"Autobiographies of great nations are written in three manuscripts – a book of deeds, a book of words, and a book of art. Of the three, I would choose the latter as truest testimony." - Sir Kenneth Smith, Great Civilisations

"I must write each day without fail, not so much for the success of the work, as in order not to get out of my routine." - Leo Tolstoy

I have never believed that one should wait until one is inspired because I think the pleasures of not writing are so great that if you ever start indulging them you will never write again. - John Updike

"The life of every man is a diary in which he means to write one story, and writes another; and his humblest hour is when he compares the volume as it is with what he vowed to make it." - J.M. Barrie, Peter Pan

Poetry is the shadow cast by our streetlight imaginations." - Lawrence Ferlinghetti


[Note - If any article requires updating or correction please notate this in the comment section. Thank you. - res]


Wednesday, January 8, 2020

The Son of Protagoras - "Standing Between Wisdom & Destruction"


Son of Protagoras by MTO




The Son of Protagoras




Go down ye burning church
to the Cathedral of St. Anne's,
look along its burdened byways
an angry boy cradling dead dove.

Pierced by two arrows of religion
brotherhoods to the same God,
whose self-same heart lies pierced
on flung pathways o' broken peace.


See pained eyes in boy's glare

wincing away his slain discovery,
now fixing upon Christ's church
studying its faiths, its torn truths.

Ye bonded churchmen of God, ye
sacred sepulchers - nay it were love!
Are you looking? Have you seen?
At lowly dove lying twice pierced?

Was yon dove of the Lord
too slight a sacrifice?
Too frail a thing to honor
O'er churchly altars ruptured?

How comes this practice if it has
no eyes, no lips, nor wisdom?
Ever raging yet emptied

of love forbearing divine?


R.E. Slater
January 8, 2020;

Edited Jan 11, 2020; Feb 26, 2020
April 22, 2020


@copyright R.E. Slater Publications

all rights reserved





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"One of the things that interests me most is the way that [the artwork] is located across from the Cathedral. As you stand there viewing it, you find yourself midway between the Cathedral [of St. Anne's] and the figure. If the building can be seen as representative of the priest, then the artwork symbolizes the fiery prophet. One is concerned with protecting the accumulated wisdom and rituals of the ages, the other is concerned with pointing out how they have turned dogmatic and destructive." 
- Peter Rollins
* * * * * * * * * * *


Son of Protagoras
by Peter Rollins

I'm currently working on my upcoming Atheism for Lent practice, and one of the reflections is from the ancient Greek philosopher Protagoras. It reminded me of a powerful piece of graffiti that you can see in Belfast, N.Ireland (if you've been to WAKE you'll likely have seen it on our graffiti tour). It's called Son of Protagoras and was painted by the famous French Graffiti artist MTO. The large and brooding figure is located right across the road from St Anne’s Cathedral. The angry gaze of the son of Protagoras is directed at cathedral, which can be seen through a gap in some buildings.

The figure cradles a dead dove that has been pierced by two arrows bearing the cross of the Knights of Malta and the Latin cross. The artist made this work as a comment on the conflict that once raged between Irish Catholic nationalists and the Protestant unionists. A conflict that was bound up in religious identity.
The piece is rich with powerful symbolism. A dove - representing peace - has been killed by two arrows - representing the Protestant and Catholic sides of the divide. The son of Protagoras looks with anger at the Cathedral, which represents institutional religion.

One of the things that interests me most about this piece (which I'll include as supplemental material in AfL) is the way that it's located across from the Cathedral. As you stand there viewing it, you find yourself midway between the Cathedral and the figure. If the building can be seen as representative of the priest, then the artwork symbolizes the fiery prophet. One is concerned with protecting the accumulated wisdom and rituals of the ages, the other is concerned with pointing out how they turn dogmatic and destructive.

While we might be find ourselves more often closer to one of these sides than the other, standing between them is a good reminder of how these two figures are intertwined, and how we must allow space for both.

The video I've included allows you to explore the artwork by dragging your mouse across the screen. I've also included two pictures of St Anne’s Cathedral.


