3.22.2016

Curso da Vida // um poema do Hölderlin

Curso da Vida

Tu querias algo maior, mas o Amor empurra
nos para baixo, o sofrimento curva-se violentamente,
Mas não é em vão que nosso arco
Se vira para lá donde veio.

Para cima ou para baixo! ou já não impera na noite sagrada,
Onde a muda Natureza a sucessão dos dias medita,
Já não impera nas profundezas do Orco
Uma Medida, uma Lei?

Por isto passei eu. Pois jamais, como os Mestre mortais fazem,
Vós, Celestes, Vós que Sois Sempre,
Que eu tenha sabido, com precaução
Me haveis guiado no caminho certo.

Tudo o Humano põe à prova, dizem os Celestes,
Para que, poderosamente nutrido, aprenda a dar graças por tudo,
E compreenda a liberdade
De partir para adonde deseja.


Friedrich Hölderlin. Tradução minha.


Lebenslauf

Größeres wolltest auch du, aber die Liebe zwingt
All uns nieder, das Leid beugt gewaltiger,
Doch es kehret umsonst nicht
Unser Bogen, woher er kommt.

Aufwärts oder hinab! herrschet in heiliger Nacht,
Wo die stumme Natur werdende Tage sinnt,
Herrscht im schiefesten Orkus
Nicht ein Grades, ein Recht noch auch?

Dies erfuhr ich. Denn nie, sterblichen Meistern gleich,
Habt ihr Himmlischen, ihr Alleserhaltenden,
Daß ich wüßte, mit Vorsicht
Mich des ebenen Pfads geführt.

Alles prüfe der Mensch, sagen die Himmlischen,
Daß er, kräftig genährt, danken für alles lern,
Und verstehe die Freiheit,
Aufzubrechen, wohin er will.

3.20.2016

Sinal da Cruz

§1
»Βαδίσωμεν,» ἔφην, «ἐπὶ τὸ τῆς Ἰλιάδος Ἀθηνᾶς τέμενος». Ὁ δὲ καὶ μάλα προθύμως ἀπήγαγέ με καὶ ἀνέῳξε τὸν νεών, καὶ ὥσπερ μαρτυρόμενος ἐπέδειξέ μοι πάντα ἀκριβῶς σῶα τὰ ἀγάλματα, καὶ ἔπραξεν οὐθὲν ὧν εἰώθασιν οἱ δυσσεβεῖς ἐκεῖνοι πράττειν, ἐπὶ τοῦ μετώπου τοῦ δυσσεβοῦς τὸ ὑπό μνημα σκιογραφοῦντες, οὐδὲ ἐσύριττεν, ὥσπερ ἐκεῖνοι, αὐτὸς καθ' ἑαυτόν· ἡ γὰρ ἄκρα θεολογία παρ' αὐτοῖς ἐστι δύο ταῦτα, συρίττειν τε πρὸς τοὺς δαίμονας καὶ σκιογραφεῖν ἐπὶ τοῦ μετώπου τὸν σταυρόν.

Juliano o Filósofo. Carta XIX. Tradução minha.

"Vamos ao templo de Atena Ilíada", disse-me ele, abriu-o e guiou-me com muito entusiasmo até ao interior. Como se estivesse a dar testemunho de algo mostrou-me todas as estátuas intactas, e tudo isto sem jamais agir da maneira que os ímpios [i.e., os Cristãos] costumam agir quando desenham sobre a sua testa descrente aquele seu sinal, e sem silvar, também isso contrário deles. Isto porque a teologia deles consiste exclusivamente dessas duas coisas, silvar face aos espíritos e desenhar a cruz na testa.



§2
οὗτος ἡμῖν δέδοται ἐπὶ τοῦ μετώπου, ὅν τρόπον τῷ Ἰσραὴλ ἡ περιτομή · δι'αὐτοῦ γὰρ οἱ πιστοὶ τῶν ἀπίστων ἀποδιιστάμεθά τε καὶ γνωριζόμεθα. οὗτος θυρεὸς καὶ ὅπλον καὶ τρόπαιον κατὰ τοῦ διαβόλου. οὗτος σφραφίς, ἵνα μὴ θίγῃ ἧμῶν ὁ ὀλοθρεύων, ὥς φησιν ἡ γραφή. Οὗτος τῶν κειμένων ἀνάστασις, τῶν ἑστώτων στήριγμα, ἀσθενῶν βακτηρία, ποιμαινομένων ῥάβδος, ἐπιστρεφόντων χειραγωγία, προκοπτόντων τελείωσις, ψυχῆς σωτηρία καὶ σώματος, πάντων κακῶν ἀποτρόπαιον, πάντων ἀγαθῶν πρόξενος, ἁμαρτίας ἀναίρεσις, φυτὸν ἀναστάσεως, ξύλον ζωῆς αἰωνίου.

