an argument against being too obsessional as a creative person?

I can only write fiction (or songs, or music) when I’m in an obsessional fugue, and it is bitter for me, because I want to have at least something of a life otherwise — probably few people are willing to have their spouse or friend snarl “GO AWAY!” should they be so unfortunate as to come ask about dinner or the water bill when one is creating.

But if I put the chisel down, it’s cold when I pick it back up, and what I wrote mocks me. (Blog posts and so on don’t count; those are five finger exercises.) I can’t start the fire again if I’ve let myself be jollied into putting it out so as to make nice on the rest of the human race. And if I don’t create something, who cares if I lived? It won’t matter.

I’ve already lost the thread of so many good ideas (maybe not lightning genius, but worth something) that I could spend the rest of my life in mourning, and for what in the end? People who really were only bored or wanted me to do them something. I vote for the obsessed people, myself.”

MoR: “You say, Sled:

“I can only write fiction (songs, music) when I’m in an obsessional fugue, and it is bitter for me, because I want to have at least something of a life otherwise …”

“If I don’t create something, who cares if I lived? It won’t matter”

Well, if creation & obsession necessarily go together with us, and creativity is our top priority, let us embrace obsession, why not.

Besides, obsession, as far as I can tell, may produce compellingly emotional results etc.

As for my experience, the insignificant (though much important to me) things I have written or composed were produced in both situations: within a quiet, balanced routine of life; or via obsession, pain, sacrificing the rest.

I sometimes think that, had I more discipline, I’d be able to kill two birds with a stone and reach a synthesis.

Paolo Buonvino 001

What I mean, I’m witnessing an example of creative discipline in my neighborhood, where a certain Paolo Buonvino is leaving a couple of blocks away from my home (it, en wikies.)

Italian from Sicily, conductor, composer of film scores, Buonvino’s music is extremely good, Sicilian-sunny and much appreciated. I exchanged a few words with him. He gave me some inspired advice on related-to-music stuff. Flavia and I have visited him once at his home.

In short, he’s the classic example of one who, compelled to compose scores at appalling speed, is nonetheless able to enhance productivity by finding the right breaks, walking about the rione, enjoying something at a bar (an ice-cream, a coffee, a cake) or watching trees or the sky on a park bench.

You see him around, always relaxed, a mobile at his ear, talking quietly with loads of people (this amazing ease with human relationships being typical of many Italian from the Mezzogiorno.)

So Paolo Buonvino, despite high productivity rates, manages to live quite well. A gift from heaven? Hard to say but some creative discipline should be taught when very young, I believe.”

Sledpress: “There is a trapdoor when someone has asked a creative person to produce something. I say this from experience.
Somehow it frees you to be both creative and human. I don’t know how this works. Only that knowing someone *wants* what you can create substitutes for the energy that otherwise only comes from obsession and a sort of rage against the people who don’t understand why you are working so hard to produce a composition or poem or story, however minor.”

Potsoc: “I moderate a group called “Imaginations”, each week we meet around a theme, different each week, and we write a short piece on the week’s theme that we will read to the group the following week. It’s much fun…and work but we all enjoy it and it has been going for most of ten years with a core of 5 steady participants and another 5 or 6 that come and go.”

MoR: “Sledpress, Paul, you two imply that creating for someone ‘waiting’ for your production can release the pressure?

I agree, an act of communication, then, almost always good. When I was writing the Manius so-to-say novel my motivation were you, the bloggers of my circle, ‘waiting’ (so I felt) for each new installment and the resulting fun, as Paul says, the jokes that we shared etc.

When a publisher told me one day that he was interested, the magic vanished. I tried to continue, but felt only the obsession (plus depression for my failure, lack of discipline.) I quit writing.

Potsoc: “Being approached by a publisher is an altogether other proposition, I agree. Sharing with friends is just plain fun.”

Sledpress: “Yes! You are touching on something that I meant.
If a publisher dangled money in front of me I might still be motivated. Because money is something squeezed out of one’s bloodstream (unless one is one of the one-per-cent who wallow in it), so it is like enthusiasm.

However the biggest fun was an experience like yours, of people hanging on for the next installment to find out what happened!!!

Stephen King writes of something like this in his classic novella “The Body” which became the film Stand By Me.