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St Anne’s Cathedral, also known as Belfast Cathedral, is a cathedral of the Church of Ireland in Belfast, Northern Ireland. It is unusual in serving two separate dioceses Connor and Down and Dromore, and is the focal point of the Cathedral Quarter in Northern Ireland’s capital city


St. Anne's Church, Belfast, Northern Ireland

St Anne's Cathedral, Northern Ireland 2019
St. Anne's Church, Belfast, Northern Ireland




"Songs Of Praise Saint Anne's Cathedral Belfast" - Broadcasted on Pentecost (Whit Sunday) 7th June 1981 on BBC One. Even though the cathedral's foundation stone was laid in 1899, the cathedral was completed in phases around where the old church stood. Interruptions by the world wars and "the troubles" caused many delays. It was not until 1981, the whole cathedral fabric could be dedicated, and "Songs of Praise" was broadcast to celebrate the event.

* * * * * * * * * * *

"The Son of PROTAGORAS"

by MTO

International artist, MTO was in Belfast recently attending the “Hit the north”, Culture night and created this inspirational mural as a way of passing his message to the local community. Titled as ”The son of Protagoras”, MTO, brings some indirect mythology to offer his position on human conflict. A true masterpiece!

Located in the yard of “Northern Ireland War Memorial,”
21 Talbot Street, BELFAST, NORTH IRELAND.

The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Irish nationalist and unionist neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).

Protagoras was a proponent of agnosticism. he wrote: “Concerning the gods, I have no means of knowing whether they exist or not or of what sort they may be, because of the obscurity of the subject, and the brevity of human life.”


Son of Protagoras by MTO, Belfast Art Show


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MTO ’s work is mostly known and characterized by incredibly detailed renditions of famous and cult-y actors and musicians with a dash of red as his signature usually on a red outline of his work. It also works well as a boundary. He has launched a series of projects in the US and Europe. He has managed to reinvent his style and content by stepping up and evolving his techniques! Unpredictable as well as troubled, he never fears of challenging ideas and stereotypes.
* * * * * * * * * * *


Urban Art


WHO IS MTO?

Mateo aka MTO is a French artist known for his grey scaled photo-realistic works of art, mostly portraits, which stand out from the masses because of their high quality, that led him to become a respected artist in the Graffiti and Street art scene.

MTO is a Mystery

He was born in France, and then moved to Berlin in 2006, just to leave if 7 years later. And, that pretty much sums all that he is willing to discover about himself. Visiting Barcelona was the kick-start for MTO’s work on the streets. The vibrancy of the city’s exterior culture inspired him to create. Yet his work, although labeled street art, goes way beyond graffiti.

Ciao, Berlin!

Berlin is the city where he has represented some of his best work throughout his career so far – black and white graffiti with a touch of red and pink of mostly famous pop culture icons, but also some really known movie scenes. He has left Berlin in style – by painting Ciao, Berlin on its walls. In just 7 Berlin years the French Street Artist MTO, known for his grayscale photorealistic works of art, mostly portraits, which stand out from the masses because of their high quality, has become a respected artist in the Graffiti and Street art scene.

The last time Berlin “saw” MTO was on the 11.10.2013, when he was painting a new work of art during the “Street Art Meeting” which took place at “Yaam Berlin“. At the time, we, like most other people, had no idea that his decision to leave the city had already been made.

MTO’s grayscale and red outline portraits

MTO sprays his portraits with a typical red outline (that is part of the artwork and his signature at the same time) – usually of people who inspired him. For that reason he started painting musicians like the young Michael Jackson, Ray Charles or Jimmy Hendrix but also movie actors and their most interesting film scenes, like Jack Nicholson from “Shining”, Robert De Niro from “Taxi Driver” or Angelina Jolie from “Tomb Raider”.

Some of the most interesting works of MTO for street art lovers are definitely the portraits of Berlin based street artists like Emess, Alias or 4rtists (aka. Mr.6). Of course he proofed his skills also by painting objects like big turntables or showed a lot of humor by painting the German chancellor Angela Merkel as a punk in the old art house Tacheles.

The portraits are 8-9 feet high and wide and it takes him about 2-5 hours to finish one piece which sounds amazing when you take the quality of his work in consideration. His art also interacts with the environment around it.

The current location of MTO is unknown. Or, as he says: Currently living in “Nowhere”, Planet Earth.


* * * * * * * * * * *


~ By MTO ~ Photo: twistedsifter.com
~ By MTO ~ Photo: twistedsifter.com

Jack Nicholson from “Shining” ~ By MTO ~ Berlin, Germany - Photo: streetartbln.com
Jack Nicholson from “Shining” ~ By MTO ~ Berlin, Germany – Photo: streetartbln.com


WHO IS MTO?

https://streetartrat.com/2015/11/04/who-is-mto/


The street artist MTO, which is the short form for Mateo, was born in France and allegedly moved to Berlin a couple of years ago, his current location is unknown. There is not much information about MTO since he likes to keep his identity hidden. His artworks are often very elaborate and realistic. He likes to create large black-and-white murals, like this one in Riga.