João Damasceno. Exposição da Fé. Capítulo LXXXIV. Tradução minha.

Este [sinal] na testa foi-nos concedido da mesma forma que a Israel foi concedida a circuncisão. É por ele que nós os crentes nos distinguimos dos descrentes. Ele é um escudo, é uma arma, é um troféu contra o Demónio. É um selo para que o Destruidor jamais nos toque, como diz a Escritura. É ele o ressurgir daqueles que caíram, o sustento dos que se mantém de pé, o bastão dos doentes, a vara dos pastores, o trazer pela mão daqueles que voltam para trás, o destino final daqueles que avançam, a salvação da alma e do corpo, o talismã contra todos os males, o patrono de todos os bons, a destruição do pecado, o rebento da ressurreição, a árvore da vida eterna.




§3

A partir de [10:58]

3.17.2016

Theologia e Etymologia

John [Damascene]’s Christology, and the nature of his response to Monophysitism has, however, long been the subject of misunderstanding, a misunderstanding created by Friedrich Loofs (following on from the presentation of Christology by certain Protestant scholastic theologians), and popularized in the English.-speaking world by Maurice Relton. This misunderstanding is the doctrine of enhypostasia, the notion that the human nature of Christ is ‘anhypostatic’, and finds its hypostasis in that of the assuming Word, so that the Word, by becoming incarnate, accomplishes an ontological process known as ‘enhypostatization’. The error underlying this is very simple, and also typical of the etymologizing style of theology of the first half of the twentieth century, according to which words, and their supposed etymologies, had a kind of life of their own. But in fact, as Brian Daley has argued, the adjective enypostatos is not formed from the preposition en plus an adjective formed from hypostasis (suggesting the idea of being inward to a hypostasis); it is rather the simple adjective from hypostasis, the prefix en affirming the qualify designated by the root, in contrast to the prefix an, which denies it (cf. emphonos/aphonos, enylos/anylos, entimos/atimos): enypostatos, therefore, means ‘real’, and anypostatos ‘unreal’, or sometimes, more precisely, possessing (or not) concrete reality. There is no mysterious process of ‘enhypostatization’.
Andrew Louth. St John Damascene: Tradition and Originality in Byzantine Thought p.161. OUP (2002)

A arte da Bizantinística

Averil CameronByzantine Matters. (2014) Princeton UP.
Recognition of the agendas lying behind many individual artworks designed to expound and claim their various versions of orthodox doctrine, and their capacity to enunciate complex theological themes in visual terms, has been part of the move among Byzantine art historians toward a highly contextual exposition and away from stylistic analysis. To be a Byzantine art historian at this juncture requires a highly sophisticated theological awareness combined with the deployment of complex and often obscure theological texts. And since so much Byzantine writing of this kind remains imperfectly edited or is even unpublished, this means that they must be philologists, theologians, and liturgists too.

3.16.2016

Theologia Musices

Commentators on the Dialectica often remark that the matters discussed do not seem to have any real bearing on the rest of The Fountain Head of Knowledge, or even constitute any kind of preparation for the rest of John’s theological œuvre. Richter, for instance, says that ‘the Expositio makes no use of the Philosophical Chapters'. It is true that there are many chapters of the Dialectica that are rarely referred to in John’s other writings, if at all. But this does not mean that the Dialectica has nothing really to do with On the Orthodox Faith. Presumably the purpose of the Dialectica, in John’s eyes, was to help novice theologians to think clearly and argue convincingly, abilities that are necessary to read On the Orthodox Faith profitably, and build on the positions set out in that treatise. To say that On the Orthodox Faith makes no use of the Dialectica is a bit like saying that Beethoven’s piano sonatas make no use of the piano exercises of Hanon’s The Virtuoso Pianist: it is certainly true that few of Hanon’s exercises appear in Beethoven’s sonatas, not even all the scales in their various forms, and yet someone who has not mastered Hanon would certainly be ill-prepared to play Beethoven’s sonatas.
Andrew Louth. St John Damascene: Tradition and Originality in Byzantine Thought. OUP (2002)

