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).
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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Alternative Names:
Thomas Quinn Cahill
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Never interested in impressive edifices, Irish monks preferred to spend their time in study, prayer, farming—and, of course, copying. ...a little hut for each monk... a refectory and kitchen; a scriptorium and library; a smithy, a kiln, a mill, and a couple of barns; a modest church—and they were in business.
Irish generosity extended not only to a variety of people but to a variety of ideas. ...they brought into their libraries everything they could lay their hands on. ...Not for them the scruples of Saint Jerome... they began to devour all of the old Greek and Latin pagan literature that came their way.
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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If we could save one word from Greek civilization, it would have to be aretē, excellence. The aristocrats gave themselves their name, the aristoi (the best). It is an open question whether anyone considered himself a member of the kakoi (the worst, the craven, the dumb shits). though this put-down prances everywhere in the surviving literature. ...that shame—the paralyzing fear of being numbered among the kakoi—is the hidden engine that ran Greek life.
...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."