The pathetically young kid with the gun in this clip — earlier the film shows him telling stories around a kids’ camp fire with everyone asking him what comes next, what comes next. King later called this “the *gotta.*” “I gotta find out what happens.”
I miss having people who cared about that, which happened to me for five minutes.”

MoR: “You’ve said, Sled:

“the biggest fun was an experience like yours, of people hanging on for the next installment to find out what happened!!!
I miss having people who cared about that, which happened to me for five minutes.”

When was that and where? Can we reach it?”

Sledpress: “Oh, that was my silly detective novel, an inner circle read every chapter as I wrote it — the way Dickens used to work, releasing installments before the story was all set down. Then as I wrote, with caricatures of everyone who is politically active around here, I looked forward to the public consternation it would cause, another incentive.

And oh yes, I made it look as if the author was a local newspaper editor who had been a real jerk to me a couple of times — it was easy to lift little quirks of style from his editorials. People pestered him about it for years.

It got one good review even. A lot of it is free.

Along the way it let me say and even discover a lot about my outlook on the whole “res publica”, the “public thing” that constitutes local political life, which both attracts and repels me — so many people trying to be important, yet actually doing important things despite their flaws. It is really the only thing I ever finished.

Everything else I ever did disappointed me and I threw it over or put it in the drawer, but I had people asking for this, so I had to finish it, amateurish as it may be. I wrote like hell for two months and was burned-out for two more but I wish I could do it again. Only I’m afraid to yell GO AWAY at the few friends I really have.”

MoR: “Wow. Quite a good review. I’ll read the book as soon as I can, or rather buy it (I also missed your poems over at your blog: my next comment)
In the meanwhile, a portion of the review, to the benefit of readers:

“Is this story (MURDER ACROSS THE BOARD by *******) of local interest? Sure. But the writing here is so good it is irrelevant. This is just as good a murder mystery as you will find anywhere, with a compelling story and clever writing to match. The story is truly twisted […] and the murder-mystery here is fun and energetic. No one is who they seem in this fast read, and as the story unfolds, the plot rolls along like a freight-train. What may have started as a goof on some friends or a dig at local politics has turned into a clever, engaging page-turner.”

Sledpress: “Mind you, another reader said it was cliched and awful. Then again, the point was to throw every trope of gritty detective stories into a story about local politics. Looking back I thought it needed tightening, but I’ve always hugged that one rave review to my heart.
I’m editing the pseudonym in your comment just because it really did piss off a number of people, one of whom is a habitual troll, and I’d prefer they didn’t find this blog too easily.”

Sledpress: “Oops, I was on a dashboard when I wrote the above reply and thought we were talking on my page. Oh well — if you wouldn’t mind “asterisking” the author name. Trolls shouldn’t find you either. ”

MoR: “Well, there are good and there are bad reviews, always. Who the hell cares?
I have ‘asterisked’ the author’s name, as you asked me.
And, tell this troll I am ready here waiting.”

Conosci te stesso, Γνῶθι σεαυτόν, Nosce te ipsum. Pitagora, Apollo (e Hegel)

Flavia Diva Sanctissima

Flavia at the House of the Vestal Virgins. Photo by MoR. Given to the people

[hard to understand – also for he who is writing – and a notebook draft in both style and content]

Ψ

πρῶτον μὲν εὐχῇ τῇδε πρεσβεύω θεῶν τὴν πρωτόμαντιν Γαῖαν

Flavia è laureata in filosofia della scienza. Visione un po’ matriarcale la sua, un po’ patriarcale la mia, cozziamo spesso ma alla fine ne usciamo diversi.

Dice Flavia ieri:

“Ma tu che dici, ma che dici, ma che diici! Stai sempre a pensare a te stesso!”

Ψ

Dopo aver discusso insieme il post su Radhakrishan ripostato ieri (The most unique is the most universal) ne è venuto fuori questo:

 

“In fondo conoscere noi stessi – nel senso dell’oracolo di Delfi, in senso socratico, nel senso anche di Montaigne: noi stessi, dice il francese, siamo la cavia ‘umana’ che possiamo osservare più da vicino – ci porta ad aprirci anche agli altri”.