True Philology

§1

“Nach dem Essen ging er in seinem schönen Garten mit mir auf und ab und erkundigte sich sehr freundlich nach meiner Arbeit. Ich hatte damals den grösseren Teil des Aristophanes gelesen und fing an Leo davon vorzuschwärmen, mich über den Zauber dieser Poesie, die Schönheit der Chorlieder zu verbreiten, und ich weiss nicht was noch alles. Leo liess mich ruhig ausreden, vielleicht zehn Minuten lang, ohne irgend ein Zeichen der Missbilligung oder der Ungeduld. Als ich fertig war, fragte er: ‘In welcher Ausgabe lesen Sie eigentlich den Aristophanes?’ Ich dachte: hat er denn überhaupt nicht zugehört? was hat denn seine Frage mit dem zu tun, was ich ihm erzählt habe? Nach einem Augenblick unmutigen Zauderns antwortete ich: ‘In der Teubner-Ausgabe’. Er: ‘Ach, Sie lesen Aristophanes ohne kritischen Apparat’. Er sagte es ganz ruhig, ohne jede Schärfe, ohne einen Hauch von Spott, nur ehrlich erstaunt, wie es möglich war dass ein leidlich intelligenter junger Mensch so etwas tun konnte. Ich sah auf den Rasen neben mir und hatte nur eine einzige, überwältigend starke Empfindung: νῦν μοι χάνοι εὐρεῖα χθών. Später kam es mir vor, als hätte ich in diesem Augenblick begriffen, was ordentliche Philologenarbeit bedeutet.
E. Fraenkel. Prefácio aos Ausgewählte kleine Schriften de Friedrich Leo.
I had by then read the greater part of Aristophanes, and I began to rave about it to Leo, and to wax eloquent on the magic of this poetry, the beauty of the choral odes, and so on and so forth. Leo let me have my say, perhaps ten minutes in all, without showing any sign of disapproval or impatience. When I was finished, he asked: "In which edition do you read Aristophanes?" I thought: has he not been listening? What has his question got to do with what I have been telling him? After a moment's ruffled hesitation I answered: "The Teubner". Leo: "Oh, you read Aristophanes without a critical apparatus." He said it quite calmly, without any sharpness, without a whiff of sarcasm, just sincerely taken aback that it was possible for a tolerably intelligent young man to do such a thing. I looked at the lawn nearby and had a single, overwhelming sensation: νῦν μοι χάνοι εὐρεῖα χθών. Later it seemed to me that in that moment I had understood the meaning of real scholarship.

(Martin L. West trad.)

§2
Margolis would ask each student to take a special assignment, such as a particular version or commentary and be responsible for its evidence. He told me on my first day in class to handle the Syriac version. 'But I don't know Syriac,' I protested. He looked at me sternly and growled, 'Where do you think you are? In a kindergarten? Go home and learn Syriac.'
Cyrius Gordon. Fonte.

3.14.2016

oração de Irene de Athenas à Theotokos // um poema

imperadores, imperadores sem fim
imperadores sob o eterno império
do teu radiante olhar,
Senhora. e eu a ashik
da legenda do teu santo nome.
trovo-te na luz
e no sangue dos meus.
do branco dos seus olhos pinto
os teus olhos.
da sua íris as tuas santas vestes.
do sangue a imperial tua púrpura.
elevo-te não sem pavor,
mãos que elevaram e choraram um filho
a uma que elevaste e choraste o teu filho.
nenhum do ouro senão às mães, às mães.
as mães crucificadas em tronos.
as mães crucificadas em tronos
endurecem em sincronia com o ouro das paredes,
Senhora, eu, a paz que não olha à paz
mas à fé segura e firme
ditada e assegurada pelos padres,
a mosaica e romana fé
de que cada um dos teus cabelos
foi assim, de que o teu olhar
incendiou de amor teu filho
como me incendeia a mim
e a toda a minha Romanía
de amor por ti. mais fé, mais forte
do que as muralhas de todas as Romas,
és tu a Cidade.
perco-me nas lágrimas do teu pálio.
visto-me de ti, visto-me do teu
sangue e dos meus.
nenhum do teu
ouro e do meu, Senhora,
desmancharão eles
com seu radiante olhar.