~ By MTO ~ Berlin, Germany - Photo: streetartbln.com
~ By MTO ~ Berlin, Germany – Photo: streetartbln.com

Angelina Jolie ~ By MTO ~ Berlin, Germany - Photo: streetartbln.com
Angelina Jolie ~ By MTO ~ Berlin, Germany – Photo: streetartbln.com


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What is A Sophist?

A sophist (Greek: σοφιστής, sophistes) was a specific kind of teacher in ancient Greece, in the fifth and fourth centuries BCE. Many sophists specialized in using the tools of philosophy and rhetoric, though other sophists taught subjects such as music, athletics, and mathematics. In general, they claimed to teach arete ("excellence" or "virtue", applied to various subject areas), predominantly to young statesmen and nobility. The term originated from Greek σόφισμα, sophisma, from σοφίζω, sophizo "I am wise"; confer σοφιστής, sophistēs, meaning "wise-ist, one who does wisdom", and σοφός, sophós means "wise man".


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Who is Protagoras?

Jump to search
Protagoras
Salvator Rosa - Démocrite et Protagoras.jpg
Democritus (center) and Protagoras (right)
17th-century painting by Salvator Rosa
in Hermitage Museum
Bornc. 490 BC[1][2]


Diedc. 420 BC[3]
EraPre-Socratic philosophy
RegionWestern philosophy
SchoolSophistic Movement
Main interests
languagesemanticsrelativismrhetoricagnosticismethics
Notable ideas
'Sophist' as teacher for hire, 'Man is the measure of all things'
Protagoras (/prˈtæɡərəs/GreekΠρωταγόραςc. 490 BC – c. 420 BC)[1] was a pre-Socratic Greek philosopher. He is numbered as one of the sophists by Plato. In his dialogue Protagoras, Plato credits him with inventing the role of the professional sophist.
Protagoras also is believed to have created a major controversy during ancient times through his statement that, "Man is the measure of all things", interpreted by Plato to mean that there is no absolute truth but that which individuals deem to be the truth.
Although there is reason to question the extent of the interpretation of his arguments that has followed, that concept of individual relativity was revolutionary for the time, and contrasted with other philosophical doctrines that claimed the universe was based on something objective, outside human influence or perceptions.

Biography

Protagoras was born in Abdera, Thrace, opposite the island of Thasos (today part of the Xanthi regional unit). According to Aulus Gellius, he originally made his living as a porter, but one day he was seen by the philosopher Democritus carrying a load of small pieces of wood he had tied with a short cord. Democritus realized that Protagoras had tied the load together with such perfect geometric accuracy that he must be a mathematical prodigy. Democritus promptly took him into his own household and taught him philosophy.[4] Protagoras became well known in Athens and even became a friend of Pericles.[5]
The dates of his lifetime are not recorded, but extrapolated from writings that have survived the ages. In Protagoras Plato wrote that, before a gathering of SocratesProdicus, and Hippias, Protagoras stated that he was old enough to be the father of any of them. This suggests a birth date of not later than 490 BC. In the Meno he is said to have died at approximately the age of 70, after 40 years as a practicing Sophist.[6] His death, then, may be presumed to have occurred circa 420 BC, but is not known for certain, since assumptions about it are based on an apparently fake story about his trial for impiety in Athens.[7]
Plutarch wrote that Pericles and Protagoras spent a whole day discussing an interesting point of legal responsibility, that probably involved a more philosophical question of causation:[8] "In an athletic contest a man had been accidentally hit and killed with a javelin. Was his death to be attributed to the javelin, to the man who threw it, or to the authorities responsible for the conduct of the games?"[9]

