Posts Tagged ‘courage’

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ΑΝΑΜΕΣΑ ΣΤΑ ΚΟΚΑΛΑ ΕΔΩ

Ανάμεσα στα κόκαλα

μια μουσική

περνάει στην άμμο

περνάει στη θάλασσα.

Ανάμεσα στα κόκαλα

ήχος φλογέρας

ήχος τυμπάνου απόμακρος

κι ένα ψιλό κουδούνισμα

περνάει τους κάμπους τους στεγνούς

περνάει τη θάλασσα με τα δελφίνια.

Ψηλά βουνά, δε μας ακούτε.

Βοήθεια, βοήθεια!

Ψηλά βουνά θα λιώσουμε, νεκροί

με τους νεκρούς.

 

 

HERE AMONG THE BONES

 

Among the bones

some music

goes by the sand

goes over the sea.

Among the bones

sound of a flute

sound of a distant drum

and a light ringing,

goes over the dry plains

over the sea with the dolphins.

High mountains, you can’t hear us!

Help! Help!

High mountains, we’ll dissolve, dead

with the dead!

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ΤΟ ΑΓΝΩΣΤΟ

Ήξερε τί παράσταιναν οι διαδοχικές του μεταμφιέσεις
(συχνά κι αυτές αναχρονιστικές και πάντα αόριστες)
τον ξιφομάχο, τον κήρυκα, τον ιερέα, τον σκοινοβάτη,
τον ήρωα, το θύμα, τον νεκρό, την Ιφιγένεια. Δεν ήξερε
εκείνον που μεταμφιεζόταν. Τα πολύχρωμα κοστούμια του
σωρός στο πάτωμα, καλύπτοντας την τρύπα του πατώματος,
και στην κορφή του σωρού το λαξευμένο, χρυσό προσωπείο,
και μες στο κούφωμα του προσωπείου το αχρησιμοποίητο πιστόλι.

THE UNKNOWN

He knew what his successive disguises stood for
(even them often out of time and always vague)
a fencer, a herald, a priest, a rope walker,
a hero, a victim, a dead, Iphigenia. He didn’t know
the one he disguised himself as. His colorful costumes
pile on the floor, covering the hole of the floor,
and on top of the pile the carved golden mask,
and in the cavity of the mask the unfired pistol.
ΤΟ ΑΔΙΕΞΟΔΟ

Με το φθινόπωρο ακούσαμε ξανά κάτω απ’ τις καμάρες
το κέρας των αρχαίων κυνηγών. Ο ραβδοσκόπος καθόταν στην
πόρτα.
Μπροστά στο Διοικητήριο έκαιγαν τους χαρταητούς. Λίγο πιο πέρα,
μονάχο το άγαλμα, γυμνό, τρέμοντας όλο πάνω στο βάθρο του,
(αυτό που τόσα είχα τραβήξει ώσπου να γίνει άγαλμα), αυτό,
ολότελα πια λησμονημένο, μελετούσε κρυφά, μέσα στην πέτρα,
ένα καινούργιο, εκπληχτικό διασκελισμό, που να επισύρει
την προσοχή των κυνηγών, του κρεοπώλη, του φούρναρη, της χήρας,
διαψεύδοντας ό,τι περσότερο είχε ονειρευτεί: την άσπιλη εκείνη,
την ένδοξή του, τη μαρμάρινη, την αναπαυτικά εσταυρωμένη ακι-
νησία.
DEAD END

In the fall we heard the ancient hunters’ horns
blare under the arches. The dowser
sat by the door.
In front of Government House they burned kites. Farther on
the statue was alone, naked, completely shivering on its pedestal,
(the one that had endured so much to become a statue),
now, totally forgotten, secretly contemplating in the rock
of a new amazing straddle, that would draw
the hunters’ attention, the butcher’s, the baker’s, the widow’s,
disproving what it had dreamed the most: its unblemished,
its glorified the made-of-marble comfortably crucified
motionlessness.

http://www.authormanolis.wordpress.com
http://www.libroslibertad.ca
http://www.ekstasiseditions.ca

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Quotes by Albert Camus//Γνωμικά του Αλμπέρτου Καμύ

“But in the end one needs more courage to live than to kill oneself.”

“The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion.”

“When I look at my life and its secret colours, I feel like bursting into tears.”

“Real generosity towards the future lies in giving all to the present.”

“Blessed are the hearts that can bend; they shall never be broken.”