3.12.2016

um poema do Iosif Brodskii

A Halt in the Desert

So few Greeks live in Leningrad today
that we have razed a Greek church, to make space
for a new concert hall, built oin today's
grim and unhappy style. And yet a con-
cert hall with more than fifteen hundred seats
is not so grim a thing. And who's to blame
if virtuosity has more appeal
than the worn banners of an ancient faith?
Still, it is sad that from this distance now
we see, not the familiar onion domes,
but a grotesquely flattened silhouette.
Yet men are not so heavily in debt
to the grim ugliness of balanced forms
as to the balanced forms of ugliness.

I well remember how the church succumbed.
I was then making frequent springtime calls
at the home of a Tartar family
who lived nearby. From their front window one
could clearly see the outline of the church.
It started in the midst of Tartar talk,
but soon the racket forced its rumbling way
into our conversation, mingling with,
then drowning out, our steady human speech.
A huge power shovel clanked up to the church,
an iron ball dangling from its boom, and soon
the walls began to give way peaceably.
Not to give way would be ridiculous
for a mere wall in face of such a foe.
Moreover, the power shovel may have thought
the wall a dead and soulless thing and thus,
to a degree, like its own self. And in
the universe of dead and soulless things
resistance is regarded as bad form.
Next came the dump trucks, then the bulldozers . . .
So, in the end, I sat — late that same thing —
among the fresh ruins in church's apse.
Night yawned behind the altar's gaping holes.
And through those open altar wounds I watched
retreating streetcars as they slowly swam
past phalanxes of deathly pale streetlamaps.
I saw now through the prism of that church
a swarm of things that churches do not show.

Some day, when we who now live are no more,
or rather after we have been, there will
spring up in what was once our space
a thing of such a kind as will bring fear,
a panic fear, to those who knew us best.
But those who knew us will be very few.
The dogs, moved by old memory, still lift
their hindlegs at a once familiar spot.
The church's walls have long since been torn down,
but these dogs see the church walls in their dreams —
dog-dreams have cancelled out reality.
Perhaps the earth still holds that ancient smell:
asphalt can't cover up what a dog sniffs.
What can this building be to such as dogs!
For them the church still stands; they see it plain.
And what to people is a patent fact
leaves them entirely cold. This quality
is sometimes called 'a dog's fidelity'.
And, if I were to speak in earnest of
the 'relay face of human history',
I'd swear by nothing but this relay race—
this face of all the generations who
have sniffed, and who will sniff, the ancient smells.

So few Greeks live in Leningrad today,
outside of Greece, in general, so few—
too few to save the buildings of the faith.
And to have faith in buildings — none asks that.
It is one thing to bring a folk to Christ;
to bear His cross is something else again.
Their duty was a single thing and clear,
but they lacked strength to live that duty whole.
Their unploughed fields grew thick with vagrant weeds.
'Thou who doest sow, keep they sharp plough at hand
and we shall tell thee when they grain is ripe.'
They failed to keep their sharp ploughs close at hand.

Tonight I stare out through the black windows
and think about that point to which we've come,
and then I ask myself: from which are we
now more remote — the world of ancient Greece,
or Orthodoxy? Which is closer now?
What lies ahead? Does a new epoch wait
for us? And, if it does, what duty do we owe? —
What sacrifices must we make for it?


Joseph Brodsky. in Selected Poems. George L. Kline (trad). Harper & Row (1973)

3.08.2016

Nous demanderons

Platoniciens nous saurons toute notre cité, kantiens nous saurons tout notre devoir. Platoniciens, ou héritiers des anciens platoniciens, nous saurons toute notre République et nous saurons toutes nos lois. Kantiens ou héritiers des —nouveaux— kantiens, nous saurons toutes nos obligations morales. Mais nous demanderons aux anciens que ces obligations morales demeurent belles, nous demanderons aux chrétiens que ces obligations morales demeurent saintes, demeurent charitables, aux messianiques nous demanderons qu'elles demeurent ardentes, aux cartésiens nous demanderons qu'elles demeurent distinctes et claires, aux bergsoniens nous demanderons qu'elles demeurent profoundes, intérieures et vivantes, mouvantes et réelles.

Charles Péguy. La Bonne Anée 

A distância infinita


La distance infinie des corps aux esprits figure la distance infiniment plus infinie des esprits à la charité, car elle est surnaturelle.

Charles Péguy. La Bonne Anée