Philosophy

Even though he was mentored by Democritus, Protagoras did not share his enthusiasm for the pursuit of mathematics. "For perceptible lines are not the kind of things the geometer talks about, since no perceptible thing is straight or curved in that way, nor is a circle tangent to a ruler at a point, but the way Protagoras used to say in refuting the geometers" (Aristotles, Metaphysics 997b34-998a4). Protagoras was skeptical about the application of theoretical mathematics to the natural world; he did not believe they were really worth studying at all. According to Philodemus, Protagoras said that "The subject matter is unknowable and the terminology distasteful". Nonetheless, mathematics was considered to be by some a very viable form of art, and Protagoras says on the arts, "art (tekhnê) without practice and practice without art are nothing" (Stobaeus, Selections 3.29.80).
Protagoras also was known as a teacher who addressed subjects connected to virtue and political life. He especially was involved in the question of whether virtue could be taught, a commonplace issue of fifth century BC Greece, that has been related to modern readers through Plato's dialogue. Rather than educators who offered specific, practical training in rhetoric or public speaking, Protagoras attempted to formulate a reasoned understanding, on a very general level, of a wide range of human phenomena, including language and education. In Plato's Protagoras, he claims to teach "the proper management of one's own affairs, how best to run one's household, and the management of public affairs, how to make the most effective contribution to the affairs of the city by word and action".[10]
He also seems to have had an interest in "orthoepeia"—the correct use of words—although this topic is more strongly associated with his fellow sophist Prodicus. In his eponymous Platonic dialogue, Protagoras interprets a poem by Simonides, focusing on the use of words, their literal meaning, and the author's original intent. This type of education would have been useful for the interpretation of laws and other written documents in the Athenian courts.[11] Diogenes Laërtius reports that Protagoras devised a taxonomy of speech acts, such as assertion, question, answer, command, etc. Aristotle also says that Protagoras worked on the classification and proper use of grammatical gender.[12][13]
The titles of his books, such as Technique of Eristics (Technē Eristikōn, literally "Practice of Wranglings"—with wrestling used as a metaphor for intellectual debate), prove that Protagoras also was a teacher of rhetoric and argumentation. Diogenes Laërtius states that he was one of the first to take part in rhetorical contests in the Olympic games.[12]

Relativism

Protagoras also said that on any matter, there are two arguments (logoi) opposed to one another, and according to Aristotle, Protagoras was criticized for having claimed "to make the weaker argument stronger (ton hēttō logon kreittō poiein)".[12]
Protagoras is credited with the philosophy of relativism, which he discusses in his work, Truth (also known as Refutations).[11][14] Although knowledge of his work is limited, discussion of Protagoras' relativism is based on one of his most famous statements: "Man is the measure of all things: of the things that are, that they are, of the things that are not, that they are not."[15][16] By this, Protagoras meant that each individual is the measure of how things are perceived by that individual. Therefore, things are, or are not, true according to how the individual perceives them. For example, Person X may believe that the weather is cold, whereas Person Y may believe that the weather is hot. According to the philosophy of Protagoras, there is no absolute evaluation of the nature of a temperature because the evaluation will be relative to who is perceiving it. Therefore, to Person X, the weather is cold, whereas to Person Y, the weather is hot. This philosophy implies that there are no absolute "truths". The truth, according to Protagoras, is relative, and differs according to each individual.[11]
As with many fragments of the pre-Socratic philosophers, this phrase has been passed down through the ages, without any context, and consequently, its meaning is open to interpretation. His use of the word χρήματα (chrēmata, "things used") instead of the general word ὄντα (onta, "entities") signifies, however, that Protagoras was referring to things that are used by, or in some way, related to, humans, such as properties, social entities, ideas, feelings, judgments, which originate in the human mind. Protagoras did not suggest that humans must be the measure of the motion of the stars, the growing of plants, or the activity of volcanoes.
As many modern thinkers will, Plato ascribes relativism to Protagoras and uses his predecessor's teachings as a foil for his own commitment to objective and transcendent realities and values. Plato ascribes to Protagoras an early form of what John Wild categorized as phenomenalism.[17] That being an assertion that something that is, or appears for a single individual, is true or real for that individual.
However, as described in Plato's Theaetetus, Protagoras's views allow that some views may result from an ill body or mind. He stressed that although all views may appear equally true, and perhaps, should be equally respected, they certainly are not of equal gravity. One view may be useful and advantageous to the person who has it, while the perception of another may prove harmful. Hence, Protagoras believed that the sophist was there to teach the student how to discriminate between them, i.e., to teach "virtue".
Both Plato and Aristotle argue against some of Protagoras's claims regarding relativity; however, they argue that the concept provides Protagoras with too convenient an exemption from his own theory and that relativism is true for him yet false for those who do not believe it. They claim that by asserting that truth is relative, Protagoras then could say that whatever further theory he proposed must be true.[18]
Because knowledge of most of his work is limited or missing, modern attempts to apply the Protagoras theory of relativism tend to result in disagreement and refer to scientific reasoning. Carol Poster states that with a modern preference toward scientific reasoning and objective truth, for example, rather than considering individuals evaluating their sense of comfort, a modern philosopher would look at a modern instrument, the thermometer, objectively to see the scientific measure of the temperature, whereas the Greek method would entail looking at larger philosophical implications.[19]

