Thomas Cahill quotes - page 2
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).
Thomas Cahill
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.
Thomas Cahill
...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."
Thomas Cahill
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.
Thomas Cahill
