The Irish... developed a form of confession that was exclusively private and that had no equivalent on the continent. In the ancient church, confession of one's sins—and the subsequent penance... had always been public. ...one did not necessarily choose one's "priest" from among ordained professionals: the act of confession was too personal and too important for such a limitation. One looked for an anmchara, a soul-friend, someone to be trusted over a whole lifetime.
American scholar and writer
Thomas Cahill (1940 – October 18, 2022) was an American scholar and writer. He is best known for The Hinges of History series, a prospective seven-volume series in which the author recounts formative moments in Western civilization.
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The word the Athenians used for their Assembly was Ekklēsia, the same word used in the New Testament for Church (and it is the greatest philological irony in all of Western history that this word, which connoted equal participation in all deliberations by all members, came to designate a kind of self-perpetuating, self-protective Spartan gerousia—which would have seemed patent nonsense to Greek-speaking Christians of New Testament times, who believed themselves to be equal members of their Assembly.)
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A century after the death of Patrick... there were few Romans left in western Europe. [By the mid sixth century] the whole subtle substructure of Roman political organization and Roman communication has vanished. In its place have grown the sturdy little principalities of the Middle Ages, Gothic illiterates ruling over Gothic illiterates, pagan or occasionally Arian—that is, following a debased, simpleminded form of Christianity in which Jesus was given a status similar to that of Mohammed in Islam.
This paucity of actors on the stage reflects the liturgical roots of Greek theater, which continued to stick close to its religious origins. … [A] machine, called the mēchanē, was a sort of crane that swung an actor playing a god over the parapet of the skēnē and out above the stage (thus the Latin phrase deus ex machina for a solution from nowhere, an unforeseen answer to prayers).
...the turns of the screw that Sophocles administered throughout the play [Oedipus Tyrannos] must have been received with sharp pain... because these cocky, princely, Oedipal Greeks were being made to feel acutely the limitations of human society—in which no political leader, no matter how gifted or courageous, can remain a savior forever, in which every man must come to know that he is no hero but essentially a flawed and luckless figure and that "the pains we inflict upon ourselves hurt most of all."