Agnosticism

Protagoras also was a proponent of agnosticism. Reportedly, in his lost work, On the Gods, he wrote: "Concerning the gods, I have no means of knowing whether they exist or not, nor of what sort they may be, because of the obscurity of the subject, and the brevity of human life."[20][21] According to Diogenes Laërtius, the outspoken, agnostic position taken by Protagoras aroused anger, causing the Athenians to expel him from the city, and all copies of his book were collected and burned in the marketplace. The deliberate destruction of his works also is mentioned by Cicero.[22]
The classicist John Burnet doubts this account, however, as both Diogenes Laërtius and Cicero wrote hundreds of years later and as no such persecution of Protagoras is mentioned by contemporaries who make extensive references to this philosopher.[23] Burnet notes that even if some copies of the Protagoras books were burned, enough of them survived to be known and discussed in the following century. A claim has been made that Protagoras is better classified as an atheist, since he held that if something is not able to be known it does not exist.[24]

Spectrum of topics

Nonetheless, very few fragments from Protagoras have survived, although he is known to have written several different works: Antilogiae and Truth. The latter is cited by Plato, and was known alternatively as, The Throws (a wrestling term referring to the attempt to floor an opponent). It began with the "Man is the measure" (ἄνθρωπος μέτρον) pronouncement. According to Diogenes Laërtius other books by Protagoras include: On the GodsArt of EristicsImperativeOn AmbitionOn Incorrect Human ActionsOn those in HadesOn SciencesOn VirtuesOn the Original State of Things and Trial over a Fee.[12]

See also

Sunday, December 22, 2019

Reflections: Winter Solstice Day + One



The contemplation of nature means that we see all things, persons and moments as signs and sacraments of God. In our spiritual vision we are not only to see each thing in sharp relief, standing out in all the brilliance of its specific being, but we are also to see each thing as transparent: in and through each created thing we are to discern the Creator. Discovering the uniqueness of each thing, we discover also how each points beyond itself to him who made it. So we learn, in Henry Suso's words, to see the inward in the outward: “He who can see the inward in the outward, to him the inward is more inward than to him who can only see the inward in the inward.”
- Bishop Ware, Kallistos, Bishop of Diokleia, The Orthodox Way, St. Vladimir's Seminary Press, Kindle Edition


Christ Be Our Light



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Winter Solstice:
A Crisis of Growth Amidst the Darkness
by H. Coverston.

Jesuit mystic Teilhard de Chardin observed processes of evolution taking place all around him in a world in which all is moving toward an Omega Point of reunification with the One. For Chardin, writing amidst the horrors of WWI, all events play a role in the evolution of our world. Even dark times like our own were necessary parts of the larger picture.

On this Winter Solstice Day when the darkness holds the northern hemisphere in its deepest grip, it is comforting to consider that even in the midst of our most anguished moments as peoples living in unsettling times, we shall not perish. No evolution can occur without the leaving behind of that which has preceded it, the new creation transcending and leaving behind those aspects of its former self which are no longer viable while transforming and bringing forward those aspects which continue to be useful to the new creation.

This may well be “a crisis of growth” we are experiencing, but even that is “more reason to hope.” For far sighted prophets and their words of hope, I give thanks this Solstice night.

“Whatever disorder we are confronted by, the first thing we must say to ourselves is that we shall not perish. This is not a mortal sickness: it is a crisis of growth. It well may be that the evil has never seemed so deep-rooted nor the symptoms so grave; but, in one sense, is that not precisely one more reason for hope? The height of a peak is a measure of the depths of the abysses it overtops.”
- Pierre Teilhard de Chardin




Tuesday, December 3, 2019

Advent Season - Afflicted by Hope




"When God “afflicts us with hope” we become people who look at the world with “a steady, honest, unflinching gaze." We see the world just as it is and yet, because we trust in God’s goodness, we still believe good triumphs over evil. This is the hope that lies at the heart of Advent [which celebrates Jesus' birth into a world of sin]. A hope that doggedly persists despite pain and suffering and deep, deep grief. A hope based on a promise that Jesus will not leave us alone but, instead, comes to us over and over again [in this life as the next]." - Teri Wooten Daily


A Beacon of Light: A City on a Hill Full of Light & Peace



The Risk of Birth
by Madeleine L'Engle

This is no time for a child to be born,
With the earth betrayed by war & hate
And a comet slashing the sky to warn
That time runs out & the sun burns late.

