Nuovo Deus ex Machina

I pray for one gift: that I might merely touch
Neoboule's hand.

-Archilochus of Paros

In Medias Res - The Synchronized Phalanx aka Row, Row, Row your Boat

No man, Aisimides, who bows to the mud-slinging
mob has ever been capable of profound
pleasures.

---

If, Aisimides, you will attend to the gossip of others,
then you will find in life not very much to enjoy.

-Archilochus of Paros

Corybantes, sons of Apollo and the Muse Thalia, mythical attendants of the ancient Oriental and Greco-Roman deity the Great Mother of the Gods. They were often identified or confused with the Cretan Curetes (who protected the infant Zeus from detection by his father, Cronus) and were distinguished only by their Asiatic origin and by the more pronouncedly orgiastic nature of their rites. Accounts of the origin of the Corybantes vary, and their names and number differ from one authority to another. They apparently had a mystic cult, and a prominent feature of their ritual was a wild dance, which was claimed to have powers of healing mental disorder. It is possible that they originally were priests or medicine men of ancient times, later thought of as superhuman. They were credited with the invention of the drum.

ATHENIAN: Let us assume, then, as a first principle in relation both to the body and soul of very young creatures, that nursing and moving about by day and night is good for them all, and that the younger they are, the more they will need it (compare Arist. Pol.); infants should live, if that were possible, as if they were always rocking at sea. This is the lesson which we may gather from the experience of nurses, and likewise from the use of the remedy of motion in the rites of the Corybantes; for when mothers want their restless children to go to sleep they do not employ rest, but, on the contrary, motion—rocking them in their arms; nor do they give them silence, but they sing to them and lap them in sweet strains; and the Bacchic women are cured of their frenzy in the same manner by the use of the dance and of music.

CLEINIAS: Well, Stranger, and what is the reason of this?

ATHENIAN: The reason is obvious.

CLEINIAS: What?

ATHENIAN: The affection both of the Bacchantes and of the children is an emotion of fear, which springs out of an evil habit of the soul. And when some one applies external agitation to affections of this sort, the motion coming from without gets the better of the terrible and violent internal one, and produces a peace and calm in the soul, and quiets the restless palpitation of the heart, which is a thing much to be desired, sending the children to sleep, and making the Bacchantes, although they remain awake, to dance to the pipe with the help of the Gods to whom they offer acceptable sacrifices, and producing in them a sound mind, which takes the place of their frenzy. And, to express what I mean in a word, there is a good deal to be said in favour of this treatment.

CLEINIAS: Certainly.

ATHENIAN: But if fear has such a power we ought to infer from these facts, that every soul which from youth upward has been familiar with fears, will be made more liable to fear (compare Republic), and every one will allow that this is the way to form a habit of cowardice and not of courage.

CLEINIAS: No doubt.

ATHENIAN: And, on the other hand, the habit of overcoming, from our youth upwards, the fears and terrors which beset us, may be said to be an exercise of courage.

CLEINIAS: True.

ATHENIAN: And we may say that the use of exercise and motion in the earliest years of life greatly contributes to create a part of virtue in the soul.

CLEINIAS: Quite true.

--Plato "Laws"

Going In Over my Head

“I teach you the Overman. Man is something that is to be surpassed. What have ye done to surpass man?” -Nietzsche

It's Good to be the King

The Apotheosis of Augustus (Octavian)

Forethought/^Experience^/Afterthought

Gnothi only what Hermes Relays to You from Zeus...
...or complete the "circle" w/experience and then Gnothi Seauton?

Shaming Unreason - Limbic vs Neocortical Responses

POLUS: O Chaerephon, there are many arts among mankind which are experimental, and have their origin in experience, for experience makes the days of men to proceed according to art, and inexperience according to chance, and different persons in different ways are proficient in different arts, and the best persons in the best arts. And our friend Gorgias is one of the best, and the art in which he is a proficient is the noblest.

SOCRATES: Polus has been taught how to make a capital speech, Gorgias; but he is not fulfilling the promise which he made to Chaerephon.

GORGIAS: What do you mean, Socrates?

SOCRATES: I mean that he has not exactly answered the question which he was asked.

GORGIAS: Then why not ask him yourself?

SOCRATES: But I would much rather ask you, if you are disposed to answer: for I see, from the few words which Polus has uttered, that he has attended more to the art which is called rhetoric than to dialectic.

POLUS: What makes you say so, Socrates?