“An intellectual? Yes. And never deny it. An intellectual is someone whose mind watches itself. I like this, because I am happy to be both halves, the watcher and the watched. “Can they be brought together?” This is a practical question. We must get down to it. “I despise intelligence” really means: “I cannot bear my doubts.”

“Autumn is a second spring when every leaf is a flower.”

“To be happy, we must not be too concerned with others.”
~Τελικά χρειάζεσαι πιο πολύ θάρρος να ζήσεις παρά ν’ αυτοκτονήσεις

~Ο μόνος τρόπος ν’ αντιμετωπίσεις έναν ανελεύθερο κόσμο είναι να νιώσεις τόσο ελεύθερος που η κάθε σου πράξη να `ναι μια πράξη εξέγερσης

~Όταν παρατηρώ τη ζωή μου και τα κρυφά της χρώματα, νιώθω την ανάγκη να κλάψω

~Πραγματική μελλοντική γεναιοδωρία είναι να τα δίνεις όλα στο παρόν

~Ευλογημένες οι καρδιές που λυγίζουν γιατί ποτέ δεν θα σπάσουν

~Διανοούμενος; Ναι και μην το αρνηθείς ποτέ. Διανοούμενος είναι αυτός που το μυαλό του προσέχει τον εαυτό του. Κι αυτό μ’ αρέσει γιατί προτιμώ να `μαι δύο μισά, ο παρατηρηρτής κι ο παρατηρούμενος. ‘Μπορούν άραγε να ταυτιστούν;’ Αυτή είναι πρακτική ερώτηση. Ας την εξετάσουμε. ‘Απεχθάνομαι την ευφυία’ στην πραγματικότητα σημαίνει ‘δεν μπορώ να υπομένω τις αμφιβολίες μου’

~Το φθινόπωρο είναι μια δεύτερη άνοιξη όταν το κάθε φύλλο είναι κι ένα λουλούδι

~Να νιώσεις ευτυχής σημαίνει ν’ αδιαφορείς για τους άλλους
~ Μετάφραση στα ελληνικά ΜΑΝΩΛΗ ΑΛΥΓΙΖΑΚΗ / translation by MANOLIS ALIGIZAKIS

Albert Camus (1913—1960)

Albert Camus was a French-Algerian journalist, playwright, novelist, writer of philosophical essays, and Nobel laureate. Though neither by advanced training nor profession a philosopher, Camus nevertheless through his literary works and in numerous reviews, articles, essays, and speeches made important, forceful contributions to a wide range of issues in moral philosophy – from terrorism and political violence to suicide and the death penalty. In awarding him its prize for literature in 1957, the Nobel committee cited the author’s persistent efforts to “illuminate the problem of the human conscience in our time,” and it is pre-eminently as a writer of conscience and as a champion of imaginative literature as a vehicle of philosophical insight and moral truth that Camus was honored by his own generation and is still admired today. He was at the height of his career, at work on an autobiographical novel, planning new projects for theatre, film, and television, and still seeking a solution to the lacerating political turmoil in his native Algeria, when he died tragically in an automobile accident in January, 1960.

ubermensch cover

FUNERAL

We buried him, yesterday afternoon, in the freshly dug soil,
a small twig that he was, the poet with his thin gray beard.
His only sin: so much he loved the birds that didn’t come
to his funeral.
The sun went down behind the army barracks where the future
dead slept and the lone hawk, lover of songs, sat on the oak
branch; women lamented for the day’s yellow rapture and after
approving everything the hawk flew away, as if to define
distance. Wind blew over the surface of the lake searching
for the traitor who had run to the opposite shore where
judgement was passed and the ancient cross remained with
no corpse.
Everyone felt joyous, wine and finger food had to do with it
the hawk returned without news and the beggar extended
his hand and softly begged:
“two bits, man, God bless your soul, two bits.’