That was no time for a child to be born,
In a land in the crushing grip of Rome;
Honor & truth were trampled to scorn--
Yet here did the Savior make His home.

When is the time for love to be born?
The inn is full on the planet earth,
And by a comet the sky is torn--
Yet Love still takes the risk of birth.







The Birth of Jesus
Luke 2:1-15 (NASB)

2 Now in those days a decree went out from Caesar Augustus, that a census be taken of all [a]the inhabited earth. 2 [b]This was the first census taken while [c]Quirinius was governor of Syria. 3 And everyone was on his way to register for the census, each to his own city. 4 Joseph also went up from Galilee, from the city of Nazareth, to Judea, to the city of David which is called Bethlehem, because he was of the house and family of David, 5 in order to register along with Mary, who was engaged to him, and was with child. 6 While they were there, the days were completed for her to give birth. 7 And she gave birth to her firstborn son; and she wrapped Him in cloths, and laid Him in a [d]manger, because there was no room for them in the inn.

8 In the same region there were some shepherds staying out in the fields and keeping watch over their flock by night. 9 And an angel of the Lord suddenly stood before them, and the glory of the Lord shone around them; and they were terribly frightened. 10 But the angel said to them, “Do not be afraid; for behold, I bring you good news of great joy which will be for all the people; 11 for today in the city of David there has been born for you a Savior, who is [e]Christ the Lord. 12 This will be a sign for you: you will find a baby wrapped in cloths and lying in a [f]manger.” 13 And suddenly there appeared with the angel a multitude of the heavenly host praising God and saying,

14 “Glory to God in the highest,
And on earth peace among men [g]with whom He is pleased.”

15 When the angels had gone away from them into heaven, the shepherds began saying to one another, “Let us go straight to Bethlehem then, and see this thing that has happened which the Lord has made known to us.” 16 So they came in a hurry and found their way to Mary and Joseph, and the baby as He lay in the [h]manger. 17 When they had seen this, they made known the statement which had been told them about this Child. 18 And all who heard it wondered at the things which were told them by the shepherds. 19 But Mary treasured all these things, pondering them in her heart. 20 The shepherds went back, glorifying and praising God for all that they had heard and seen, just as had been told them.

*The New Revised Standard Version, copyright 1989, 1995 by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.






Days To Come
Isaiah 2:1-5 (NRSV)*

The word that Isaiah son of Amoz saw concerning Judah and Jerusalem.

In days to come
the mountain of the Lord’s house
shall be established as the highest of the mountains,
and shall be raised above the hills;
all the nations shall stream to it.
Many peoples shall come and say,
‘Come, let us go up to the mountain of the Lord,
to the house of the God of Jacob;
that he may teach us his ways
and that we may walk in his paths.’
For out of Zion shall go forth instruction,
and the word of the Lord from Jerusalem.
He shall judge between the nations,
and shall arbitrate for many peoples;
they shall beat their swords into ploughshares,
and their spears into pruning-hooks;
nation shall not lift up sword against nation,
neither shall they learn war any more.

O house of Jacob,
come, let us walk
in the light of the Lord!

*The New Revised Standard Version, copyright 1989, 1995 by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.






The Hour Unknown
Matthew 24:36-44 (NRSV)*

Jesus said to the disciples, “But about that day and hour no one knows, neither the angels of heaven, nor the Son, but only the Father. For as the days of Noah were, so will be the coming of the Son of Man. For as in those days before the flood they were eating and drinking, marrying and giving in marriage, until the day Noah entered the ark, and they knew nothing until the flood came and swept them all away, so too will be the coming of the Son of Man. Then two will be in the field; one will be taken and one will be left. Two women will be grinding meal together; one will be taken and one will be left. Keep awake therefore, for you do not know on what day your Lord is coming. But understand this: if the owner of the house had known in what part of the night the thief was coming, he would have stayed awake and would not have let his house be broken into. Therefore you also must be ready, for the Son of Man is coming at an unexpected hour.”

*The New Revised Standard Version, copyright 1989, 1995 by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.







The Downward Slope to Hope & Humanity




Tuesday, November 26, 2019

The Ruins of Ozymandias, by Percy Bysshe Shelley

Image result for the ruins of ozymandias


Ozymandias
by Percy Bysshe Shelley


I met a traveller from an antique land

Who said: "Two vast and trunkless legs of stone

Stand in the desert . . . Near them, on the sand,

Half sunk, a shattered visage lies, whose frown,

And wrinkled lip, and sneer of cold command,

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,

The hand that mocked them, and the heart that fed:

And on the pedestal these words appear:

'My name is Ozymandias, king of kings:

Look on my works, ye Mighty, and despair!'

Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare

The lone and level sands stretch far away."





Related image






What is the main idea of the poem "Ozymandias"?
by Gretchen Mussey, enotes

In the poem, Shelley describes the ruins of a once great statue of a sphinx intended to represent the almighty reign of Ramses II, also known as Ozymandias. However, instead of witnessing the powerful image of an omnipotent ruler, all that remains of Ozymandias's statue is a "Half sunk," broken image of a domineering man that is decaying in the sand. Ironically, Ramses's original intentions of his statue have the opposite effect on travelers, who only witness how time impacts one's legacy and accomplishments. Shelley's poem examines the transitory nature of life, legacy, power, and government institutions. The decaying, broken image of Ozymandias's visage portrays how time destroys every human accomplishment. The inscription on the bottom of the statue is also ironic and symbolically represents how one's pursuit of power and glory are illusory and fleeting.


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What kind of person is Ozymandias as he is depicted in Percy Bysshe Shelley's poem of the same name?
by Andrew Nightengale, enotes

We learn something about Ozymandias from line three of the poem. These lines provide a description of the individual whose image has been sculpted in stone, which now lies broken in the sand.

Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,

And wrinkled lip, and sneer of cold command,

The words in bold inform us that the sculpture expresses a frown which suggests a serious expression; 'wrinkled lip' informs of a haughty expression, possessed by one who regards others with contempt. This is further supported and accentuated by the word 'sneer', which tells us that the person so depicted had disdain for those whom he commanded. The fact that his command is described as 'cold' suggests that he was heartless and cruel. Our perception is therefore of a cruel, hard, ruthless taskmaster who led without any love for his subjects. We can therefore rightly assume that he must have been either a dictator or tyrant.

The speaker tells us that the sculptor 'well those passions read,' which is an indication that the skilled artist was not remiss in the manner in which he portrayed his subject in this now decayed work. The line "The hand that mocked them, and the heart that fed" further informs us that Ozymandias saw his subjects as buffoons and treated them as if they were idiots. He relished abusing his subjects and he fed his overblown ego by treating them with utter disregard and making fools of them.

Further insight is provided into Ozymandias' unpleasant superciliousness in the lines:

And on the pedestal these words appear:
‘My name is Ozymandias, king of kings:

Look on my works, ye Mighty, and despair!'

So vain and egotistical was he that he expressed his greatness on the pedestal of his statue, stating that he was greater than any ruler. Even the mightiest of the mighty could not challenge his glory for he was so all-powerful and great that all any other ruler could do was to become disparaged when they witnessed his magnitude and magnificence.

It is therefore ironic that all that has remained of Ozymandias' so-called prodigious power is a broken statue, enveloped by the sands of the desert.

Nothing beside remains

Ozymandias has been defeated by death and time. The lonely, open and vast desert has become his final resting place, leaving a poor testament to his once, as he believed, incomparable might.


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Ozymandias
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"Ozymandias" (/ˌɒziˈmændiəs/ oz-ee-MAN-dee-əs)[1] is the title of two related sonnets published in 1818. The first was written by the English Romantic poet Percy Bysshe Shelley (1792–1822) and was published in the 11 January 1818 issue of The Examiner[2] of London. The poem was included the following year in Shelley's collection Rosalind and Helen, A Modern Eclogue; with Other Poems,[3] and in a posthumous compilation of his poems published in 1826.[4] Shelley's most famous work, "Ozymandias" is frequently anthologised.
Shelley wrote the poem in friendly competition with his friend and fellow poet Horace Smith (1779–1849), who also wrote a sonnet on the same topic with the same title. Smith's poem was published in The Examiner three weeks after Shelley's, on February 1st, 1818. Both poems explore the fate of history and the ravages of time: even the greatest men and the empires they forge are impermanent, their legacies fated to decay into oblivion.
In antiquity, Ozymandias (Ὀσυμανδύας) was a Greek name for the Egyptian pharaoh Ramesses II. Shelley began writing his poem in 1817, soon after the British Museum's announcement that they had acquired a large fragment of a statue of Ramesses II from the 13th century BCE; some scholars believe Shelley was inspired by the acquisition. The 7.25-short-ton (6.58 t; 6,580 kg) fragment of the statue's head and torso had been removed in 1816 from the mortuary temple of Ramesses (the Ramesseum) at Thebes by the Italian adventurer Giovanni Battista Belzoni. It had been expected to arrive in London in 1818, but did not arrive until 1821.[5][6]