SOCRATES: Because, Polus, when Chaerephon asked you what was the art which Gorgias knows, you praised it as if you were answering some one who found fault with it, but you never said what the art was.

POLUS: Why, did I not say that it was the noblest of arts?

SOCRATES: Yes, indeed, but that was no answer to the question: nobody asked what was the quality, but what was the nature, of the art, and by what name we were to describe Gorgias. And I would still beg you briefly and clearly, as you answered Chaerephon when he asked you at first, to say what this art is, and what we ought to call Gorgias: Or rather, Gorgias, let me turn to you, and ask the same question,—what are we to call you, and what is the art which you profess?

GORGIAS: Rhetoric, Socrates, is my art.

SOCRATES: Then I am to call you a rhetorician?

GORGIAS: Yes, Socrates, and a good one too, if you would call me that which, in Homeric language, 'I boast myself to be.'

SOCRATES: I should wish to do so.

GORGIAS: Then pray do.

---

POLUS: Then what, in your opinion, is rhetoric?

SOCRATES: A thing which, as I was lately reading in a book of yours, you say that you have made an art.

POLUS: What thing?

SOCRATES: I should say a sort of experience.

POLUS: Does rhetoric seem to you to be an experience?

SOCRATES: That is my view, but you may be of another mind.

POLUS: An experience in what?

SOCRATES: An experience in producing a sort of delight and gratification.

POLUS: And if able to gratify others, must not rhetoric be a fine thing?

SOCRATES: What are you saying, Polus? Why do you ask me whether rhetoric is a fine thing or not, when I have not as yet told you what rhetoric is?

POLUS: Did I not hear you say that rhetoric was a sort of experience?

SOCRATES: Will you, who are so desirous to gratify others, afford a slight gratification to me?

POLUS: I will.

SOCRATES: Will you ask me, what sort of an art is cookery?

POLUS: What sort of an art is cookery?

SOCRATES: Not an art at all, Polus.

POLUS: What then?

SOCRATES: I should say an experience.

POLUS: In what? I wish that you would explain to me.

SOCRATES: An experience in producing a sort of delight and gratification, Polus.

POLUS: Then are cookery and rhetoric the same?

SOCRATES: No, they are only different parts of the same profession.

POLUS: Of what profession?

SOCRATES: I am afraid that the truth may seem discourteous; and I hesitate to answer, lest Gorgias should imagine that I am making fun of his own profession. For whether or no this is that art of rhetoric which Gorgias practises I really cannot tell:—from what he was just now saying, nothing appeared of what he thought of his art, but the rhetoric which I mean is a part of a not very creditable whole.

GORGIAS: A part of what, Socrates? Say what you mean, and never mind me.

SOCRATES: In my opinion then, Gorgias, the whole of which rhetoric is a part is not an art at all, but the habit of a bold and ready wit, which knows how to manage mankind: this habit I sum up under the word 'flattery'; and it appears to me to have many other parts, one of which is cookery, which may seem to be an art, but, as I maintain, is only an experience or routine and not an art:—another part is rhetoric, and the art of attiring and sophistry are two others: thus there are four branches, and four different things answering to them. And Polus may ask, if he likes, for he has not as yet been informed, what part of flattery is rhetoric: he did not see that I had not yet answered him when he proceeded to ask a further question: Whether I do not think rhetoric a fine thing? But I shall not tell him whether rhetoric is a fine thing or not, until I have first answered, 'What is rhetoric?' For that would not be right, Polus; but I shall be happy to answer, if you will ask me, What part of flattery is rhetoric?

POLUS: I will ask and do you answer? What part of flattery is rhetoric?

SOCRATES: Will you understand my answer? Rhetoric, according to my view, is the ghost or counterfeit of a part of politics.

POLUS: And noble or ignoble?

SOCRATES: Ignoble, I should say, if I am compelled to answer, for I call what is bad ignoble: though I doubt whether you understand what I was saying before.

GORGIAS: Indeed, Socrates, I cannot say that I understand myself.

SOCRATES: I do not wonder, Gorgias; for I have not as yet explained myself, and our friend Polus, colt by name and colt by nature, is apt to run away. (This is an untranslatable play on the name 'Polus,' which means 'a colt.')

GORGIAS: Never mind him, but explain to me what you mean by saying that rhetoric is the counterfeit of a part of politics.

-Plato, "Gorgias"

Existential Angst

This is our purpose: to make as meaningful as possible this life that has been bestowed upon us; to live in such a way that we may be proud of ourselves; to act in such a way that some part of us lives on.

- Oswald Spengler