ΚΗΔΕΙΑ

Χθες το απόγευμα, τον θάψαμε στο φρεσκοσκαμμένο χώμα,
λες να `τανε βλαστάρι ενός δεντρού, το ποιητή με τ’ αραιό
γκρίζο γενάκι. Μόνη του αμαρτία που αγαπούσε πολύ
τα πουλιά κι αυτά ξέχασαν στην κηδεία του να έρθουν.
Ο ήλιος έδυσε πίσω απ’ το στρατόπεδο με τους νεκρούς
της αύριον και το γεράκι, μονιάς της λαγκαδιάς, καθόταν
στης οξιάς κλαδί. Γυναίκες κλάψαν για το κίτρινο συναίσθημα
της μέρας και το γεράκι αφού όλα τα επιδοκίμασε, πέταξε
μακρυά τις αποστάσεις για να καθορίσει, ο αγέρας φύσηξε
πάνω απ’ τη λίμνη, λες κι έψαχνε για τον προδότη που είχε
πάει στην αντιπέρα όχθη, εκεί που κρίνονται οι δίκαιοι
κι ο πανάρχαιος σταυρός έμεινε δίχως κορμί.
Όλοι ένιωσαν ευέλπιστοι απ’ το κρασί και τους μεζέδες,
ξανάρθε το γεράκι δίχως να φέρει νέα κι ο ζητιάνος έτεινε
το χέρι και καλοκάγαθα ψυθίριζε:
‘ελεημοσύνη χριστιανοί, ελεημοσύνη.’

~Υπεράνθρωπος/Ubermensch, Ekstasis Editions, Victoria, BC, 2013

http://www.ekstasiseditions.com

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Posted on January 17, 2015

In Shakespeare’s Macbeth, the pangs of a guilty conscience drive Lady Macbeth to madness. Her doctor remarks that medicine cannot cure a sense of guilt. “More needs she the divine than the physician.” Guilt overwhelms Lady Macbeth until she finally commits suicide at the end of the play.
Considering the powerful influence that guilt can have over a person, it is important to explore the origin and nature of this emotion in order to possibly gain some control over it. In this video, we will discuss Nietzsche’s theory concerning the origin of guilt, and we will also explain what it indicates for the future of mankind.
To feel guilty means to feel painful regret for some wrong committed. According to Nietzsche, the concepts of right and wrong arose with the development of societies. He describes guilt as a disease that humanity caught when it formed these social communities. “I look on bad conscience as a serious illness to which man was forced to succumb by the pressure of the change whereby he finally found himself imprisoned within the confines of society and peace.”
When man left the lawless wilderness and entered into societies, he entered into an entirely new world where his old instincts were worthless. Nietzsche compares this radical change experienced by man to the change experienced by the first sea animals to venture onto land. “It must have been no different for man, happily adapted to the wilderness, war, the wandering life and adventure than it was for the sea animals when they were forced to either become land animals or perish – at one go, all instincts were devalued and ‘suspended’. The poor things were reduced to relying on thinking, inference, calculation, and the connecting of cause with effect, that is, to relying on their mind, that most impoverished and error-prone organ!”
Man’s wild instincts, however, did not fade away. Instead, he was forced to turn his instincts for cruelty inwards because the new laws of societies prohibited violence. “Those terrible bulwarks with which state organizations protected themselves against the old instincts of freedom had the result that all those instincts of the wild, free, roving man were turned backwards, against man himself. Animosity, cruelty, the pleasure of pursuing, raiding, changing and destroying – all this was pitted against the person who had such instincts.”
After diverting his cruel instincts towards himself, man began to grow sick of existence. Nietzsche refers to this sentiment as the worst and most insidious illness ever to afflict man, and an illness from which man has yet to recover. “Lacking external enemies and obstacles, and forced into the oppressive narrowness and conformity of custom, man impatiently ripped himself apart, persecuted himself, gnawed at himself, gave himself no peace and abused himself, this animal who battered himself raw on the bars of his cage and who is supposed to be ‘tamed’; man, full of emptiness and torn apart with homesickness for the desert, has had to create within himself an adventure, a torture-chamber, an unsafe and hazardous wilderness – this fool, this prisoner consumed with longing and despair, became the inventor of ‘bad conscience’.”
Despite the dismal diagnosis of civilized man’s illness, Nietzsche regarded the disease of guilt, like all other afflictions in life, to be an opportunity to enhance human excellence. To him, mankind’s ability to turn against itself is indicative of man’s potential to achieve something great in the future – to achieve the meaning of the earth – to achieve the birth of the Ubermensch. “The prospect of an animal soul turning against itself was something so new, profound, puzzling, contradictory and momentous that the whole character of the world changed in an essential way. Man arouses interest, tension, hope, almost certainty for himself, as though something were being announced through him, were being prepared, as though man were not an end but just a path, an episode, a bridge, a great promise.”
To conclude, Nietzsche asserts that a guilty conscience developed when mankind formed societies and established laws. These social institutions forced man to turn his cruel and wild instincts inwards against himself. When man finally overcomes his bad conscience – which is nothing more than contempt for life – he will be one step closer to giving birth to the Ubermensch.
http://www.orwell.wordpress.com