Writing and publication history
The banker and political writer Horace Smith spent the Christmas season of 1817–1818 with Percy Bysshe Shelley and Mary Shelley. At this time, members of Shelley's literary circle would sometimes challenge each other to write competing sonnets on a common subject: Shelley, John Keats and Leigh Hunt wrote competing sonnets on the Nile around the same time. Shelley and Smith both chose a passage from the writings of the Greek historian Diodorus Siculus, which described a massive Egyptian statue and quoted its inscription: "King of Kings Ozymandias am I. If any want to know how great I am and where I lie, let him outdo me in my work." In the poem Diodorus becomes "a traveller from an antique land."[7]
The two poems were later published in Leigh Hunt's The Examiner,[2] published by Leigh's brother John Hunt in London. Hunt had already been planning to publish a long excerpt from Shelley's new epic, The Revolt of Islam, later the same month.[citation needed]

Shelley's poem

Shelley's poem was published on 11 January 1818 under the pen name Glirastes. It appeared on page 24 in the yearly collection, under Original Poetry. Shelley's poem was later republished under the title "Sonnet. Ozymandias" in his 1819 collection Rosalind and Helen, A Modern Eclogue; with Other Poems by Charles and James Ollier[3] and in the 1826 Miscellaneous and Posthumous Poems of Percy Bysshe Shelley by William Benbow, both in London.[4]

Smith's poem

Smith's poem was published, along with a note signed with the initials H.S., on 1 February 1818.[8] It takes the same subject, tells the same story, and makes a similar moral point, but one related more directly to modernity, ending by imagining a hunter of the future looking in wonder on the ruins of a forgotten London. It was originally published under the same title as Shelley's verse; but in later collections Smith retitled it "On A Stupendous Leg of Granite, Discovered Standing by Itself in the Deserts of Egypt, with the Inscription Inserted Below".[9]

Comparison of the two poems
Percy Shelley's "Ozymandias"I met a traveller from an antique landWho said: Two vast and trunkless legs of stoneStand in the desert. Near them, on the sand,Half sunk, a shattered visage lies, whose frown,And wrinkled lip, and sneer of cold command,Tell that its sculptor well those passions readWhich yet survive, stamped on these lifeless things,The hand that mocked them and the heart that fed:And on the pedestal these words appear:'My name is Ozymandias, king of kings:Look on my works, ye Mighty, and despair!'Nothing beside remains. Round the decayOf that colossal wreck, boundless and bareThe lone and level sands stretch far away.[4]

Horace Smith's "Ozymandias"In Egypt's sandy silence, all alone,Stands a gigantic Leg, which far off throwsThe only shadow that the Desert knows:—"I am great OZYMANDIAS," saith the stone,"The King of Kings; this mighty City showsThe wonders of my hand."— The City's gone,—Naught but the Leg remaining to discloseThe site of this forgotten Babylon.We wonder,—and some Hunter may expressWonder like ours, when thro' the wildernessWhere London stood, holding the Wolf in chace,He meets some fragment huge, and stops to guessWhat powerful but unrecorded raceOnce dwelt in that annihilated place.[10]

Analysis and interpretation

Form

Shelley's "Ozymandias" is a sonnet, written in iambic pentameter, but with an atypical rhyme scheme (ABABA CDCEDEFEF) when compared to other English-language sonnets, and without the characteristic octave-and-sestet structure.[citation needed]

Hubris

A central theme of the "Ozymandias" poems is the inevitable decline of rulers with their pretensions to greatness.[11] The name "Ozymandias" is a rendering in Greek of a part of Ramesses II's throne name, User-maat-re Setep-en-re. The poems paraphrase the inscription on the base of the statue, given by Diodorus Siculus in his Bibliotheca historica as:
King of Kings am I, Ozymandias. If anyone would know how great I am and where I lie, let him surpass one of my works.[12][13][14]
Although the poems were written and published before the statue arrived in Britain,[6] they may have been inspired by the impending arrival in London in 1821 of a colossal statue of Ramesses II, acquired for the British Museum by the Italian adventurer Giovanni Belzoni in 1816.[15] The statue's repute in Western Europe preceded its actual arrival in Britain, and Napoleon, who at the time of the two poems was imprisoned on St Helena (although the impact of his own rise and fall was still fresh), had previously made an unsuccessful attempt to acquire it for France.