“Questo lo vediamo nei grandi classici, come dice Radhakrishan. Kalidasa, Radhakrishan osserva, esattamente come Sofocle, Shakespeare, Platone ecc., è legato alla realtà locale indiana ma più si è profondamente dentro noi stessi (come Montaigne, come Saffo), legati cioè al mondo culturale proprio, sia individuale-locale che collettivo-locale, PIU’ CIOE’ SIAMO NOI COME UNICUM essenzializzato (essenza umana della specie Homo, direbbe Olaf Stapledon; Geist o Mind, direbbe Hegel) E PIU’ SIAMO UNIVERSALI”

“Perché a questo punto il messaggio humanus risuona, son come corde pitagoriche sparse per il mondo che cominciano a vibrare, e vibrano vibrano vibrano vibrano e si crea come una sinfonia, e questo è il superuomo pitagorico collettivo, l’entità collettiva di Olaf Stapledon.

Anche il Leonardo da Vinci di massa di Antonio Gramsci; solo che con Stapledon (Odd John, Star Maker ecc.) e con Pitagora si traversano i cosmi grazie alle reincarnazioni”

Dunque, chiarendo meglio, i vari superuomini si connettono attraversando ere e universi e gli infiniti mondi (di Giordano Bruno anche? Check) … e allora abbiamo, in un caso più ristretto (o forse no?) Pitagora, Orfeo (il grande Musico), Apollo (riprendere quel bel brano di Shakespeare su Orfeo; rileggere Diogene Laerzio – Διογένης Λαέρτιος – dove parla delle reincarnazioni di Pitagora) che a livello di telepatia, di vibrazioni mistiche, si fondono come in un turbine.

Georg Wilhelm Friedrich Hegel

Georg Wilhelm Friedrich Hegel. Wikipedia. Click for credits and to enlarge

Del resto Hegel lo dice con sinteticità prolissa (Update. Con sinteticità. E’ prolissa la traduzione di William Wallace, Oxford 1894) :

[Philosophie des Geistes (Η φιλοσοφία του πνεύματος) or, Philosophy of Mind (Hegel’s introduction, § 377)

 

The knowledge of mind is the highest and hardest,
right for its being the most “concrete” of sciences.

[Die Erkenntnis des Geistes ist die konkreteste, darum höchste und schwerste]

[Ndr. Infatti per i Vorsokratic Eleatici, per Platone, Hegel etc. conta solo l’essenza, l’essere, le idee-mente-Geist, a complex notion and onthology (link1, link2) that goes on and on – getting too wide-ranging, I know – up to Heidegger’s Dasein (there-being,) to Quine and to William James]

The significance of that absolute commandment,
Know Thyself,
(whether we look at it in itself, or,
under the historical circumstances of its first utterance)
is not to promote mere self-knowledge in respect of the particular capacities,
character, propensities, and foibles of the single self.

[Erkenne dich selbst, dies absolute Gebot
hat weder an sich noch da, wo es geschichtlich als ausgesprochen vorkommt,
die Bedeutung nur einer Selbsterkenntnis nach den partikulären Fähigkeiten,
Charakter, Neigungen und Schwächen des Individuums
]

The knowledge it commands means that the man’s genuine reality
(of what is essentially and ultimately true and real)
is Mind as the true and essential being.

[from Ancient Roman mens, English Wiki; see wider entry mens in German Wiki; O.Stapledon‘s novels, incidentally, narrate the bringing into being of the Homo’s Mind across the Universe(s): for such splendid narration Darwin is of course there to help him]

[sondern die Bedeutung der Erkenntnis des Wahrhaften des Menschen
wie des Wahrhaften an und für sich, – des Wesens selbst als Geistes
]

Equally little is it the purport of mental philosophy
to teach what is called knowledge of men,
the knowledge whose aim is to detect the peculiarities,
passions, and foibles of other men,
And lay bare what are called the recesses of the human heart.

Information of this kind is, for one thing, meaningless,
Unless on the assumption the we know the universal:
man as man, and, that always must be, as mind.

And for another, being only engaged with casual,
insignificant and untrue aspects of mental life,
It fails to reach the underling essence of them all:
THE MIND ITSELF.

[corsivi e maiuscoli non di Hegel]

 

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